[{"data":1,"prerenderedAt":264},["ShallowReactive",2],{"subject-xiang-er":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6932,"xiang-er","象耳","象耳画高清赏析","精选中国历代象耳题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92165cc42258fffb1810adbc15aab69d.jpg",0,22,[14,35,49,63,76,89,101,110,122,135,145,157,166,177,189,199,209,219,230,238,247,255],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},231864,"qing-ci-shuang-er-hua-ping-yi-ming-231864","青瓷双耳花瓶","元","佚名","藏地不详","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[23,24,25,26,27,28,7],"陶瓷","青瓷","双耳","釉色","元代","器物","未知","Xcm*Xcm","",[],2,"BDBDBD",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":45,"material":29,"size":30,"collection":31,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},261191,"qing-hua-chan-zhi-lian-wen-xiang-er-ping-yi-ming-261191","青花缠枝莲纹象耳瓶","明","青花瓷（blue 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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。",[23,42,43,7,44],"青花","缠枝莲纹","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc2e8eb95089a38d47fe2dde8b1efde.jpg",[],1,"37474F",{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":61,"material":29,"size":30,"collection":31,"collections":62,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":34},256684,"fa-lang-cai-gou-lian-wen-xiang-er-ping-yi-ming-256684","珐琅彩勾莲纹象耳瓶","清","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。",[56,57,58,59,7,23,60],"清代","珐琅彩","设色","勾莲纹","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30153bb3daa11cb3b61afc10500e3c9d.jpg",[],{"id":64,"slug":65,"title":66,"dynasty":53,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":73,"material":29,"size":30,"collection":31,"collections":74,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":75},251381,"qian-long-kuan-qing-yu-xiang-er-huo-huan-ping-yi-ming-251381","乾隆款青玉象耳活环瓶","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。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[69,70,71,7,72,44,56],"玉石","青玉","雕刻","活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20e6d8ae69982c09f49e35b3a47977e.jpg",[],"795548",{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":87,"material":29,"size":30,"collection":31,"collections":88,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":34},250242,"qia-si-fa-lang-chan-zhi-lian-wen-xiang-er-lu-yi-ming-250242","掐丝珐琅缠枝莲纹象耳炉","元代掐丝珐琅器的图案装饰多以盛开的缠枝莲为主题纹饰,其特点是缠枝莲花朵舒展饱满,枝叶肥厚,并衬以小花苞。图案布局疏朗,掐丝线条奔放有力。珐琅质地细腻洁净,釉面光亮,有水晶般的透明感,尤其是葡萄紫、草绿、绛黄等几种颜色更为耀眼夺目,似用进口珐琅釉料烧造。此炉是元代掐丝珐琅器的代表作。",[27,60,82,83,84,43,7,85,86,28],"掐丝珐琅","铜胎","鎏金","兽耳","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd32bd8cfe430811a2165122fbd42489.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":53,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":99,"material":29,"size":30,"collection":31,"collections":100,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},249384,"qia-si-fa-lang-jin-wen-xiang-er-zhuan-xin-ping-yi-ming-249384","掐丝珐琅锦纹象耳转心瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。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”。",[53,82,95,96,97,7,98],"琺瑯器","铜制","器","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26abae94b5b9ca8fb821fd6a0f197f5.jpg",[],{"id":102,"slug":103,"title":104,"dynasty":39,"author":19,"museum":20,"description":54,"tags":105,"thumbUrl":108,"material":29,"size":30,"collection":31,"collections":109,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},249024,"qia-si-fa-lang-gou-lian-wen-fang-xiang-er-ping-yi-ming-249024","掐丝珐琅勾莲纹方象耳瓶",[106,82,59,7,107,60],"明代","方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1464e424dc6a636caa07ac961b94a0.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":53,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":120,"material":29,"size":30,"collection":31,"collections":121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},271572,"duan-shi-xiang-er-ping-shi-yan-yi-ming-271572","端石象耳瓶式砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[116,117,118,71,7,119],"砚","文房用具","端石","瓶式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb1fbe98566d10283ed987f7731f00a.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":53,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":133,"material":29,"size":30,"collection":31,"collections":134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},269261,"zhu-diao-xiang-yin-li-shuang-er-chang-fang-bei-yi-ming-269261","竹雕镶银里双耳长方杯","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。",[128,71,129,130,131,7,132],"竹雕","饮酒器","日用具","银器","杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95603c6465a9335968ffee9d57a0417f.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":53,"author":19,"museum":20,"description":40,"tags":139,"thumbUrl":143,"material":29,"size":30,"collection":31,"collections":144,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},263523,"qian-long-kuan-huang-di-qing-hua-chan-zhi-lian-ba-ji-xiang-wen-xiang-er-ping-yi-ming-263523","乾隆款黄地青花缠枝莲八吉祥纹象耳瓶",[23,44,42,140,141,142,7],"黄地","缠枝莲","八吉祥纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d63d67e7476d5910bf3099a68a83935.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":53,"author":19,"museum":20,"description":149,"tags":150,"thumbUrl":154,"material":29,"size":30,"collection":155,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},262105,"de-hua-yao-bai-you-xiang-er-san-zu-lu-yi-ming-262105","德化窑白釉象耳三足炉","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,97,7,151,152,71,153],"三足炉","白釉","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d414d715bd1f591f79b71dc15614bce.jpg","瓷器精选",[155],{"id":158,"slug":159,"title":160,"dynasty":53,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":164,"material":29,"size":30,"collection":155,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},259061,"zhang-zhou-yao-bai-you-xiang-er-hui-wen-zun-yi-ming-259061","漳州窑白釉象耳回纹尊","漳州是中国外销瓷的重要产地之一，陶瓷文化源远流长。明清时期，漳州月港兴起，漳州窑瓷器成为重要的输出产品，其独特的文化韵味和艺术魅力蜚声海内外。\n漳州窑出土瓷器多数是青花瓷，还有少量白瓷、青瓷；花仔楼窑址还有蓝釉、酱釉等单色釉瓷和五彩瓷（又称“红绿彩”）。在数众多的窑址生产了大批的陶瓷器，除了一部分供应国内市场外，相当大的部分是为了外销。\n较大器物（如大盘、大碗等）底足多粘砂。器形有大盘、盘、大碗、碗、碟、杯、钵、盒、罐、炉、瓶、器盖等。\n青花瓷的纹样有珍禽（凤凰、雉鸡、白鹭、芦雁、喜鹊等）、瑞兽（火龙、麒麟、狮子、蟠螭、玉兔、梅花鹿等）、花草（牡丹、荷花、兰草、折枝花、绣球花等）、杂宝、山水、楼阁、人物（婴戏、高士、高官厚禄、携琴观鹤、刘海戏蟾、魁星点斗等）吉祥文字（福、第、寿、佳、善、正、魁、玉人等）以及开光、锦地开光等等。青花和五彩大盘为出土瓷器中最有特色和代表性的器物。",[56,23,152,7,163,97],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a33c38ac1344f3cd71899760908a986.jpg",[155],{"id":167,"slug":168,"title":169,"dynasty":53,"author":19,"museum":20,"description":54,"tags":170,"thumbUrl":175,"material":29,"size":30,"collection":31,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},258717,"qian-long-kuan-lan-di-fen-cai-yun-feng-wen-xiang-er-ping-yi-ming-258717","乾隆款蓝地粉彩云凤纹象耳瓶",[56,23,171,58,172,173,7,174,44],"粉彩","云纹","凤纹","海水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95fbac1789cf661943e547e2521512a3.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":53,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":187,"material":29,"size":30,"collection":31,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},258714,"kong-que-lv-you-xiang-er-ping-yi-ming-258714","孔雀绿釉象耳瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[56,23,97,183,7,71,184,185,186],"孔雀绿釉","兽面纹","釉彩","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2db194396df53449a970b860dc0020.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":53,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":197,"material":29,"size":30,"collection":31,"collections":198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},258117,"yong-zheng-kuan-fang-ru-you-xiang-er-xian-wen-ping-yi-ming-258117","雍正款仿汝釉象耳弦纹瓶","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。",[53,23,195,7,196,44],"仿汝釉","弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa097c2d2412addc0b1b4f862c0a7cbe.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":53,"author":19,"museum":20,"description":54,"tags":203,"thumbUrl":207,"material":29,"size":30,"collection":31,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},256651,"huang-di-fen-cai-lou-kong-gan-zhi-zi-xiang-er-zhuan-xin-ping-yi-ming-256651","黄地粉彩镂空干支字象耳转心瓶",[23,204,205,171,140,206,7,71,86],"瓷器","转心瓶","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb11728490bab492bb535e0a5e7eb071.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":53,"author":19,"museum":20,"description":67,"tags":213,"thumbUrl":217,"material":29,"size":30,"collection":31,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},251710,"bi-yu-tao-tie-wen-xiang-er-xian-huo-huan-dai-gai-san-zu-lu-yi-ming-251710","碧玉饕餮纹象耳衔活环带盖三足炉",[56,69,71,214,7,72,215,216,153,97],"饕餮纹","三足","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a1c287394b2e5fc2c05ba25f9d3a56.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":53,"author":19,"museum":20,"description":67,"tags":223,"thumbUrl":228,"material":29,"size":30,"collection":31,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},251561,"qing-yu-wu-fu-liu-yun-wen-xiang-er-xian-huo-huan-hu-lu-shi-dai-gai-ping-yi-ming-251561","青玉五蝠流云纹象耳衔活环葫芦式带盖瓶",[56,69,71,224,225,226,227,7,72],"蝠纹","流云纹","葫芦式","带盖瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c2382442e4c04edb8aa2630fefe396.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":39,"author":19,"museum":20,"description":67,"tags":234,"thumbUrl":236,"material":29,"size":30,"collection":31,"collections":237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},250306,"qing-yu-guang-su-xiang-er-huo-huan-bei-yi-ming-250306","青玉光素象耳活环杯",[106,69,71,7,72,129,97,235],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f5f8d1957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