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画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[128,129,130,131,132,133,134,135,136,137,7,138,139],"高清","宗教","布料","设色","人物","大象","马","莲花","火焰","法轮","坐像","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028ee73993c9fc718ee7851c324b4215.jpg",[],65,{"id":144,"slug":145,"title":146,"dynasty":42,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":152,"material":31,"size":32,"collection":33,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":66},223695,"long-wen-yu-pei-yi-ming-223695","龙纹玉珮","龙纹玉佩是战国玉器，属于中国流失海外的10大玉器",[25,149,26,150,7,151],"龙","周代","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724d6f74b7127438f8d58a7e94d8d0a2.jpg",[],52,{"id":156,"slug":157,"title":158,"dynasty":159,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":171,"material":31,"size":32,"collection":33,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":37},223935,"qing-hua-chuan-lian-long-wen-tian-qiu-ping-yi-ming-223935","青花穿莲龙纹天球瓶","明","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[162,163,164,149,165,166,7,167,89,168,169,170],"陶瓷","青花","明代","莲","穿花","青花技法","缠枝莲纹","天球瓶器形","明代陶瓷风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7fda53cefc8f8360119a59218fabe.jpg",[],50,{"id":175,"slug":176,"title":177,"dynasty":98,"author":19,"museum":20,"description":178,"tags":179,"thumbUrl":183,"material":31,"size":32,"collection":33,"collections":184,"showCount":185,"zanCount":36,"manualWeight":11,"mainColor":37},255893,"zhu-que-wen-wa-dang-yi-ming-255893","朱雀纹瓦当","瓦当，是指古代中国建筑中覆盖建筑檐头筒瓦前端的遮挡。特指东汉和西汉时期，用以装饰美化和蔽护建筑物檐头的建筑附件。瓦当上刻有文字、图案，也有用四方之神的“朱雀”“玄武”“青龙”“白虎”做图案的， [1] 是屋檐最前端的一片瓦为瓦当，瓦面上带着有花纹垂挂圆型的挡片。\n瓦当的图案设计优美，字体行云流水，极富变化，有云头纹、几何形纹、饕餮纹、文字纹、动物纹等等，为精致的艺术品，属于中国特有的文化艺术遗产。",[101,162,180,181,182,26,7],"瓦当","朱雀","模印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa247821ce58e73eec9da31fd276727e1.jpg",[],46,{"id":187,"slug":188,"title":189,"dynasty":159,"author":19,"museum":190,"description":191,"tags":192,"thumbUrl":199,"material":33,"size":33,"collection":200,"collections":201,"showCount":185,"zanCount":36,"manualWeight":11,"mainColor":66},239050,"nv-xiang-zhou-yi-ming-239050","女像轴","台北故宫博物院","翟冠垂珠错落，映出妇人端凝仪容，朱红大衫覆身，尽显华贵庄重。胸前补子上云凤翩跹，翎羽纹路纤毫毕现，晕染细腻灵动，衣纹以沉稳墨线勾勒，贴合身形，礼制威严中暗蕴柔婉气度。\n\n此作敷色妍雅沉稳，衣冠配饰皆恪守仪制，以工致笔意捕捉人物神态，将贵族妇人静穆尊贵的气韵凝于绢素，形神兼备，将世家命妇的仪范风骨定格，尽显肖像画写实传神的精妙，让观者窥见旧时望族内眷的端庄风华。",[139,131,193,132,194,195,196,197,198,7],"立轴","女像","衣帽","服饰","补子","座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99e456f4b5e98f3486ae1451cc556ee.jpg","人物画精选",[200],{"id":203,"slug":204,"title":205,"dynasty":206,"author":19,"museum":207,"description":208,"tags":209,"thumbUrl":212,"material":31,"size":32,"collection":33,"collections":213,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":54},226327,"ku-zhu-shi-ren-zi-pi-xi-pi-yi-ming-226327","窟主室人字披西披","唐","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[210,131,129,132,7,211],"壁画","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ba4db1bfd3ac3236001af3ca315d5d.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":218,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":228,"material":33,"size":33,"collection":229,"collections":230,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":54},251563,"qian-long-yu-ti-qing-yu-jiao-ye-chan-zhi-lian-wen-seng-mao-shi-dai-gai-hu-yi-ming-251563","乾隆御题青玉蕉叶缠枝莲纹僧帽式带盖壶","清","青玉质地莹润温糯，青泽内敛沉静。壶身取僧帽为形，曲流上扬、执耳古雅，器盖穹起圆钮如珠，线条舒展柔婉，兼具古朴端庄与秀雅灵韵。\n\n腹部满饰缠枝莲纹，花叶翻卷灵动，细密婉转的线条游走玉面，繁而不乱，清丽雅致。颈间浅琢蕉叶纹，层叠舒展，古意盎然。整器雕工细腻入微，碾磨光滑莹亮，尽显玉料温润质感与制玉工艺的精湛，将佛家静穆之美与玉雕精巧工艺相融，沉静雅致，尽显治玉的匠心功底。",[221,25,222,26,223,168,224,225,7,226,29,227],"清代","玉器","蕉叶纹","带盖","僧帽式","青玉","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9619cc097d1c2e7da483259fc4559725.jpg","玉器精选",[229],44,{"id":233,"slug":234,"title":235,"dynasty":236,"author":19,"museum":20,"description":237,"tags":238,"thumbUrl":240,"material":33,"size":33,"collection":51,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":37},242837,"wei-jue-yi-ming-242837","囗爵","商","它敞口前伸为流，收束成尖尾，口沿立柱亭亭卓立，高挑三足稳稳托起器身，刚劲挺拔又不失平衡之美。器身遍饰兽面纹，线条古拙虬结，带着上古祭祀礼器独有的狞厉威严。青绿铜锈层层覆裹，晕开岁月浸蚀的斑驳肌理，将商代青铜工艺的厚重质感尽显无余。作为礼宴重器，它凝缩着神权时代的肃穆礼制，藏着古人对天地先祖的敬畏，静静沉淀着三千年的时光余韵。",[45,46,227,28,26,239,7],"商代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc748c55cc3865b25ee23e764fa2721.jpg",[51],42,{"id":244,"slug":245,"title":246,"dynasty":42,"author":19,"museum":20,"description":247,"tags":248,"thumbUrl":249,"material":31,"size":32,"collection":33,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":37},223697,"dong-zhou-lv-zhong-yi-ming-223697","东周郘钟","镈体两侧平直，钮作两兽对峙，两兽相背，饰乳钉纹。钮作环状，钮于镈体分铸而成，体壁较薄，纹饰草率，制作粗糙，击之声涩，声韵无律，为冥器。",[45,46,26,47,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1dee2d47a856ddf4eb50f5c188f76c6.jpg",[],38,{"id":253,"slug":254,"title":255,"dynasty":236,"author":19,"museum":20,"description":256,"tags":257,"thumbUrl":260,"material":31,"size":32,"collection":33,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":54},226731,"ya-xing-wen-fu-yi-ding-yi-ming-226731","亚形文父乙鼎","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[239,45,258,26,49,7,28,259],"铸造","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5e2837847f970d98f78e06452c99c1.jpg",[],36,{"id":264,"slug":265,"title":266,"dynasty":42,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":269,"material":33,"size":33,"collection":51,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":54},242698,"ding-yi-ming-242698","鼎","立耳微撇，三足敦实沉稳，器腹圆鼓饱满，线条凝练古雅。器身纹饰带着独特的庄重感，圆形乳钉搭配回字方纹，朴拙间透着规整礼制。\n\n铜色历经岁月晕染，斑驳绿锈晕开苍苔般的古韵，腹部鎏金余韵泛着沉敛柔光，深浅色泽交织出时光痕迹。它曾是承载祭祀宴飨的礼器，将古人心底对天地先祖的敬畏，浇筑进青铜肌理中，每一处锈痕都是光阴篆刻的印记，静静诉说千年前的礼乐风华，尽显上古青铜工艺的浑朴大气与礼制精神。",[45,28,259,46,258,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7020bc2cb2b3e928b84409d012e118.jpg",[51],32,{"id":273,"slug":274,"title":275,"dynasty":59,"author":19,"museum":20,"description":21,"tags":276,"thumbUrl":283,"material":31,"size":32,"collection":33,"collections":284,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":54},226724,"liang-zhu-wen-hua-wan-qi-liang-zhu-wen-hua-yue-ju-jin-4500-4200-nian-yu-cong-yi-ming-226724","良渚文化晚期 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[164,46,26,129,132,61,138,1145,7],"造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf8a7e6293ad19ef507d26760d64e84.jpg",[],{"id":1149,"slug":1150,"title":1151,"dynasty":395,"author":19,"museum":20,"description":893,"tags":1152,"thumbUrl":1154,"material":31,"size":32,"collection":33,"collections":1155,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":37},253563,"feng-wen-zhuan-yi-ming-253563","凤纹砖",[395,26,904,1153,7],"砖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d02113c34d8f4af46057b0e5e971d09.jpg",[],{"id":1157,"slug":1158,"title":1159,"dynasty":218,"author":19,"museum":20,"description":1160,"tags":1161,"thumbUrl":1166,"material":31,"size":32,"collection":33,"collections":1167,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":37},247784,"dui-cai-li-zhi-wen-he-yi-ming-247784","堆彩荔枝纹盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[218,1162,26,1163,1164,75,1165,7],"堆彩","荔枝","叶子","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c555246306640f565455f5a4e97df5.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":395,"author":19,"museum":20,"description":396,"tags":1172,"thumbUrl":1173,"material":31,"size":32,"collection":33,"collections":1174,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":37},244725,"qing-long-wen-jing-yi-ming-244725","青龙纹镜",[398,46,26,149,45,537,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0769e2edd33e32702a1815e19713175c.jpg",[],{"id":1176,"slug":1177,"title":406,"dynasty":71,"author":19,"museum":20,"description":1178,"tags":1179,"thumbUrl":1181,"material":33,"size":33,"collection":51,"collections":1182,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":37},243844,"xi-zun-yi-ming-243844","此器取温顺羊形为胎，敦实体态昂首伫立，神情沉静内敛，自带古雅端庄之气。体表以错银技法晕出婉转舒卷的云纹，线条灵动柔婉，和浑朴器型相得益彰，颈间弦纹利落规整，层次分明更显质感。器背设盖，以玲珑小鸟为钮，俏皮精巧，在厚重器身晕开一丝灵动生机。古铜色包浆沉郁幽润，承续古牺尊礼制意涵，复刻上古礼器庄重之余，融入宋人雅致审美，以细腻工巧彰显宋代仿古器物的隽秀格调，静穆中藏着灵秀，古拙里透着雅致，尽显隽永韵味。",[71,45,46,26,61,1180,28,227,7],"牛形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ce2d7cf06edd83c9359841c74285f3.jpg",[51],{"id":1184,"slug":1185,"title":1186,"dynasty":236,"author":19,"museum":20,"description":256,"tags":1187,"thumbUrl":1188,"material":31,"size":32,"collection":33,"collections":1189,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":37},242749,"wei-ding-yi-ming-242749","囗鼎",[239,45,259,28,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9a18aa7a7a3ed779636025fffdec9d.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":206,"author":19,"museum":20,"description":1194,"tags":1195,"thumbUrl":1197,"material":31,"size":32,"collection":33,"collections":1198,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":54},227104,"shuang-luan-jing-1-yi-ming-227104","双鸾镜-1","是盛唐时期铜镜的典型代表，是唐镜中最绚丽的镜类之一。铜镜的外轮廓突破了以往圆形的单一模式，线条弧曲流畅；镜背构图也摒弃了过去同心圆式分区的旧传统，构图灵活多变；装饰图案由神兽等题材，转向世俗化的花鸟。铜镜外廓作八出葵花形，内切圆形，边缘均匀地点缀八朵如意云纹，圆钮上下为类似荷花的花卉图案，圆钮左右两侧各立一曲颈相对、振翅翘尾的鸾鸟，作翩翩起舞状。",[374,46,26,560,1196,61,7],"鸾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2b4f000144ea7f3ffcb5da5acec014.jpg",[],{"id":1200,"slug":1201,"title":1202,"dynasty":395,"author":19,"museum":20,"description":569,"tags":1203,"thumbUrl":1205,"material":31,"size":32,"collection":33,"collections":1206,"showCount":1138,"zanCount":11,"manualWeight":11,"mainColor":37},226905,"zhan-guo-san-jiao-yun-wen-hu-yi-ming-226905","战国 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于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[2462,162,2465,1527,2466,61,26,7,29,2467],"仿定白釉","象","花插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2af3ffe00f60cd49a4a47b0bdae6728.jpg",[80],{"id":2471,"slug":2472,"title":2473,"dynasty":218,"author":19,"museum":20,"description":2474,"tags":2475,"thumbUrl":2477,"material":31,"size":32,"collection":33,"collections":2478,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":37},256541,"kang-xi-kuan-wu-cai-ma-gu-xian-shou-tu-pan-yi-ming-256541","康熙款五彩麻姑献寿图盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[162,1869,131,132,2476,7],"祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49a64378191af15b2da6927b9c9dfaa.jpg",[],{"id":2480,"slug":2481,"title":2482,"dynasty":159,"author":19,"museum":20,"description":2483,"tags":2484,"thumbUrl":2488,"material":31,"size":32,"collection":33,"collections":2489,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":54},256470,"dou-cai-hai-ma-wen-tian-zi-guan-yi-ming-256470","斗彩海马纹天字罐","此罐造型圆润饱满，器型规整雅致。以斗彩工艺饰绘，釉色妍丽鲜亮，诸色搭配谐和亮眼。主体海马身形矫健昂扬，红彩晕染出骐骥勃发之势，鬃毛如焰翻卷，伴以青料勾勒的祥云缭绕周身，更衬瑞兽灵动威严。通身纹饰层次分明，上部如意云纹婉转柔丽，下部海涛蕉叶苍劲舒展，海浪翻涌托举瑞兽，烘托出腾云踏浪的磅礴意境，将祥瑞寓意藏于灵动绘饰之中，尽显典雅精工的彩瓷气韵。",[164,162,2485,29,2486,419,2487,330,102,131,7],"斗彩","海马","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973747cc1282eb183d895590fab99d57.jpg",[],{"id":2491,"slug":2492,"title":2493,"dynasty":159,"author":19,"museum":20,"description":2494,"tags":2495,"thumbUrl":2498,"material":31,"size":32,"collection":33,"collections":2499,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":54},256456,"cheng-hua-kuan-dou-cai-pu-tao-wen-gao-zu-bei-yi-ming-256456","成化款斗彩葡萄纹高足杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[164,162,2485,2496,2497,227,131,376,7],"葡萄纹","高足杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffa3fa96e25ee44b96a06120c2dd286.jpg",[],{"id":2501,"slug":2502,"title":2503,"dynasty":395,"author":19,"museum":20,"description":2504,"tags":2505,"thumbUrl":2507,"material":31,"size":32,"collection":33,"collections":2508,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":54},255311,"tao-cang-yi-ming-255311","陶仓","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[162,2522,374,259,3233,26,3234,7],"日用","建筑造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0394e5e3523ac141cc3175a88ec5fe5e.jpg",[],{"id":3238,"slug":3239,"title":3240,"dynasty":395,"author":19,"museum":20,"description":178,"tags":3241,"thumbUrl":3242,"material":31,"size":32,"collection":33,"collections":3243,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254979,"yun-he-wen-wa-dang-yi-ming-254979","云鹤纹瓦当",[398,180,26,419,648,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f689feb35cc6daed196e422c7281e9.jpg",[],{"id":3245,"slug":3246,"title":3247,"dynasty":289,"author":19,"museum":20,"description":607,"tags":3248,"thumbUrl":3249,"material":31,"size":32,"collection":33,"collections":3250,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254577,"tao-ji-yi-ming-254577","陶鸡",[289,162,451,26,2506,673,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b00a5bd98cd375874c23a08b8479d9.jpg",[],{"id":3252,"slug":3253,"title":3254,"dynasty":159,"author":19,"museum":20,"description":21,"tags":3255,"thumbUrl":3256,"material":31,"size":32,"collection":33,"collections":3257,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":66},252642,"qing-yu-tou-diao-lian-yu-wen-shi-yi-ming-252642","青玉透雕莲鱼纹饰",[164,25,2565,165,1713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05dd5b7feff09ab13b9ba98597189ec9.jpg",[],{"id":3259,"slug":3260,"title":3261,"dynasty":289,"author":19,"museum":20,"description":21,"tags":3262,"thumbUrl":3263,"material":31,"size":32,"collection":33,"collections":3264,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},252602,"qing-yu-yun-wen-huan-yi-ming-252602","青玉云纹环",[25,26,419,289,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0013bf490e76615cc6dee208a53ca15.jpg",[],{"id":3266,"slug":3267,"title":3268,"dynasty":159,"author":19,"museum":20,"description":21,"tags":3269,"thumbUrl":3270,"material":31,"size":32,"collection":33,"collections":3271,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},252480,"long-wen-yu-dai-yi-ming-252480","龙纹玉带",[25,149,26,151,159,7,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c4eb0258e9667ae5af5808d68c8fcb1.jpg",[],{"id":3273,"slug":3274,"title":3275,"dynasty":218,"author":19,"museum":20,"description":21,"tags":3276,"thumbUrl":3277,"material":31,"size":32,"collection":33,"collections":3278,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},252453,"qing-yu-long-feng-wen-dai-kou-yi-ming-252453","青玉龙凤纹带扣",[221,25,26,149,904,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bba15c0f6231f4fab97cc6c13d0045c.jpg",[],{"id":3280,"slug":3281,"title":3282,"dynasty":236,"author":19,"museum":20,"description":21,"tags":3283,"thumbUrl":3286,"material":31,"size":32,"collection":33,"collections":3287,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":66},252409,"yu-xi-yi-ming-252409","玉觹",[25,26,239,151,28,222,3284,712,7,3285],"传统","古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e2746389bc0c6f40324ec80885c659b.jpg",[],{"id":3289,"slug":3290,"title":3291,"dynasty":236,"author":19,"museum":20,"description":21,"tags":3292,"thumbUrl":3294,"material":31,"size":32,"collection":33,"collections":3295,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":54},252407,"ya-bai-se-yu-que-wen-pei-yi-ming-252407","牙白色玉雀纹佩",[25,26,151,1246,3293,7],"商代玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ddf25eb81b40383a68fa5a6984798.jpg",[],{"id":3297,"slug":3298,"title":3299,"dynasty":42,"author":19,"museum":20,"description":21,"tags":3300,"thumbUrl":3302,"material":31,"size":32,"collection":33,"collections":3303,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},252108,"qing-yu-niao-wen-bi-yi-ming-252108","青玉鸟纹璧",[150,25,226,26,519,116,104,7,222,3301],"钻孔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef05c8baa8e3c28991b07c90b2eb41b2.jpg",[],{"id":3305,"slug":3306,"title":3307,"dynasty":218,"a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