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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[60,61,62,49,7],"掐丝珐琅","暗八仙纹","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4ce49dc537a047a4d1f6a8ddc0d75c.jpg",[],{"id":66,"slug":67,"title":68,"dynasty":39,"author":19,"museum":20,"description":69,"tags":70,"thumbUrl":73,"material":29,"size":30,"collection":31,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":53},259301,"jia-qing-kuan-lv-di-fen-cai-xiang-tuo-ping-xiang-cha-yi-ming-259301","嘉庆款绿地粉彩象驮瓶香插","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,44,7,71,72,48],"兽","象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8682abbd4f2642920911da6324347717.jpg",[],1,{"id":77,"slug":78,"title":79,"dynasty":39,"author":19,"museum":20,"description":58,"tags":80,"thumbUrl":83,"material":29,"size":30,"collection":31,"collections":84,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":53},249479,"qia-si-fa-lang-shou-zi-an-ba-xian-wen-xiang-cha-yi-ming-249479","掐丝珐琅寿字暗八仙纹香插",[42,60,62,81,82,61,7],"铜制","寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a73b591e50db3669724ac5f7c2daa39.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":39,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":95,"material":29,"size":30,"collection":31,"collections":96,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":97},229563,"huang-di-fen-cai-he-he-er-xian-xiang-cha-yi-ming-229563","黄地粉彩和合二仙香插","此作以和合二仙为塑绘中心，二人臂弯相绕，笑脸圆融亲昵，将圆满意韵凝于瓷上。匀净黄釉为底，描金圈足配回纹镶边，衬得盘面愈发温润雅致。\n\n二仙衣色一朱红一粉蓝，衣褶纹路灵动写实，开脸鲜活传神，笑意真挚动人。盘周环列杂宝小件，靴、古钱、方胜与红蟹错落排布，暗合世俗祈愿的祥瑞寓意，既为插香所用，亦是案头清玩雅物。整体釉彩鲜亮饱满，工艺精巧细致，将传统和合文化具象为雅致瓷玩，尽显旧时案头的闲雅意趣。",[23,44,91,92,93,94,7],"黄地","设色","人物","和合二仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbccd5dc4acd2a959b6bf18eef5b692.jpg",[],"BDBDBD",{"id":99,"slug":100,"title":101,"dynasty":39,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":110,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":97},229238,"diao-xi-jiao-mei-shu-xiang-cha-yi-ming-229238","雕犀角梅树香插","随形取料，以犀角摹刻老梅枯桩。器身仿梅干皴裂苍劲的肌理，尽显岁寒古木的沧桑拙朴。虬曲梅枝盘绕错节，枝桠之上花苞隐现，枯槁躯干与暗藏的生机相映成趣。以三歧枝干作为支撑，既稳固造型，又保留野梅天然错落之态。燃香开孔隐于枝节缝隙，浑然无迹，青烟自桩中袅袅漫出时，清芬与梅影相融，文房雅趣尽在其间，将实用与赏玩精妙合一，是师法自然的犀雕佳作。",[42,104,105,106,107,7,108,109],"犀角","雕刻","梅树","梅花","器物","立体雕刻",[],{"id":112,"slug":113,"title":114,"dynasty":39,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":118,"material":29,"size":30,"collection":31,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},259300,"jia-qing-kuan-lv-di-fen-cai-shuang-ren-bei-tong-xiang-cha-yi-ming-259300","嘉庆款绿地粉彩双人背筒香插","这件香插以和合二仙作为主体，二人亲昵依偎，神态憨稚可亲。红衣仙人身着描金朱红外袍，纹饰精致富丽，蓝衣仙人衣装施绘青花纹样，雅致秀逸。\n盘心点缀金锭、方胜等吉庆饰件，暗合富足美满的美好寓意。整器以匀净松石绿为地，口沿饰回纹锦边，描金勾勒提亮格调。\n将焚香雅事与吉祥陈设融为一体，粉彩施色妍丽明快，造型精巧灵动，把传统吉祥意趣融入实用瓷具之中，尽显清代彩瓷制作的细腻工巧，寄托着古人对和美圆满的祈愿。",[23,44,7,93,117,27],"彩塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28bf1d4c9308cf8e3ac500a2d07d6f75.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":39,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":127,"material":29,"size":30,"collection":31,"collections":128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},258155,"yong-zheng-kuan-lu-jun-you-san-kong-xiang-cha-yi-ming-258155","雍正款炉钧釉三孔香插","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[42,23,126,7],"炉钧釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92310fa631a6a16c64e855c74a293fce.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":39,"author":19,"museum":20,"description":124,"tags":133,"thumbUrl":137,"material":29,"size":30,"collection":31,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":139},258143,"yong-zheng-kuan-fen-qing-you-yin-chan-zhi-lian-wen-san-kong-xiang-cha-yi-ming-258143","雍正款粉青釉印缠枝莲纹三孔香插",[23,134,135,136,7,42],"粉青釉","印花","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd522e0dabbb5ad9b0b03177070500509.jpg",[],"37474F",{"id":141,"slug":142,"title":143,"dynasty":39,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":29,"size":30,"collection":31,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},251231,"qing-yu-lian-ban-wen-si-zu-xiang-cha-yi-ming-251231","青玉莲瓣纹四足香插","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。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