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清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[55,23,24,56,57,7,58,59],"缂丝","蝴蝶","百蝶纹","氅衣","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a2ca44a8003dac20193e2e79a618ab.jpg",[],4,{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":74,"material":31,"size":32,"collection":33,"collections":75,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":36},264327,"hong-se-xi-xiang-feng-shuang-xi-zi-an-ba-xian-wen-zhuang-hua-duan-yi-ming-264327","红色喜相逢双喜字暗八仙纹妆花缎","朱红地色热烈鲜亮，以妆花工艺织就团窠纹，蝠纹衔着暗八仙纹样两两相拥，勾勒“喜相逢”的圆满意趣，间以双喜字暗纹，呼应纳吉贺喜的主题。彩线晕染明快柔和，团纹排布疏密得当，提花暗纹与妆花彩绣层次相映，将祈福纳祥的心意织入经纬之间，尽显织绣工艺的精巧灵秀，藏着旧时对良缘美满、福寿绵长的深切祈愿，是颇具代表性的吉祥织绣佳品。",[24,69,70,71,7,72,43,73],"织绣","妆花缎","红色","双喜字纹","吉祥图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bb8dad48fafc267706394de7bdcd45.jpg",[],{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":85,"material":31,"size":32,"collection":33,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":48},265831,"xing-huang-se-sha-xiu-ba-tuan-xi-xiang-feng-wen-nv-jia-pao-yi-ming-265831","杏黄色纱绣八团喜相逢纹女夹袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[23,24,82,25,7,83,84],"纱绣","八团纹","女夹袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec9daf3c8c0e9de9bb2f9a20503343f.jpg",[],3,{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":100,"material":31,"size":32,"collection":33,"collections":101,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":102},246139,"qian-long-kuan-qiang-jin-cai-qi-xi-xiang-feng-wen-fang-xing-wei-jiao-he-yi-ming-246139","乾隆款戗金彩漆喜相逢纹方形委角盒","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",[94,95,96,97,7,98,99],"清代","漆器","戗金","彩漆","方形委角","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b27c0837ab215835471d2a10c0981e4.jpg",[],"37474F",{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":113,"material":31,"size":32,"collection":33,"collections":114,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},267692,"huang-se-di-xi-xiang-feng-duo-hua-wan-zi-wen-jin-hua-fu-chai-pian-yi-ming-267692","黄色地喜相逢朵花万字纹锦画袱拆片","明黄底色鲜亮贵气，宝蓝万字纹回旋往复，暗喻万福绵延不绝。团簇的喜相逢朵花错落铺陈，禽鸟在花叶间顾盼呼应，勾勒出圆满和合的融融意趣。\n\n织工精妙细致，配色鲜亮饱满却不俗艳，纹样排布疏密得当，规整间带着灵动生机，将清代织造的华贵雅致尽数体现，把祈福纳祥的美好心愿，藏进经纬交织的每一处细节当中。",[109,24,7,110,111,112],"织锦","万字纹","朵花","画袱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdb2ffa5b6e5cd081ef77b006412864.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":125,"material":31,"size":32,"collection":33,"collections":126,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},267681,"lv-se-di-xi-xiang-feng-wen-zhi-jin-jin-yi-ming-267681","绿色地喜相逢纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[24,109,121,7,122,123,124],"织金","龙纹","回纹","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f8fe0165616a76373465bd581149e9.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":136,"material":31,"size":32,"collection":33,"collections":137,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},264256,"jiang-se-san-duo-xi-xiang-feng-wen-zhi-jin-duan-pao-liao-yi-ming-264256","绛色三多喜相逢纹织金缎袍料","绛色浓丽沉穆，织金纹样于其上熠熠生辉。团窠之内禽鸟相向和鸣，正是喜相逢，间杂多子多福多寿的三多瑞果，缠枝花卉蜿蜒环绕。构图饱满匀净，动静相宜，织金走线细密光润，将精工尽显无遗。\n整幅袍料以吉庆纹样承载美满期许，把装饰美学与吉祥寓意相融。华贵光泽与柔丽底色相映，尽显雍容气度，藏着旧时对圆满福寿的诚挚祈愿，是传统织绣匠心与东方浪漫意趣的绝佳体现。",[24,23,121,133,7,134,135],"三多纹","缎料","绛色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dcecfc86144c56cce316d1a553773.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":147,"material":31,"size":32,"collection":33,"collections":148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},263948,"qian-lv-se-za-bao-tuan-xi-xiang-feng-wen-zhi-jin-duan-yi-ming-263948","浅绿色杂宝团喜相逢纹织金缎","浅碧缎底晕着鎏金柔光，杂宝与团喜相逢纹样往复铺陈，织纹细密匀整，金线在缎面流转出雅致华贵的肌理。缠枝萦绕间瑞气暗涌，将团圆吉庆的意趣藏入经纬，织金工艺尽显内敛雅致，把东方吉庆寓意揉进每一丝缎纹里，华贵与温婉相融，在流光中沉淀旧时精致匠心，静述织绣的温婉意韵，是兼具审美价值与吉庆意涵的精妙之作。",[24,144,145,7,146,121],"织金缎","杂宝纹","浅绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1ca3470ee4fb707c473a2dbed34b34.jpg",[],{"id":150,"slug":151,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":152,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},246138,"qian-long-kuan-qiang-jin-cai-qi-xi-xiang-feng-wen-fang-xing-wei-jiao-he-yi-ming-246138",[94,95,153,124,7,154],"戗金彩漆","方形委角盒",[],1777535732630]