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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”。",[179,180,181,182,183,7,184],"珐琅器","掐丝珐琅","铜胎","象足","缠枝莲纹","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74068fab8e16765c60e474484443337b.jpg",[],{"id":188,"slug":189,"title":7,"dynasty":190,"author":70,"museum":54,"description":191,"tags":192,"thumbUrl":195,"material":120,"size":107,"collection":44,"collections":196,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":88},227575,"xiang-lu-yi-ming-227575","宋","宋代贵族出身的赵氏皇帝文化素养极高，喜好复古，重视旧礼器。三足鼎式香炉是北宋复古的产物，由于先秦时期的青铜器、玉器和陶器的大量出土，元佑七年（公元1092年），宫廷专职文物保管员吕大临编撰《考古图》，所收铜器210件，玉器13件。从此文物鉴定与学术研究融合一起，这在宋以前是没有的，为后世文物研究开了先河，也为瓷器全面仿制先秦礼器奠定了基础。\n香炉出现在大宋帝王的内庭，而一些小型香炉则成为文人把玩之物，具有很高的艺术欣赏价值，为后世所仿制。宋耀州窑香炉，它是受到越窑的影响发展起来的，炉唇边较宽，釉色青润自然，有“巧如范金，精比琢玉”的美誉。南宋龙泉书房梅子青香炉，精巧典雅，三足鼎立，炉身有三条线纹，足底有褐色。",[38,7,118,146,193,194,129],"文玩","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6972a6eab9da87041baa750c728620bf.jpg",[],{"id":198,"slug":199,"title":200,"dynasty":18,"author":70,"museum":54,"description":114,"tags":201,"thumbUrl":207,"material":120,"size":107,"collection":44,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":88},275083,"qian-long-kuan-yan-zhi-cai-gou-lian-ba-bao-wen-wu-gong-lu-yi-ming-275083","乾隆款胭脂彩勾莲八宝纹五供-炉",[38,146,202,203,204,7,205,206],"胭脂彩","勾莲纹","八宝纹","双耳","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93de73c6ee291dea6b1fa81192b85c38.jpg",[],1,{"id":211,"slug":212,"title":213,"dynasty":18,"author":70,"museum":54,"description":114,"tags":214,"thumbUrl":219,"material":120,"size":107,"collection":44,"collections":220,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":47},273345,"tong-du-jin-lou-kong-qian-liao-shi-lu-yi-ming-273345","铜镀金镂空嵌料石炉",[116,215,132,216,7,217,129,218],"金器","嵌料石","金属器","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa03fef249fd878d9144836df34f3a1c8.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":70,"museum":54,"description":114,"tags":225,"thumbUrl":231,"material":120,"size":107,"collection":44,"collections":232,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":233},270535,"xi-qian-tong-bian-xiang-lu-yi-ming-270535","锡嵌铜边香炉",[166,226,7,227,205,184,228,229,230],"铜边","兽钮","香具","纹饰","摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d7dacd5cea9f43e6fe155ab0e2f3ad.jpg",[],"37474F",{"id":235,"slug":236,"title":237,"dynasty":18,"author":70,"museum":54,"description":114,"tags":238,"thumbUrl":241,"material":120,"size":107,"collection":44,"collections":242,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":47},270458,"xuan-de-wu-nian-wu-bang-zuo-kuan-tong-feng-yan-er-ru-zu-lu-yi-ming-270458","宣德五年吴邦佐款铜凤眼耳乳足炉",[117,116,118,7,239,240],"凤眼耳","乳足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b9030591940c70c31cedfa36cb219.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":70,"museum":54,"description":114,"tags":247,"thumbUrl":250,"material":120,"size":107,"collection":44,"collections":251,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":233},270362,"xuan-de-kuan-tong-chan-zhi-hua-hui-wen-xiang-er-zu-gai-lu-yi-ming-270362","宣德款铜缠枝花卉纹象耳足盖炉",[117,116,129,7,248,249],"缠枝花卉纹","象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3db4a74f710e1cff25ab50ac2c1d18.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":52,"author":70,"museum":54,"description":256,"tags":257,"thumbUrl":260,"material":120,"size":107,"collection":44,"collections":261,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":47},270262,"xuan-de-kuan-tong-liu-jin-shou-er-lu-yi-ming-270262","宣德款铜鎏金兽耳炉","鎏金兽首作耳，鬃毛发丝纹理分明，色泽明丽华贵，威严中带着古雅拙趣。炉身线条饱满圆融，素净无饰，沉敛的铜色晕开经年形成的温润包浆，泛着幽柔的光泽，尽显朴拙端庄。\n无繁缛雕饰，仅凭舒展流畅的器形传递出沉静肃穆的气度，暗合中式审美里的极简意趣。静静伫立便自有时光浸淫出的厚重古韵，是兼具陈设与焚香之用的文房雅器，藏着内敛雅致的造物风骨。",[117,116,258,259,129,7,118],"鎏金","兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfddc86472cd35b9afb4abd26a92ec0.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":52,"author":70,"museum":54,"description":266,"tags":267,"thumbUrl":268,"material":120,"size":107,"collection":44,"collections":269,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":47},270249,"xuan-de-kuan-tong-chong-er-ru-zu-lu-yi-ming-270249","宣德款铜冲耳乳足炉","冲耳挺拔利落，向上舒展收拢视线，消解了鼓腹的厚重感。炉腹丰腴饱满，古铜肌理上洒金斑驳如星芒坠落，晕开灵动暖意，为沉穆炉色添了几分跳脱生机。三乳足敦实内敛，稳稳承托炉身，拿捏住整器比例的精妙平衡，尽显端庄古雅气度。\n包浆温润凝厚，铜色深沉内敛，带着岁月摩挲后的沉静质感，将古铸炉工艺的精巧尽数藏于古拙形制中，静静伫立间，自有一份肃穆典雅的庙堂风骨。",[117,116,118,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e749ca46fe1a0baee94469eeef674.jpg",[],{"id":271,"slug":272,"title":273,"dynasty":18,"author":70,"museum":54,"description":274,"tags":275,"thumbUrl":279,"material":120,"size":107,"collection":280,"collections":281,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":233},262152,"de-hua-yao-bai-you-xian-wen-lu-yi-ming-262152","德化窑白釉弦纹炉","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。",[38,118,276,277,7,278,132],"白釉","弦纹","银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe63bff3565f0301ade14c015b017b5d6.jpg","瓷器精选",[280],{"id":283,"slug":284,"title":285,"dynasty":18,"author":70,"museum":54,"description":286,"tags":287,"thumbUrl":289,"material":120,"size":107,"collection":44,"collections":290,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":47},260394,"shang-yuan-jia-zi-kuan-qing-hua-shuang-long-wen-lu-yi-ming-260394","上元甲子款青花双龙纹炉","青花瓷（blue and white 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