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"thumbUrl":112,"material":113,"size":114,"collection":96,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":101},232887,"tian-ma-fu-tu-juan-zhao-meng-fu-232887","天马赋图卷","美国弗瑞尔美术馆","《天马赋》是一篇辞赋作品，是著名辞赋家天山客最新完成的辞赋力作。该篇笔力遒劲，描写天马（伊犁马）的形态、声貌、神韵惟妙惟肖，对天马的历史、马的能力描写的非常到位。这是一篇十分成功的优秀辞赋，行文纵横捭阖、笔走龙蛇，有气吞万里之势。本篇可用劲节、雄浑、粗犷、豪迈来概括文章的风格，这也符合中国西部天山、昆仑、伊犁的地域特色。",[22,7,109,50,74,110,32,111],"长卷","马","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7d933fc0197c7ef5b8b25cbfaf99b3.jpg","绢本","26.7x76.5厘米",[],14,{"id":118,"slug":119,"title":120,"dynasty":7,"author":121,"museum":46,"description":122,"tags":123,"thumbUrl":124,"material":125,"size":126,"collection":79,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":101},239564,"ai-hou-tie-ye-wang-meng-239564","爱厚帖页","王蒙","释文：\n蒙顿首再拜\n德常判府相公尊契兄，恃在爱厚，輙为禀白：友人林静子山，吴兴人，亦赵氏之甥也。读书博学，多艺能，而未有成名。欲权于彼学中养赡，得三石米足矣。用是求书专注，望介注为祷。斯人年幼而多学，亦公家所当养者。王府君处意不殊此，未由晤会，万冀调攝，以膺峻擢，不具。二月廿四日，王蒙顿首再拜，余控。\n帖后钤“也园珍赏”、“世受堂”两方鉴藏印。\n无题跋。\n《爱厚帖》是王蒙存世的唯一一通尺牍，弥足珍贵。此信写给做官的朋友“德常判府”，内容是举荐他的朋友林静（赵孟頫的外孙），请求给其安排一份工作，并介绍了此人“读书博学，多艺能”等特点。德常，名张经，字德常，金坛（今镇江）人。其父张监、弟张枢与王蒙、倪瓒交往密切。元至正二十二年（1362年）张经曾任松江府判官，书中称“判府相公”，可知此信应书于至正二十二年以后，是王蒙中年的作品。\n此书学赵孟頫，不仅点画转折具赵书规模，结体也仿学极似，且笔墨圆润流畅，风格清劲飘逸。明吴宽《匏翁家藏集》云：“黄鹤山人书，当不在赵魏公下。”\n《元诸名家尺牍册》、《石渠宝笈初编》著录。",[7,74,73,24,111,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd610f72ada49e0203ea8b31f3a88d5.jpg","行书，纸本","纵33.3厘米，横58.7厘米",[79],11,{"id":130,"slug":131,"title":132,"dynasty":7,"author":86,"museum":133,"description":134,"tags":135,"thumbUrl":136,"material":96,"size":96,"collection":96,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":139},233029,"ying-zong-huang-di-hou-xiang-yi-ming-233029","英宗皇帝后像","藏地不详","全册七开，设色画后妃、太子头像共十三人，每开有题签记名。",[7,23,50,49,32,90,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47740489c10f24f4b647ec5a0bf102ad.jpg",[],9,"F48FB1",{"id":141,"slug":142,"title":143,"dynasty":7,"author":86,"museum":19,"description":144,"tags":145,"thumbUrl":149,"material":150,"size":151,"collection":96,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":101},214802,"zhi-sheng-xian-xian-ban-shen-xiang-5-yi-ming-214802","至圣先贤半身像-5","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[22,23,24,32,49,50,146,147,148,7],"半身像","古代人物","先贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6a1d79c3a848a626fbb8d45a8592c.jpg","纸本,设色","33.3x24.3",[],6,{"id":155,"slug":156,"title":157,"dynasty":7,"author":86,"museum":133,"description":158,"tags":159,"thumbUrl":166,"material":167,"size":168,"collection":169,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":40},256794,"jing-de-zhen-yao-qing-hua-feng-chuan-mu-dan-wen-zhi-hu-yi-ming-256794","景德镇窑青花凤穿牡丹纹执壶","景德镇窑是中国传统窑炉之一，景德镇窑系属于宋代六大窑系之一。诞生于今江西省景德镇，故称景德镇窑，实际上由数个窑口组成。\n景德镇有着悠久的制瓷历史，完备的陶瓷产业体系，广泛的国际影响，是一座因瓷而生、因瓷而兴、因瓷而名的城市，也是一座“因开放而生，因开放而兴”的深度开放城市。\n景德镇窑据记载始烧于唐武德(618一626)年间。建国后发现瓷窑遗址多处，以杨梅亭窑、石虎湾窑、黄泥头窑最早，均为五代时期。\n中国传统的陶瓷可分为三大类：龙窑（倾斜式隧道窑）、阶级窑（倾斜式冷底多室窑）以及景德镇窑（平焰窑）。 景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[7,160,161,162,163,164,165],"陶瓷","青花","凤","牡丹","执壶","穿花纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240c8433cb7727800b70450c78c37c92.jpg","未知","Xcm*Xcm","瓷器精选",[169],5,{"id":173,"slug":174,"title":175,"dynasty":7,"author":86,"museum":133,"description":176,"tags":177,"thumbUrl":183,"material":167,"size":168,"collection":96,"collections":184,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":185},228146,"bi-yu-xiang-lu-gui-yi-ming-228146","碧玉香炉（簋）","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。",[7,178,179,180,181,182],"玉石","雕刻","礼器","器","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d823c6918d72764e886a258b7a26b1b.jpg",[],"37474F",{"id":187,"slug":188,"title":189,"dynasty":7,"author":86,"museum":133,"description":190,"tags":191,"thumbUrl":197,"material":167,"size":168,"collection":169,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":40},257073,"jun-yao-tian-lan-you-yu-hu-chun-ping-yi-ming-257073","钧窑天蓝釉玉壶春瓶","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[7,160,192,193,194,195,196],"天蓝釉","钧窑风格","瓶","釉色","钧瓷技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af70e70834ee04a9f3deb49a1d9d0e9.jpg",[169],4,{"id":201,"slug":202,"title":203,"dynasty":7,"author":86,"museum":133,"description":204,"tags":205,"thumbUrl":208,"material":167,"size":168,"collection":96,"collections":209,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":101},243885,"long-wen-fang-jing-yi-ming-243885","龙纹方镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[7,206,179,207,181],"铜制","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf849234d2f973b64f113152ea6857.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":7,"author":214,"museum":133,"description":215,"tags":216,"thumbUrl":217,"material":167,"size":168,"collection":96,"collections":218,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":139},241497,"zi-shu-shi-juan-chou-yuan-241497","自书诗卷","仇远","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[7,109,73,74,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e5a0bb38789a7a6b33dbdae27cf3e5.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":7,"author":86,"museum":133,"description":134,"tags":223,"thumbUrl":228,"material":96,"size":96,"collection":96,"collections":229,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":101},233030,"wu-zong-huang-di-hou-xiang-ji-ya-tu-huang-di-mu-yi-ming-233030","武宗皇帝后像(济雅图皇帝母)",[23,24,224,49,50,32,93,225,226,227,7],"名画","古代服饰","珠饰","红色服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c8966f878f628b565b542aab2b69f44.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":7,"author":86,"museum":133,"description":234,"tags":235,"thumbUrl":238,"material":167,"size":168,"collection":169,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":40},256910,"long-quan-yao-qing-you-ke-hua-gai-guan-yi-ming-256910","龙泉窑青釉刻花盖罐","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。",[160,236,237,181,7],"青釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe769eaa28ece7f5c3a350a49be51c034.jpg",[169],3,{"id":242,"slug":243,"title":244,"dynasty":7,"author":86,"museum":133,"description":234,"tags":245,"thumbUrl":248,"material":167,"size":168,"collection":169,"collections":249,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":40},256702,"long-quan-yao-qing-you-dan-shi-ping-yi-ming-256702","龙泉窑青釉胆式瓶",[7,160,236,181,246,247,195],"青瓷","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035d961bf810495bce19725528f9d243.jpg",[169],{"id":251,"slug":252,"title":253,"dynasty":7,"author":86,"museum":133,"description":254,"tags":255,"thumbUrl":260,"material":167,"size":168,"collection":96,"collections":261,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":40},252621,"bai-yu-lou-diao-shuang-tu-pei-yi-ming-252621","白玉镂雕双兔佩","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[7,256,257,258,259,179,91,178],"白玉","镂雕","兔","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c877a40733955a58144e390c129e5d.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":7,"author":86,"museum":133,"description":266,"tags":267,"thumbUrl":271,"material":167,"size":168,"collection":96,"collections":272,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":273},231470,"dai-gai-jiu-hu-yi-ming-231470","带盖酒壶","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[7,160,268,269,270],"饮酒器","开片","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c32e3f22a4a925f2e0a166214c71582.jpg",[],"FFFFFF",{"id":275,"slug":276,"title":277,"dynasty":7,"author":278,"museum":133,"description":279,"tags":280,"thumbUrl":282,"material":96,"size":96,"collection":96,"collections":283,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":101},228024,"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[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。",[7,333,334,179,335,32,181],"漆器","剔红","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a52311d39e99ed738d2daa83146865.jpg",[],{"id":339,"slug":340,"title":341,"dynasty":7,"author":86,"museum":133,"description":342,"tags":343,"thumbUrl":348,"material":167,"size":168,"collection":96,"collections":349,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},231425,"qing-lv-jun-ci-wan-yi-ming-231425","青绿钧瓷碗","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。",[7,160,344,345,346,347,181],"青绿","窑变","釉","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b86a8d62ea64a9dad6e187581fc86.jpg",[],{"id":351,"slug":352,"title":353,"dynasty":7,"author":86,"museum":133,"description":176,"tags":354,"thumbUrl":356,"material":167,"size":168,"collection":96,"collections":357,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":40},228131,"lian-tang-long-wen-yu-ding-yi-ming-228131","莲塘龙纹玉顶",[7,178,179,207,355,181],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c978fee1b8a4b1f8d1ea4292018c39.jpg",[],{"id":359,"slug":360,"title":361,"dynasty":7,"author":86,"museum":133,"description":362,"tags":363,"thumbUrl":366,"material":167,"size":168,"collection":96,"collections":367,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},227999,"dai-you-guan-zi-yi-ming-227999","带釉罐子","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。",[7,160,364,269,365],"带釉","日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0499070a86842cfd0dff189307c12511.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":7,"author":86,"museum":133,"description":372,"tags":373,"thumbUrl":381,"material":167,"size":168,"collection":96,"collections":382,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":273},226664,"dai-gai-de-sang-zang-guan-yi-ming-226664","带盖的丧葬罐","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。",[7,160,374,375,376,246,32,377,378,379,380],"丧葬","堆塑","雕塑","动物","葬具","带盖","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d76d30c4acee5fef161bff993f8db4.jpg",[],{"id":384,"slug":385,"title":386,"dynasty":7,"author":86,"museum":133,"description":387,"tags":388,"thumbUrl":389,"material":167,"size":168,"collection":96,"collections":390,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},221214,"diao-ke-qi-he-yi-ming-221214","雕刻漆盒","元剔犀漆盒属家常度日的用具，器物中若隐若现的精灵般的粉色线条，是特意搀入的，黑黝黝的底色漆中。剔刻的漆器，元代制作非常多，而该件元剔犀漆盒被称为奇绝的制品，该器体的花纹、制作不复杂，但器盖上面的花纹是平空雕作出来的，每一个剔出的图案中，隐藏着的粉色精灵，都被活生生地完整呈现出来。剔犀是精致的雕漆制品，层层涂刷不同的漆色，直到足够的厚度，再实施雕刻。",[7,333,179,32,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa465f54bdf97b7059948eee0a14fcd40.jpg",[],{"id":392,"slug":393,"title":394,"dynasty":7,"author":86,"museum":133,"description":234,"tags":395,"thumbUrl":398,"material":167,"size":168,"collection":169,"collections":399,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":185},257083,"long-quan-yao-qing-you-he-ban-hua-hua-die-yi-ming-257083","龙泉窑青釉褐斑划花碟",[7,160,236,396,397,181],"褐斑","划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b7a93db719b515c92608624ad0b36a.jpg",[169],{"id":401,"slug":402,"title":403,"dynasty":7,"author":86,"museum":133,"description":372,"tags":404,"thumbUrl":409,"material":167,"size":168,"collection":96,"collections":410,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":185},245464,"yin-chui-yun-long-wen-mei-ping-yi-ming-245464","银锤云龙纹梅瓶",[7,405,406,313,207,407,408,179],"银器","锤揲","金属器","器物","https:\u002F\u002Foss.chuangqi.store\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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。",[7,160,466,181,365],"青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7193021ebcbec413a6713dd00c0c77.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":7,"author":86,"museum":133,"description":342,"tags":473,"thumbUrl":475,"material":167,"size":168,"collection":96,"collections":476,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},228110,"qing-ci-hai-tang-shi-pen-yi-ming-228110","青瓷海棠式盆",[7,160,246,269,474,181],"海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b1e6707ed8de0c66b578de8b77c092.jpg",[],{"id":478,"slug":479,"title":480,"dynasty":7,"author":86,"museum":133,"description":481,"tags":482,"thumbUrl":486,"material":167,"size":168,"collection":96,"collections":487,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":139},228097,"duan-shi-huang-gong-wang-chi-an-yan-yi-ming-228097","端石黄公望痴庵砚","端砚是中国四大名砚之一，与甘肃洮砚、安徽歙砚、山西澄泥砚齐名。出产于唐代初期端州（今广东肇庆市东郊的端溪），故名端砚，距今已有一千三百多年的历史。\n中国传统文化中的文房四宝，砚为其一。在中国所产的四大名砚中，尤以广东省端砚最为称著。端砚以石质坚实、润滑、细腻、娇嫩而驰名于世，用端砚研墨不滞，发墨快，研出之墨汁细滑，书写流畅不损毫，字迹颜色经久不变，端砚若佳，无论是酷暑还是严冬，用手按其砚心，砚心湛蓝墨绿，水气久久不干，故古人有“呵气研墨”之说。",[7,483,179,484,485,181],"端石","砚","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2102a7ee31984e26539d94c9699a5a.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":7,"author":86,"museum":133,"description":190,"tags":492,"thumbUrl":495,"material":167,"size":168,"collection":169,"collections":496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},257076,"jun-yao-tian-lan-you-pan-yi-ming-257076","钧窑天蓝釉盘",[7,160,192,181,493,494],"盘","钧窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6671486d3c8255a486123f27419424b.jpg",[169],{"id":498,"slug":499,"title":500,"dynasty":7,"author":86,"museum":133,"description":190,"tags":501,"thumbUrl":504,"material":167,"size":168,"collection":169,"collections":505,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},257074,"jun-yao-tian-lan-you-zi-hong-ban-ju-ban-wan-yi-ming-257074","钧窑天蓝釉紫红斑菊瓣碗",[7,160,494,192,502,503,347,181],"紫红斑","菊瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e75300584fef66ea1aa4cbff8fb97f.jpg",[169],{"id":507,"slug":508,"title":509,"dynasty":7,"author":86,"museum":133,"description":190,"tags":510,"thumbUrl":511,"material":167,"size":168,"collection":169,"collections":512,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},257069,"jun-yao-tian-lan-you-da-wan-yi-ming-257069","钧窑天蓝釉大碗",[7,160,494,192,181,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfacd837be4ea1d8367449cfe5fe4bce.jpg",[169],{"id":514,"slug":515,"title":516,"dynasty":7,"author":86,"museum":133,"description":362,"tags":517,"thumbUrl":521,"material":167,"size":168,"collection":96,"collections":522,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},256928,"hong-you-yin-hua-yun-long-wen-gao-zu-wan-yi-ming-256928","红釉印花云龙纹高足碗",[7,160,518,519,313,520,268,448],"红釉","印花","高足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fde6a16b8581f16a2a91c2140c967e4.jpg",[],{"id":524,"slug":525,"title":526,"dynasty":7,"author":86,"museum":133,"description":464,"tags":527,"thumbUrl":529,"material":167,"size":168,"collection":96,"collections":530,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},256722,"qing-bai-you-hua-hua-yun-long-wen-yu-hu-chun-ping-yi-ming-256722","青白釉划花云龙纹玉壶春瓶",[7,160,466,397,528,181],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3430f8a320d3f5b7bf7c8ff63aaa86ef.jpg",[],{"id":532,"slug":533,"title":534,"dynasty":7,"author":86,"museum":133,"description":464,"tags":535,"thumbUrl":538,"material":167,"size":168,"collection":96,"collections":539,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},256333,"luan-bai-you-shu-fu-ming-yin-hua-chan-zhi-lian-wen-pan-yi-ming-256333","卵白釉“枢府”铭印花缠枝莲纹盘",[7,160,536,519,537,493],"卵白釉","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca4d9c6f4de5692b79e59d1b1d9bf1d.jpg",[],{"id":541,"slug":542,"title":543,"dynasty":7,"author":86,"museum":133,"description":544,"tags":545,"thumbUrl":549,"material":167,"size":168,"collection":96,"collections":550,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},255845,"tong-pu-sa-zuo-xiang-yi-ming-255845","铜菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 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