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“南青北白”的格局。\n邢窑白瓷分为粗白瓷和细白瓷。",[18,23,24,25,7],"陶瓷","白瓷","印花","未知","Xcm*Xcm","",[],9,"F48FB1",{"id":33,"slug":34,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":44,"material":26,"size":27,"collection":28,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},241803,"cui-lou-kong-shuang-qian-yu-wen-zan-yi-ming-241803","翠镂空双钱鱼纹簪","清","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[39,40,41,7,42,43],"玉石","镂空","雕刻","双钱纹","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1423c587f6ee0a9b6d4b5a6c10f762.jpg",[],7,"37474F",{"id":49,"slug":50,"title":51,"dynasty":52,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":58,"material":28,"size":28,"collection":59,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},245181,"huo-quan-si-yu-wen-yun-dou-yi-ming-245181","货泉四鱼纹熨斗","汉","它带着沉穆的青铜包浆，长柄舒朗，敞口圆腹，形制简约古朴，尽显汉时造物的拙朴质感。器身饰货泉四鱼纹，货泉映着求财之愿，游鱼衔着年年有余的祈盼，将烟火日常与美好期许融于一体。\n\n作为旧时熨烫衣物的寻常器物，它褪去礼器的厚重规制，将吉祥意趣藏入实用之中。铜色晕染着千年岁月的痕迹，每一处斑驳都在诉说旧时的熨帖日常，把汉时平民的生活美学，凝练成触手可及的温度，让日常用具成为承载世俗愿景的载体。",[52,55,56,7,57],"青铜器","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b895cfc668e097797192fb151610cd.jpg","青铜器精选",[59],6,"795548",{"id":64,"slug":65,"title":66,"dynasty":36,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":76,"material":26,"size":27,"collection":28,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":62},266856,"yue-bai-se-duan-xiu-hua-hui-wen-hua-pen-di-xie-yi-ming-266856","月白色缎绣花卉纹花盆底鞋","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[69,70,71,7,72,73,74,75],"刺绣","鞋","衣帽","花卉纹","缎面","布料","手工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd59f5a226d15cd5df4f3a7d662e4d9.jpg",[],4,{"id":80,"slug":81,"title":82,"dynasty":83,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":90,"material":26,"size":27,"collection":91,"collections":92,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":62},256268,"long-quan-yao-qing-you-su-tie-shuang-yu-wen-xi-yi-ming-256268","龙泉窑青釉塑贴双鱼纹洗","宋","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[23,86,87,88,89,7],"青瓷","龙泉窑","洗","莲瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e3af1c650d09e238f5e8aaa183f42f5.jpg","瓷器精选",[91],{"id":94,"slug":95,"title":96,"dynasty":97,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":105,"material":26,"size":27,"collection":28,"collections":106,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":107},228629,"yu-yu-long-hua-cao-wen-dai-shi-1-yi-ming-228629","玉鱼龙花草纹带饰-1","明","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。",[100,39,101,102,7,103,104,43],"明代","透雕","浮雕","龙纹","花草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759b23bd07577e5db771b081aa784e60.jpg",[],"BDBDBD",{"id":109,"slug":110,"title":111,"dynasty":36,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":118,"material":26,"size":27,"collection":28,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":107},266647,"hong-se-duan-xiu-zhui-che-qu-zhu-ying-luo-yi-yi-ming-266647","红色缎绣缀砗磲珠璎珞衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[71,74,69,114,115,7,116,117],"璎珞","砗磲珠","波浪纹","华丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4cc17c34cfd3743ef95d9e1d397aa6.jpg",[],3,{"id":122,"slug":123,"title":124,"dynasty":36,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":131,"material":26,"size":27,"collection":28,"collections":132,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":107},258516,"qian-long-kuan-huang-di-fen-cai-hua-hui-yu-wen-ping-yi-ming-258516","乾隆款黄地粉彩花卉鱼纹瓶","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。",[36,23,127,128,129,130,7],"粉彩","设色","工笔","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c7536b429ecc47032e8a1db20443e1.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":36,"author":19,"museum":20,"description":137,"tags":138,"thumbUrl":142,"material":26,"size":27,"collection":28,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":62},266538,"yue-bai-se-jin-yu-wen-zhi-jin-chou-xiang-diao-pi-bian-dui-jin-jia-kan-jian-yi-ming-266538","月白色金鱼纹织金绸镶貂皮边对襟夹坎肩","月白绸底暗纹萦回，缠枝花卉若隐若现，晕开雅致底色。金鱼纹以织金技法晕染，金线流转间鳞光灵动，暗合“金玉满堂”的吉祥意趣。\n\n周身镶饰貂皮，绒毛细密柔润，将绸面的轻盈与皮草的厚重冷暖相融，平衡柔媚与华贵。对襟缀以莹润玉扣，简约利落，勾勒出挺括温婉的衣型。匠人意巧藏于细节，将吉祥寓意、精工技法与日常实用相融，尽显清代女装雅致考究的审美意韵，是民俗意趣与服饰工艺相映的精巧之作。",[71,74,139,7,140,141],"貂皮","织金","对襟坎肩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ae2f40047f3048c61f9aed1b59d0c6.jpg",[],2,{"id":146,"slug":147,"title":148,"dynasty":36,"author":19,"museum":20,"description":149,"tags":150,"thumbUrl":155,"material":26,"size":27,"collection":28,"collections":156,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":62},257851,"long-qing-kuan-qing-hua-hong-cai-yu-wen-bei-yi-ming-257851","隆庆款青花红彩鱼纹杯","青花瓷（blue and white 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。",[23,151,152,7,153,154,128],"青花","红彩","饮酒器","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8371f70fbbc3df3a811b5ea986951d.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":52,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":169,"material":26,"size":27,"collection":28,"collections":170,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":47},255232,"tao-dong-jing-mie-huo-ren-shou-wen-jing-lan-yi-ming-255232","陶“东井灭火”人兽纹井栏","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[163,164,41,165,166,7,167,168],"汉代","陶","人纹","兽纹","几何纹","井栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c24c33ebecdaebe66fc95986bd7cf7.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":175,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":178,"material":26,"size":27,"collection":28,"collections":179,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":107},243742,"yu-wen-shao-yi-ming-243742","鱼纹勺","商","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[55,7,41,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27817f5ec1aab0528efc0a2a0c4b549.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":36,"author":19,"museum":20,"description":184,"tags":185,"thumbUrl":186,"material":26,"size":27,"collection":28,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":107},263584,"cai-se-a-er-mi-bi-yan-chou-yi-ming-263584","彩色阿尔泌壁衍绸","以扎染缬染晕开柔润色彩，对称菱形骨架排布灵动纹样。暗红底色沉稳压阵，明黄、宝蓝、朱红、翠色大胆撞色，晕染边界如雾衔霞光，晕色自然柔和，尽显西域独有的炽热风情。\n\n经纬交织出规整舒展的对称纹样，宝相花形嵌入菱形框架，细碎红点错落点缀，热烈之中不失秩序。游牧民族的浪漫审美凝于纱线之间，既带着传统织造的细腻工巧，又尽显奔放鲜活的民族特质，将日常织物化作流动的色彩诗篇，藏着山野与部落独有的鲜活意趣。",[74,128,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9915945da96e498d93537c6bb3570a2.jpg",[],1,{"id":190,"slug":191,"title":192,"dynasty":193,"author":19,"museum":20,"description":176,"tags":194,"thumbUrl":197,"material":26,"size":27,"collection":28,"collections":198,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":107},248940,"cai-hui-qi-yu-wen-er-bei-yi-ming-248940","彩绘漆鱼纹耳杯","周",[195,196,7,153,57],"漆器","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfee4c31f4f0d0457bc2ad036d245e3.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":18,"author":19,"museum":20,"description":203,"tags":204,"thumbUrl":207,"material":26,"size":27,"collection":28,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},272580,"yu-wen-yin-you-tao-yan-yi-ming-272580","鱼纹银釉陶砚","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。",[205,23,7,206],"砚","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1389c1d7571694c1d5c7c1930761ca24.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":36,"author":19,"museum":20,"description":213,"tags":214,"thumbUrl":218,"material":26,"size":27,"collection":28,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},264152,"xing-huang-se-di-shui-bo-yu-xing-wen-hui-hui-jin-yi-ming-264152","杏黄色地水波鱼形纹回回锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[74,215,7,216,128,217],"织锦","水波纹","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec50c182a86e0b9351b481b987ccf69.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":83,"author":19,"museum":20,"description":203,"tags":224,"thumbUrl":228,"material":26,"size":27,"collection":28,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},262256,"lv-you-hua-hua-yu-wen-xi-yi-ming-262256","绿釉划花鱼纹洗",[23,57,225,226,7,227,56],"绿釉","划花","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f82ff84c8c76450cfdd75e487d4ecd.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":97,"author":19,"museum":20,"description":203,"tags":234,"thumbUrl":237,"material":26,"size":27,"collection":28,"collections":238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},261901,"zheng-de-kuan-you-li-hong-yu-wen-pan-yi-ming-261901","正德款釉里红鱼纹盘",[23,235,7,236,56],"釉里红","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdccad1dede5bf1fe7310d43cb25af8f6.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":97,"author":19,"museum":20,"description":243,"tags":244,"thumbUrl":246,"material":26,"size":27,"collection":28,"collections":247,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},260596,"hong-lv-cai-wu-yu-wen-pan-yi-ming-260596","红绿彩五鱼纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[23,245,7,236,56,57],"红绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed8b4e356799dfd6db76bdd380e2e.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":36,"author":19,"museum":20,"description":252,"tags":253,"thumbUrl":257,"material":26,"size":27,"collection":28,"collections":258,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},260582,"cheng-hua-kuan-huang-you-bai-yu-wen-shi-liu-zun-yi-ming-260582","成化款黄釉白鱼纹石榴尊","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。",[23,254,7,255,256,56],"尊","黄釉","白彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff835cd8819df3a4f5fcf58e3c95100e6.jpg",[],{"id":260,"slug":261,"title":262,"dynasty":263,"author":19,"museum":20,"description":84,"tags":264,"thumbUrl":269,"material":26,"size":27,"collection":91,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},260543,"long-quan-yao-qing-you-ke-hua-gai-guan-yi-ming-260543","龙泉窑青釉刻花盖罐","元",[23,265,266,267,72,7,268],"刻花","青釉","盖罐","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5d69e268866a8e5920c362a996dc48.jpg",[91],{"id":272,"slug":273,"title":274,"dynasty":97,"author":19,"museum":20,"description":84,"tags":275,"thumbUrl":277,"material":26,"size":27,"collection":91,"collections":278,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},260390,"long-quan-yao-qing-you-ke-hua-yu-wen-die-yi-ming-260390","龙泉窑青釉刻花鱼纹碟",[23,56,266,265,7,276],"碟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cf7131a3c1a47f3e11effdf96c4e485.jpg",[91],{"id":280,"slug":281,"title":282,"dynasty":83,"author":19,"museum":20,"description":283,"tags":284,"thumbUrl":287,"material":26,"size":27,"collection":91,"collections":288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},260383,"liu-li-chang-yao-huang-he-you-cai-hui-shuang-yu-wen-pen-yi-ming-260383","琉璃厂窑黄褐釉彩绘双鱼纹盆","琉璃厂窑又称华阳窑，在四川华阳县城以南胜利乡一村，是一家生产青釉、黄釉、褐釉、黑釉、白釉、绿釉等为主的制造厂。\n当地俗称琉璃厂，故叫“琉璃厂”或“琉璃厂窑”。瓷器烧制于唐、宋时代。\n器物的胎体多叶砖红色，宋代为繁荣时期，其中黄釉绿彩中比较突出的有大盆，盆里中心刻双鱼纹，两鱼逆水并游，辅以水草，线条自然流畅。褐釉器有鸭嘴流式壶、长流壶、碗、盘等，纹饰多绘花草纹，涂白粉。白釉器有碗、盘，釉色有白、黄两种，有的饰绿口及绿彩花草纹。",[23,56,196,7,285,286],"黄褐釉","盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499d235a688a2fd309131d649a165c6a.jpg",[91],{"id":290,"slug":291,"title":292,"dynasty":83,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":298,"material":26,"size":27,"collection":91,"collections":299,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},260146,"ding-yao-bai-you-yin-hua-hai-shui-yu-wen-chang-fang-zhen-yi-ming-260146","定窑白釉印花海水鱼纹长方枕","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[23,56,25,295,7,296,297],"海水纹","白釉","长方枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f9ef5ab6b5fb5ae2dbf59c5d18e0db.jpg",[91],{"id":301,"slug":302,"title":303,"dynasty":83,"author":19,"museum":20,"description":304,"tags":305,"thumbUrl":309,"material":26,"size":27,"collection":91,"collections":310,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},259872,"ji-zhou-yao-lv-you-ke-hua-shui-bo-yu-wen-wan-yi-ming-259872","吉州窑绿釉刻花水波鱼纹碗","吉州窑，是汉族传统制瓷工艺中的珍品，作为江南地区（江西吉安）一座举世闻名的综合性瓷窑，它具有浓厚的地方风格与汉民族艺术特色。吉州窑的丰富烧瓷，经验和名工巧匠对江西地区瓷业的发展提高，曾起过相当重要的促进作用。吉州古窑兴于晚唐，盛于两宋，衰于元末，因地命名，因当时永和又为东昌县治，故又名东昌窑、永和窑。吉州窑产品精美丰富，尤以黑釉瓷（亦称天目釉瓷）产品著称，其独创的“木叶天目”、“剪纸贴花天目”和“玳瑁天目”饮誉中外。洒釉、虎皮天目等也是吉州窑的标志性品种。\n卞向和在对中国陶瓷发展中对吉州窑有过认识，他指出：吉州窑在中国陶瓷发展中具有十分重要的意义，吉州窑不仅将中原的制瓷工艺溶于之中，还将吉州本地的人文情趣绘于瓷器上，并在造型，瓷的机理上有新的变化，使吉州窑成为中国瓷的重要品类，才使古代的欧洲、中东各国的王室贵族爱上吉州瓷。",[23,306,307,308,225,265,7,216],"碗","日用器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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