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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[24,23,58,26,25,7],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e01878706c546a8cae66f5bdb3f7622.jpg",[],5,"F48FB1",{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":73,"material":31,"size":32,"collection":33,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":37},258174,"xuan-de-kuan-ji-lan-you-bai-hua-yu-zao-wen-pan-yi-ming-258174","宣德款祭蓝釉白花鱼藻纹盘","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。",[69,44,70,71,25,72,7],"清代","祭蓝釉","白花","藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69dc1fe5b891fb439724e5f415f9347.jpg",[],3,{"id":77,"slug":78,"title":79,"dynasty":80,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":87,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":37},248713,"jia-jing-kuan-qiang-jin-cai-qi-yu-zao-wen-ci-gu-ye-shi-xi-yi-ming-248713","嘉靖款戗金彩漆鱼藻纹茨菇叶式洗","明","此器取茨菇叶为形，朱红勾边勾勒出柔婉灵动的轮廓，别致清雅。以墨漆为地，红彩绘就游鲤摆尾穿梭水藻之间，鳞鳍鲜活饱满，宛若正拨水前行，周遭缠枝花卉肆意舒展，辅以万字宝相花纹样，将池间生机与吉庆寓意相融。戗金线条利落提亮纹饰层次，彩漆晕染自然柔和，把精湛工法与雅致审美完美结合，静赏时仿佛能窥见池底悠然意韵，尽显古雅精巧的东方意趣。",[83,84,85,25,72,7,86],"明代","漆器","戗金彩漆","器",[],{"id":89,"slug":90,"title":91,"dynasty":80,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":99,"material":31,"size":32,"collection":33,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":102},249610,"qia-si-fa-lang-yu-zao-wen-he-ye-shi-qi-zuo-yi-ming-249610","掐丝珐琅鱼藻纹荷叶式器座","木底座是属于园艺工艺品一种，就是红木、檀木、花梨木制成的底座，通称为木底座。随着现在人们生活水平的提高和艺术审美的加强，各种工艺品收藏的火爆也让木底座这种搜藏渐渐走入我们的生活中，让我们的生活中每个角落里都有了美丽和艺术的氛围。木底座主要用来摆放工艺品和奇石等。",[94,95,7,96,97,98],"掐丝珐琅","琺瑯器","荷叶式","器座","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63081f93729ec5f72361f674d6b2d1ca.jpg",[],2,"37474F",{"id":104,"slug":105,"title":106,"dynasty":80,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":110,"material":31,"size":32,"collection":33,"collections":111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},261753,"de-hua-chang-chun-kuan-qing-hua-yu-zao-wen-pan-yi-ming-261753","德化长春款青花鱼藻纹盘","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。",[44,109,7,25,48],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbb3f124801b0bb6f8a028089ed2709.jpg",[],"BDBDBD",{"id":114,"slug":115,"title":116,"dynasty":18,"author":19,"museum":20,"description":107,"tags":117,"thumbUrl":118,"material":31,"size":32,"collection":33,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},261184,"cheng-hua-kuan-qing-hua-yu-zao-wen-xiao-wan-yi-ming-261184","成化款青花鱼藻纹小碗",[44,109,25,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa469a5ef3aac3631c2436f78f1537f15.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":80,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":129,"material":31,"size":32,"collection":33,"collections":130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},260824,"xuan-de-kuan-bai-you-an-hua-hua-yu-zao-wen-pan-yi-ming-260824","宣德款白釉暗划花鱼藻纹盘","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[44,48,126,127,128,7,25],"盘","白釉","暗划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea648a04c4f04f95b0bbe9da7b31090.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":80,"author":19,"museum":20,"description":107,"tags":135,"thumbUrl":137,"material":31,"size":32,"collection":33,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},259981,"wan-li-kuan-qing-hua-yu-zao-wen-pan-yi-ming-259981","万历款青花鱼藻纹盘",[44,109,25,46,7,136],"瓷盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5259f2051d4ac715e3a7554335cd2f7.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":147,"material":31,"size":32,"collection":148,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},257990,"lang-yao-hong-you-miao-jin-yu-zao-wen-pan-yi-ming-257990","郎窑红釉描金鱼藻纹盘","清代康熙后期景德镇官窑。康熙四十四年到五十一年（1705—1712），江西巡抚郎廷极在景德镇督造瓷器，故名。釉色以宝石红、宝石蓝、宝石绿最佳，宝石红有“郎窑红”之称。法国人称“牛血红”。在红釉中最杰出。洒蓝和霁蓝瓷，再上一道极薄釉子，然后加绘金花金彩，华丽静穆，匠心独运。素三彩创于此时。青花和斗彩也很有名。\n清初郎廷极所监督的江西景德镇窑及其所督造的瓷器之代称。其瓷器仿古暗合，摹仿明永乐、宣德红釉烧制，釉水颜色，桔皮砂眼几可乱真，款字也酷肖，极难辨识。刘廷玑《在园杂记》谈及此事，事距郎廷极督造瓷器时间很近，极可能系刘所目睹。",[18,44,145,146,7,126],"郎窑红釉","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d846dea596044afa870d8dcc5c1efc.jpg","瓷器精选",[148],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":154,"tags":155,"thumbUrl":159,"material":31,"size":32,"collection":33,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},257955,"zai-chuan-zhi-le-kuan-wu-cai-yu-zao-wen-pan-yi-ming-257955","在川知乐款五彩鱼藻纹盘","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。",[44,156,7,25,157,158],"五彩","花卉","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08300ad58fc9c1300d04e868f4af2b.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":80,"author":19,"museum":20,"description":67,"tags":165,"thumbUrl":167,"material":31,"size":32,"collection":33,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":102},256499,"kong-que-lv-you-yu-zao-wen-pan-yi-ming-256499","孔雀绿釉鱼藻纹盘",[83,44,166,7,25,126],"孔雀绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3552a2f410465bca7ac988070ee8204c.jpg",[],1777535728175]