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问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 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细工与珐琅工艺糅合，藏着东方审美的含蓄雅致，工巧与柔美相融，静静诉说着旧时闺中精致意趣。",[31,7,293,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33a0fa67065f0f1911a4937d865b3e9.jpg",[],{"id":2234,"slug":2235,"title":595,"dynasty":18,"author":19,"museum":20,"description":86,"tags":2236,"thumbUrl":2237,"material":77,"size":78,"collection":33,"collections":2238,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":54},268599,"yin-du-jin-dian-cui-xiang-liao-zhu-tou-zhen-yi-ming-268599",[31,7,24,30,295,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F500e8bc0eeffa4d462b23f88fc202fa6.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":18,"author":19,"museum":20,"description":2243,"tags":2244,"thumbUrl":2245,"material":77,"size":78,"collection":33,"collections":2246,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":54},266643,"yin-du-jin-wu-fu-guan-yi-ming-266643","银镀金五佛冠","五瓣如拱月排布，玄地镶金，华贵肃穆。银底镀金錾刻宝相花为边，托起端坐莲台的五尊佛造像，法相端严，莲瓣层叠饱满。佛下配刻藏密真言种子字，古拙苍劲，尽显密宗意蕴。\n整器将金属錾刻与花丝工艺相融，金水厚重亮泽，走线细密平整，细节处见匠心。朱红系带柔化冷金玄色的庄重，平衡视觉层次，既是契合宗教仪轨的庄严法器，也是清代细作工艺极致精巧的体现。",[641,771,31,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574941be1c441025802fcaaac366b209.jpg",[],{"id":2248,"slug":2249,"title":2250,"dynasty":18,"author":19,"museum":20,"description":1096,"tags":2251,"thumbUrl":2253,"material":77,"size":78,"collection":33,"collections":2254,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":54},263531,"qian-long-kuan-lan-di-miao-jin-gai-wan-yi-ming-263531","乾隆款蓝地描金盖碗",[2149,458,1419,1099,2252,906,7],"缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e28ee9bcb38cea27e6542aa490f5c.jpg",[],{"id":2256,"slug":2257,"title":2258,"dynasty":18,"author":19,"museum":20,"description":2259,"tags":2260,"thumbUrl":2264,"material":77,"size":78,"collection":2265,"collections":2266,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":54},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， 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之间，凝练成供佛佳器，静穆之中流露信仰之美与匠造之精。",[7,293,641,1371,1867,3560],"嵌珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00cad09470ad5167c5c25b6ac7f58f0c.jpg",[],{"id":3564,"slug":3565,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3566,"tags":3567,"thumbUrl":3568,"material":77,"size":78,"collection":33,"collections":3569,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274875,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274875","整体取佛龛形制，银胎哑光沉稳，莲台瓣叶饱满层叠，舒展立体。束腰处缠枝卷草灵动婉转，底足錾纹古雅厚重。\n\n嵌饰珐琅为点睛之笔，浅蓝底晕开柔润光泽，法结纹样配宝相花，红彩妍丽、蓝绶柔婉、黄彩鲜亮，色彩冷暖交织晕染，与银质肌理形成鲜明反差，莹润与哑光相得益彰。\n\n金属细工与珐琅彩饰精妙融合，礼佛的庄严肃穆偕同工巧审美意趣，尽显不俗匠心。",[7,293,1371,75,140,2017,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bd74e0ae8244e31eb58118acc01957.jpg",[],{"id":3571,"slug":3572,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3573,"tags":3574,"thumbUrl":3575,"material":77,"size":78,"collection":33,"collections":3576,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274873,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274873","此器将金属细工与珐琅彩饰精妙相融，银胎錾刻细腻入微，缠枝莲纹蜿蜒灵动，承托嵌片的莲瓣饱满立体，底足云纹古雅舒展，勾勒出庄重雅致的佛供形制。\n\n嵌片之上，贲巴壶明丽醒目，朱黄纹饰在湖蓝底色晕染下，华贵祥和之意扑面而来，正是藏传佛教中象征洁净与福德的供养圣物。冷硬银质柔化于珐琅暖彩之间，静穆中带着鲜活的宗教意韵，将祈福供养的虔诚之意凝缩于方寸器物里，庄重又不失灵动美感，尽显手工匠人的细腻匠心。",[7,115,641,771,2009,3560,140,3348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb347bb28b24bd77affd639f1a30254.jpg",[],{"id":3578,"slug":3579,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3580,"tags":3581,"thumbUrl":3582,"material":77,"size":78,"collection":33,"collections":3583,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274872,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274872","银胎錾刻层层莲瓣缠枝，层叠错落间托举珐琅龛室。釉色明妍鲜亮，宝相莲舒展柔瓣，粉彩晕染开温婉韵致，中心法轮安坐莲心，黄底梵纹肃穆端严，静诉供养祈愿。沉敛的银质包浆撞色珐琅的明丽鲜妍，藏地佛教器物的清净庄严，与中原珐琅工艺的灵秀工巧相融，将虔敬之心凝于寸厘方寸，是清代民族工艺合璧的精巧之作。",[7,293,641,570,1371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c7640ed2354b2be56eb593ee658832.jpg",[],{"id":3585,"slug":3586,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3587,"tags":3588,"thumbUrl":3590,"material":77,"size":78,"collection":33,"collections":3591,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274871,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274871","宝盖形龛面以珐琅为底，红彩描金的供碗纹样静置其上，釉色莹润鲜亮，将供品的饱满圣洁尽数展现。下方莲座瓣叶舒展饱满，脉络宛然，稳稳承托住饰片。支架虬曲缠绕，以缠枝为骨，灵动似藏着袅袅祥韵，底端祥云底座沉稳厚重，收束整体造型。\n\n银胎冷冽的金属质感，与暖调珐琅相映成趣，肃穆中不失精巧，庄重里暗含灵动，将信仰的虔诚凝于寸尺器物之中，尽显藏地供器独有的审美意韵。",[641,7,293,178,75,140,3589],"供养","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6eb49e7d1a5566ba9e71d53388a6d4.jpg",[],{"id":3593,"slug":3594,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3595,"tags":3596,"thumbUrl":3598,"material":77,"size":78,"collection":33,"collections":3599,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},274869,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274869","整体撷取莲座承托宝龛的经典范式，银胎沉穆古雅，錾刻缠枝卷草纹层叠辗转，莲瓣饱满舒展，将佛前供养的庄静意蕴凝于骨相。龛心嵌珐琅釉面，以浅蓝为地晕染烟云古松，彩釉红花环簇山巅，白浪漱石间禅意自生。珐琅填色匀净明丽，与银胎苍朴质感冷暖呼应，既有清制工艺的工致精细，又暗合供养器的静穆禅风，将工艺美学与宗教意趣融于一体，是清代金属珐琅造像的精巧之作。",[7,293,641,75,178,140,92,3597],"山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284fa9f4ec06b6aaa4a61827c342cbb8.jpg",[],{"id":3601,"slug":3602,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3603,"tags":3604,"thumbUrl":3605,"material":77,"size":78,"collection":33,"collections":3606,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274868,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274868","银胎锤揲出层叠莲台与卷草缠纹底座，肌理沉敛古拙。龛内嵌珐琅面板，明丽釉色晕染出供碗盛载鲜果琼枝，缠枝花团环绕碗身，宝相纹在下承托，明快鲜活的珐琅色彩与银胎哑光清冷的质感形成反差，将礼供的虔诚融于装饰意趣间。\n\n它以錾刻与珐琅工艺交织，糅合藏地造像的庄严与清式彩饰的雅致，既是奉佛圣物，亦是民族工艺交融的精巧缩影，静穆中晕开信仰的温润底色。",[7,293,641,75,140,1371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa155cdc2ecc0f0a1f0c8dc1de7a644.jpg",[],{"id":3608,"slug":3609,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3610,"tags":3611,"thumbUrl":3612,"material":77,"size":78,"collection":33,"collections":3613,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274867,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274867","整体宝相端凝，莲台承托主体，卷云缠枝底座灵动古雅，柔化了银胎的冷硬质感。嵌饰的珐琅澄澈明净，中央莲花法纹晕开朱红、湖蓝、石绿层次，晕色饱满柔和，与哑光银胎形成鲜明的冷暖反差。\n\n银胎錾刻细腻古拙，莲萼脉络清晰如含露待放，卷涡云纹盘旋流转，浸着清净禅意。珐琅填色匀净鲜亮，将宗教纹饰的神圣感烘托得恰到好处，是金属细工与珐琅工艺的精妙结合，静静流露着供养器具的沉静美感与虔诚心意。",[7,293,641,1370,75,3552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa96a7009ec7cd73ba4ff7f9eb99db40.jpg",[],{"id":3615,"slug":3616,"title":2006,"dynasty":18,"author":19,"museum":20,"description":3617,"tags":3618,"thumbUrl":3619,"material":77,"size":78,"collection":33,"collections":3620,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274866,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274866","银质胎身凝着岁月晕染的温润包浆，分层錾刻的莲台与卷草底座，将婉转灵动的线条藏于肃穆形制之中。宝龛内嵌珐琅彩釉，青釉为底晕开柔和底色，亭台精巧雅致，瑞兽环伺左右，鲜亮釉色与冷冽银质相映成趣。\n\n整体形制清隽端庄，佛前供养的沉静虔诚融于方寸细节，手工细作的精巧藏在每一处纹路转角，信仰与匠心在此相融，静穆又鲜活，尽显雅致肃穆的供养之美。",[7,293,1061,3552,641,75,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c60eabe014d0e208c0acde2f0b3a74.jpg",[],{"id":3622,"slug":3623,"title":2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方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[1705,7,24,4711,173,75,4712],"俑","嵌金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90c6ba659d19154be33e216acd72271e.jpg",[],{"id":4716,"slug":4717,"title":289,"dynasty":18,"author":19,"museum":20,"description":291,"tags":4718,"thumbUrl":4719,"material":77,"size":78,"collection":33,"collections":4720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},249599,"yin-shao-lan-long-xi-zhu-wen-zhang-jing-ping-yi-ming-249599",[1089,1201,7,178,295,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8c0047d496b60257b28d8252a9a4a9.jpg",[],{"id":4722,"slug":4723,"title":4724,"dynasty":18,"author":19,"museum":20,"description":1096,"tags":4725,"thumbUrl":4727,"material":77,"size":78,"collection":33,"collections":4728,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},249593,"yin-shao-lan-wan-shou-wu-jiang-wan-yi-ming-249593","银烧蓝万寿无疆碗",[23,7,115,294,4726,178],"寿字纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea3ee6192b53256f4425b205364e2f0e.jpg",[],{"id":4730,"slug":4731,"title":4732,"dynasty":18,"author":19,"museum":20,"description":4733,"tags":4734,"thumbUrl":4735,"material":77,"size":78,"collection":33,"collections":4736,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},249590,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-zhu-tai-yi-ming-249590","乾隆款银烧蓝五供-蕉叶兽面纹烛台","整体造型层叠有序，端方沉稳。银胎衬底，烧蓝晕染出幽谧宝蓝，冷暖相映更显华贵沉静。灯针挺括纤直，承托灯火的盏盘錾刻缠枝卷草，线条柔婉舒展，消解了器物的肃穆感。\n\n基座自上而下，先以覆莲瓣纹铺陈出清雅禅意，再以兽面纹样彰显威严古朴，回纹勾边周正规整，将祥瑞暗喻藏入细节肌理。金属细作的精谨，搭配烧蓝珐琅的明丽，尽显雍容考究的造物气度。",[1089,115,1564,1565,178,457,7,1370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f15aa3016b7056ab5d81ab93b14feb.jpg",[],{"id":4738,"slug":4739,"title":4740,"dynasty":18,"author":19,"museum":20,"description":4741,"tags":4742,"thumbUrl":4743,"material":77,"size":78,"collection":33,"collections":4744,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},249589,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-hua-gu-yi-ming-249589","乾隆款银烧蓝五供-蕉叶兽面纹花觚","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。",[18,7,115,294,1564,1565,1370,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f95f1d7509681195bcd9d2e8a133fe.jpg",[],{"id":4746,"slug":4747,"title":4740,"dynasty":18,"author":19,"museum":20,"description":4741,"tags":4748,"thumbUrl":4749,"material":77,"size":78,"collection":33,"collections":4750,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},249588,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-hua-gu-yi-ming-249588",[23,7,115,294,75,1565,1564,1370,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e591d9df5d4c9b22a222cda1e37fae.jpg",[],{"id":4752,"slug":4753,"title":4732,"dynasty":18,"author":19,"museum":20,"description":4754,"tags":4755,"thumbUrl":4756,"material":77,"size":78,"collection":33,"collections":4757,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},249586,"qian-long-kuan-yin-shao-lan-wu-gong-jiao-ye-shou-mian-wen-zhu-tai-yi-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