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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,44,112,45,25,47,26,28,50,7,55,130,131,132,57,115,133],"山石","云雾","房屋","名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg","设色画精选",[135],15,"F48FB1",{"id":140,"slug":141,"title":142,"dynasty":18,"author":143,"museum":90,"description":144,"tags":145,"thumbUrl":148,"material":99,"size":100,"collection":32,"collections":149,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":138},235525,"pu-xian-xiang-tu-zhou-wu-bin-235525","普贤像图轴","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[44,146,27,25,28,26,75,147,7],"立轴","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a55ed020ed5e4a29aa325fe5eb2a5a.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":126,"author":154,"museum":90,"description":155,"tags":156,"thumbUrl":163,"material":99,"size":100,"collection":32,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":66},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,44,112,45,25,26,157,115,28,27,93,49,48,50,7,51,55,130,158,159,160,161,162],"临摹","祥云","侍从","车辇","法器","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],14,{"id":167,"slug":168,"title":169,"dynasty":126,"author":154,"museum":170,"description":171,"tags":172,"thumbUrl":180,"material":181,"size":182,"collection":32,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":121},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,26,25,45,27,28,173,174,175,176,158,49,7,48,161,177,47,178,179],"菩萨","天王","罗汉","飞天","莲花","楼阁","神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg","纸本，设色","纵33厘米、横1635厘米",[],13,{"id":186,"slug":187,"title":188,"dynasty":126,"author":19,"museum":90,"description":189,"tags":190,"thumbUrl":202,"material":99,"size":100,"collection":32,"collections":203,"showCount":204,"zanCount":65,"manualWeight":11,"mainColor":36},245344,"jin-ou-yong-gu-bei-yi-ming-245344","金瓯永固杯","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。",[191,192,193,194,195,93,7,196,197,198,199,200,201,77],"清代","金器","雕刻","镶嵌","珐琅","花卉","珍珠","宝石","礼器","饮酒器","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd525d8028d773e4dc808b1d7f2d07fa9.jpg",[],8,{"id":206,"slug":207,"title":208,"dynasty":126,"author":19,"museum":90,"description":209,"tags":210,"thumbUrl":215,"material":99,"size":100,"collection":32,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":121},259448,"yong-qing-chang-chun-kuan-lv-di-fen-cai-hua-niao-tu-xiang-er-ping-yi-ming-259448","永庆长春款绿地粉彩花鸟图象耳瓶","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。",[211,212,213,214,94,7,25,77],"陶瓷","粉彩","花鸟","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5f9549349d5e6de48ffaa064480a0e.jpg",[],5,{"id":219,"slug":220,"title":221,"dynasty":126,"author":222,"museum":90,"description":223,"tags":224,"thumbUrl":229,"material":79,"size":32,"collection":32,"collections":230,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":121},217202,"fa-jie-yuan-liu-tu-juan-5-li-ming-217202","法界源流图卷-5","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,44,112,45,25,26,27,28,179,176,49,7,225,226,47,227,161,228,131],"云纹","莲花座","亭台","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305682d8ab114fd612934456e79ed579.jpg",[],{"id":232,"slug":233,"title":234,"dynasty":126,"author":19,"museum":90,"description":235,"tags":236,"thumbUrl":241,"material":99,"size":100,"collection":32,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":36},260840,"huang-you-ke-hua-long-feng-wen-xiang-er-pan-kou-ping-yi-ming-260840","黄釉刻花龙凤纹象耳盘口瓶","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[211,237,238,239,93,240,7],"象耳盘口瓶","黄釉","刻花","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1692931ffb0beff15bd329d48416661.jpg",[],4,{"id":245,"slug":246,"title":247,"dynasty":126,"author":19,"museum":90,"description":248,"tags":249,"thumbUrl":253,"material":99,"size":100,"collection":32,"collections":254,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":66},271564,"duan-shi-xiang-er-ping-shi-yan-yi-ming-271564","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。",[250,251,193,7,196,252],"砚","端石","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bde473f60c316644d7cf586974523b.jpg",[],{"id":256,"slug":257,"title":258,"dynasty":126,"author":19,"museum":90,"description":259,"tags":260,"thumbUrl":263,"material":99,"size":100,"collection":32,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":121},278367,"wo-xiang-niu-yong-zheng-zun-qin-zhi-bao-yi-ming-278367","卧象纽“雍正尊亲之宝”","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一。",[115,261,262,193,7],"篆刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f307521b9e7114d9cfdbf084e09c18.jpg",[],2,{"id":267,"slug":268,"title":269,"dynasty":126,"author":19,"museum":90,"description":270,"tags":271,"thumbUrl":272,"material":99,"size":100,"collection":32,"collections":273,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":121},276958,"xiang-niu-lv-zhong-nan-lv-chang-fang-yin-yi-ming-276958","象纽“律中南吕”长方印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[115,261,262,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332ca33ea8dc5cf9b866217ec77f01c6.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":126,"author":19,"museum":90,"description":278,"tags":279,"thumbUrl":281,"material":99,"size":100,"collection":32,"collections":282,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":66},259270,"qian-long-kuan-fen-cai-xiang-tuo-ping-hua-gu-yi-ming-259270","乾隆款粉彩象驮瓶花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[211,212,7,48,280,77],"花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9733420b377a3d565089f5124633109.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":107,"author":19,"museum":90,"description":287,"tags":288,"thumbUrl":293,"material":99,"size":100,"collection":294,"collections":295,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":121},257090,"peng-cheng-yao-fang-ding-bai-you-xiang-shi-hua-cha-yi-ming-257090","彭城窑仿定白釉象式花插","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，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。",[107,211,289,290,7,48,193,291,77,292],"仿定白釉","白釉","纹饰","花插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2af3ffe00f60cd49a4a47b0bdae6728.jpg","瓷器精选",[294],{"id":297,"slug":298,"title":299,"dynasty":126,"author":19,"museum":90,"description":300,"tags":301,"thumbUrl":304,"material":99,"size":100,"collection":32,"collections":305,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":66},249529,"hua-fa-lang-tai-ping-you-xiang-yi-ming-249529","画珐琅太平有象","整器以瓷塑摹拟瑞象，赭色肌理仿若活物，长牙莹润，双目灵动有神。象身错金装具，鎏金錾花饰片间嵌饰珠宝，披覆的挂毯以珐琅细绘，浅蓝地子垂饰流苏纹样，下摆晕染江崖海水，鞍鞯铺满缠枝宝相花，华贵雍容。\n\n象背驮举掐丝珐琅宝瓶，瓶身缠枝花卉环绕，开光处暗藏吉语，暗合太平祥瑞的美好祈愿。它融瓷塑、珐琅、鎏金工艺于一体，将官造工艺的精工考究与传统吉祥意趣相融，尽显彼时造物的极致审美底蕴。",[126,302,7,48,303,77],"画珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F533fd5f7bf97605e2887dc19514f8686.jpg",[],{"id":307,"slug":308,"title":309,"dynasty":126,"author":19,"museum":90,"description":310,"tags":311,"thumbUrl":314,"material":99,"size":100,"collection":32,"collections":315,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},275090,"qian-long-kuan-lv-di-fen-cai-ci-qi-zhen-xiang-bao-yi-ming-275090","乾隆款绿地粉彩瓷七珍-象宝","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。",[211,212,7,48,27,312,313,193],"七珍","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a43a2658dbf1b779c222bde370e0c19.jpg",[],{"id":317,"slug":318,"title":319,"dynasty":126,"author":19,"museum":90,"description":320,"tags":321,"thumbUrl":326,"material":99,"size":100,"collection":32,"collections":327,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":121},274419,"tong-du-jin-qian-hong-lv-shi-tai-ping-you-xiang-jing-yi-ming-274419","铜镀金嵌红绿石太平有象景","这件器物敦然沉稳，鎏金裹身，宝色温雅莹润。大象体态饱满驯顺，鞍鞯以红绿彩石镶嵌出缠花宝相纹样，华丽雅致。象背瑞兽昂首托举方亭，亭顶宝瓶抽枝绽花，累丝配各色宝石，层层递进，繁而不乱。\n\n它融汇錾刻、累丝、镶嵌诸般巧艺，处处可见精工细作。祥瑞意象层层叠加，藏着古人对太平康宁、岁稔年丰的祈愿，尽显清代工艺的奢华工巧，是祈福纳祥器物中的上乘之作。",[322,192,193,7,48,323,324,77,325],"铜制","嵌宝","摆件","太平有象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6813d3359c745683877f3ce03e56c6dc.jpg",[],{"id":329,"slug":330,"title":331,"dynasty":126,"author":19,"museum":90,"description":332,"tags":333,"thumbUrl":337,"material":99,"size":100,"collection":32,"collections":338,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},272351,"liu-yuan-yu-xiang-mo-tai-ping-you-xiang-mo-yi-ming-272351","刘源御香墨-太平有象墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[334,335,193,199,336,7],"墨","文房","鼎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F820ea4f79effe803e244dcfe4ab2150b.jpg",[],{"id":340,"slug":341,"title":342,"dynasty":126,"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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。",[262,356,193,357,7],"饰品","耳环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbc3ffc1da83e7747b8d15c26e23dcb.jpg",[],{"id":361,"slug":362,"title":363,"dynasty":126,"author":19,"museum":90,"description":209,"tags":364,"thumbUrl":367,"material":99,"size":100,"collection":32,"collections":368,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},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",[211,212,365,48,7,366],"香插","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8682abbd4f2642920911da6324347717.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":373,"author":19,"museum":90,"description":354,"tags":374,"thumbUrl":376,"material":99,"size":100,"collection":32,"collections":377,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":36},250825,"qing-yu-tong-zi-qi-xiang-yi-ming-250825","青玉童子骑象","唐",[262,193,28,48,375,7],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ddd2b732dff84f8b297d6f35da3778.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":126,"author":19,"museum":90,"description":382,"tags":383,"thumbUrl":385,"material":99,"size":100,"collection":32,"collections":386,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},249973,"qia-si-fa-lang-tai-ping-you-xiang-yi-ming-249973","掐丝珐琅太平有象","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”。",[384,303,322,7,48,193],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998abc411f245a4ba896faca002be05d.jpg",[],{"id":388,"slug":389,"title":390,"dynasty":126,"author":19,"museum":90,"description":382,"tags":391,"thumbUrl":392,"material":99,"size":100,"collection":32,"collections":393,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},249876,"qian-long-kuan-qia-si-fa-lang-tai-ping-you-xiang-yi-ming-249876","乾隆款掐丝珐琅太平有象",[384,303,77,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fda62976c8f570d6fcae17455b1596.jpg",[],{"id":395,"slug":396,"title":397,"dynasty":126,"author":19,"museum":90,"description":382,"tags":398,"thumbUrl":400,"material":99,"size":100,"collection":32,"collections":401,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},249875,"qia-si-fa-lang-qian-bo-li-tai-ping-you-xiang-yi-ming-249875","掐丝珐琅嵌玻璃太平有象",[191,384,399,7,303,322,48],"嵌玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a7e3bb7218ce214642bbc3d847c333.jpg",[],{"id":403,"slug":404,"title":405,"dynasty":126,"author":19,"museum":90,"description":406,"tags":407,"thumbUrl":410,"material":99,"size":100,"collection":32,"collections":411,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":36},245521,"jin-qian-bao-qi-zhen-xiang-bao-yi-ming-245521","金嵌宝七珍-象宝","此器以赤金为底，累丝、点翠与嵌宝工艺相得益彰。主尊趺坐莲台，面容慈悲端肃，衣褶璎珞分毫毕现。莲瓣基座密嵌红蓝宝，宝光流转，晕染佛门祥瑞。支架取缠枝宝相花造型，翠色点染枝叶，与暖金底色相映成趣，灵动雅致。整器将花丝的精细秀巧、点翠的清润雅致与宝石的明丽光华糅合一处，尽显造办处极致工巧，静穆间承载礼佛的清净庄严，尽显清代礼佛供具的雍容华贵。",[191,192,323,27,77,7,408,409],"宝","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff54129c353cc0371487c5e0a8bea3441.jpg",[],{"id":413,"slug":414,"title":415,"dynasty":126,"author":19,"museum":90,"description":416,"tags":417,"thumbUrl":419,"material":99,"size":100,"collection":32,"collections":420,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},280404,"zhi-bu-ke-man-zhu-gen-zhang-yi-ming-280404","“志不可满”竹根章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[115,261,418,193,7,48],"竹制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbd48e2550b8f291cf3f8a6d270de06.jpg",[],{"id":422,"slug":423,"title":424,"dynasty":126,"author":19,"museum":90,"description":416,"tags":425,"thumbUrl":427,"material":99,"size":100,"collection":32,"collections":428,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},278378,"zhi-ji-you-qin-shu-xiang-niu-de-hua-bai-ci-zhang-yi-ming-278378","“知己有琴书”象钮德化白瓷章",[115,211,7,48,261,426],"白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5afdcb5adbce747ab6bfcddb6757958.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":18,"author":19,"museum":90,"description":270,"tags":433,"thumbUrl":434,"material":99,"size":100,"collection":32,"collections":435,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},278153,"zi-mu-xiang-niu-he-tong-yin-yi-ming-278153","子母象纽“合同”印",[115,261,7,48,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ea6387572f2784c8edc21f957f4166.jpg",[],{"id":437,"slug":438,"title":439,"dynasty":18,"author":19,"museum":90,"description":270,"tags":440,"thumbUrl":443,"material":99,"size":100,"collection":32,"collections":444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},278021,"shou-shan-shi-xiang-niu-sheng-huo-jin-gang-tu-yin-yi-ming-278021","寿山石象纽声火金刚图印",[115,261,441,48,7,27,442],"寿山石","金刚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4e74bb55c8961bde26a797ae927542.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":18,"author":19,"museum":90,"description":270,"tags":449,"thumbUrl":450,"material":99,"size":100,"collection":32,"collections":451,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},277851,"xiang-niu-cheng-hua-yu-shu-yin-yi-ming-277851","象纽“成化御书”印",[115,261,262,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eeead3d7acaad70efd6d2a5f341c262.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":126,"author":19,"museum":90,"description":456,"tags":457,"thumbUrl":459,"material":99,"size":100,"collection":32,"collections":460,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},275061,"tong-qi-zhen-xiang-bao-yi-ming-275061","铜七珍-象宝","此件供器鎏金熠熠，莲座敦实沉稳，卷草缠枝沿柄身婉转舒展，柔润灵动。中心嵌饰的瑞象以墨玉凝刻而成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