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tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[41,42,43,44,45,46,7,47,48,49],"日用具","火镰","缂丝","布料","金器","铁器","寿字纹","花卉纹","荷包式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F124f85f2fb59bc38673dce4dcdca0a0a.jpg",[],4,"795548",{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":64,"material":29,"size":30,"collection":31,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":53},267358,"huang-se-duan-xiu-yun-fu-hai-shui-jin-long-wen-kao-bei-chai-pian-yi-ming-267358","黄色缎绣云蝠海水金龙纹靠背拆片","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。",[60,44,61,7,62,63],"刺绣","龙","海水纹","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32765f938d53141f42a852634a3c4ba1.jpg",[],3,{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":78,"material":29,"size":30,"collection":31,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":53},273298,"hong-se-duan-ping-jin-yin-yun-fu-wen-shuang-xi-zi-he-bao-shi-huo-lian-yi-ming-273298","红色缎平金银云蝠纹双喜字荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[73,41,44,46,74,75,60,7,76,77],"饰品","金饰","银饰","双喜字","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b95937ea2c89368cecc4990fe895e9.jpg",[],2,{"id":82,"slug":83,"title":84,"dynasty":18,"author":19,"museum":20,"description":71,"tags":85,"thumbUrl":92,"material":29,"size":30,"collection":31,"collections":93,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":53},272906,"mu-hong-qi-cai-hua-yun-fu-wen-gan-hong-ying-he-bao-qiang-yi-ming-272906","木红漆彩画云蝠纹杆红缨荷包枪",[86,87,88,89,7,90,91],"兵器","枪","木质","红漆","红缨","彩画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2495ef993ddd8eee3daf152eb202d3d.jpg",[],{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":39,"tags":98,"thumbUrl":101,"material":29,"size":30,"collection":31,"collections":102,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":103},266171,"shi-qing-se-ke-si-ba-tuan-yun-fu-ba-bao-shou-jin-long-wen-tian-ma-pi-bian-nv-long-gua-yi-ming-266171","石青色缂丝八团云蝠八宝寿金龙纹天马皮边女龙褂",[63,44,43,61,7,99,100,62],"八宝纹","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9e7ea017694490f3c4e40a224b09cc.jpg",[],"BDBDBD",{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":115,"material":29,"size":30,"collection":31,"collections":116,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":103},260030,"guang-xu-kuan-fen-cai-yun-fu-wen-zhi-jing-ping-yi-ming-260030","光绪款粉彩云蝠纹直颈瓶","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。",[110,111,112,7,113,114],"陶瓷","粉彩","直颈瓶","蝙蝠","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7286d29428845bdac243c7afcaf088.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":108,"tags":121,"thumbUrl":123,"material":29,"size":30,"collection":31,"collections":124,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":34},259433,"guang-xu-kuan-fen-cai-yun-fu-wen-shang-ping-yi-ming-259433","光绪款粉彩云蝠纹赏瓶",[110,111,7,122,27],"赏瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb692c1389669b30d166683226c35ef.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":18,"author":19,"museum":20,"description":129,"tags":130,"thumbUrl":135,"material":29,"size":30,"collection":31,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":34},269740,"pao-zhi-yun-fu-wen-gai-wan-yi-ming-269740","匏制云蝠纹盖碗","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。",[131,132,41,133,7,134],"匏器","盖碗","雕刻","银边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26056062b3f5dc2ccd7d53bc087afdb.jpg",[],1,{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":147,"material":29,"size":30,"collection":31,"collections":148,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":53},269330,"zi-tan-qian-yu-diao-yun-fu-wen-qing-shi-he-yi-ming-269330","紫檀嵌玉雕云蝠纹磬式盒","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。",[88,144,133,7,145,146],"玉石","盒器","文玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f613c9f34a3e3df209e601328a8356.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":18,"author":19,"museum":20,"description":153,"tags":154,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":159,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":53},246141,"qian-long-kuan-qiang-jin-cai-qi-chan-zhi-lian-yun-fu-wen-tuo-yuan-he-yi-ming-246141","乾隆款戗金彩漆缠枝莲云蝠纹椭圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[24,155,156,157,158,7,23,27],"戗金","彩漆","设色","缠枝莲纹",[],{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":20,"description":164,"tags":165,"thumbUrl":169,"material":29,"size":30,"collection":31,"collections":170,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},275667,"huang-se-zai-rong-zhi-yun-fu-wen-an-chan-yi-ming-275667","黄色栽绒织云蝠纹鞍韂","明黄底色尽显华贵基调，以栽绒技法织就云蝠纹样，蝠谐音“福”，搭配萦绕云纹，暗合洪福绵延的美好祈愿。\n\n红、蓝、绿绒线晕染出灵动感，蝠身卷曲舒展，与云纹错落排布，疏密相宜，满溢吉庆之气。外缘回纹镶边规整雅致，既勾勒出腰圆造型，又为整体增添层次韵律。\n\n整器配色浓烈协调，构图饱满却不显拥塞，将鞍马实用配饰，化作承载东方祥瑞意趣的华美工艺品，尽显织造工艺的精湛水准，暗藏宫廷造物的华贵气度。",[166,7,167,168,44,113],"栽绒织","鞍韂","马具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8221f47906b8dfe39df0abab832794df.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":182,"material":29,"size":30,"collection":31,"collections":183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},275665,"huang-se-duan-cai-xiu-yun-fu-ping-jin-long-hai-shui-wen-jin-yuan-an-chan-yi-ming-275665","黄色缎彩绣云蝠平金龙海水纹锦缘鞍韂","明黄缎为地，尽显御用华贵底色。平金游龙身姿矫健，盘桓舒展间自带威严气势。彩绣云蝠、折枝花卉错落点缀，祥意暗藏，柔化龙纹的刚猛，添几分雅致鲜活。边角以海水江崖纹收束，暗喻江山永固的祈愿。\n\n外缘配蓝地织锦，杂宝小花排布齐整，与中心主纹繁简相衬，层次愈发分明。整器绣艺精湛，平金走线匀净流畅，施色自然晕染，将皇权威仪与传统吉庆意蕴，融于鞍饰细节之中，尽显清代宫廷织造的极致工法与审美意趣。",[44,60,177,7,62,178,179,180,181],"龙纹","鞍具","彩绣","平金绣","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02eae38e40a57ca9f161bdbe65b7e40b.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":20,"description":188,"tags":189,"thumbUrl":191,"material":29,"size":30,"collection":31,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},273576,"zi-tan-mu-diao-yun-fu-hua-wen-yi-yi-ming-273576","紫檀木雕云蝠花纹椅","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[27,88,133,7,190],"椅子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8779b35310e97c23e1b627683a23e09.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":188,"tags":197,"thumbUrl":201,"material":29,"size":30,"collection":31,"collections":202,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},273574,"zi-tan-mu-diao-hua-qian-yun-fu-wen-yi-yi-ming-273574","紫檀木雕花嵌云蝠纹椅",[88,133,7,198,199,200],"椅","家具","雕花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c1a7ad2fd33b6bf60874eb68548e53.jpg",[],{"id":204,"slug":205,"title":206,"dynasty":18,"author":19,"museum":20,"description":39,"tags":207,"thumbUrl":208,"material":29,"size":30,"collection":31,"collections":209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},273311,"shen-ou-he-se-ke-si-yun-fu-wen-shuang-xi-zi-he-bao-shi-huo-lian-yi-ming-273311","深藕荷色缂丝云蝠纹双喜字荷包式火燫",[43,44,46,45,41,7,76,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dd933fc985a8fe3cbc34a9f00f0101c.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":18,"author":19,"museum":20,"description":214,"tags":215,"thumbUrl":217,"material":29,"size":30,"collection":31,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},273001,"mu-hong-qi-cai-hua-yun-fu-wen-gan-xiang-bi-dao-yi-ming-273001","木红漆彩画云蝠纹杆象鼻刀","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[86,216,24,88,91,7],"刀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8580634bd665e421415d31ae017608bf.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":18,"author":19,"museum":20,"description":223,"tags":224,"thumbUrl":226,"material":29,"size":30,"collection":31,"collections":227,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272922,"mu-huang-qi-yun-fu-wen-bing-ma-bian-yi-ming-272922","木黄漆云蝠纹柄马鞭","骑马的辅助用具，用于辅助驱使马匹按照人类的意愿完成各种动作。根据在不同马术比赛项目中使用的马鞭分类，分为障碍鞭和舞步鞭。",[27,41,88,24,225,7],"马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6414d821209dbfbbc78951b03c9aacde.jpg",[],{"id":229,"slug":230,"title":231,"dynasty":18,"author":19,"museum":20,"description":232,"tags":233,"thumbUrl":236,"material":29,"size":30,"collection":31,"collections":237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272915,"mu-hei-qi-cai-hua-yun-fu-wen-bing-tu-jin-fen-jian-yi-ming-272915","木黑漆彩画云蝠纹柄涂金粉锏","此锏以木为胎，柄身以黑漆为地，彩绘云蝠纹样，蝠音谐福，流云缠萦，暗合纳福祈祥的美好意涵。衔接处以錾刻铜饰镶裹，纹路繁丽古拙，尽显手工细作的精巧心思。\n\n锏身通体敷金粉，虽经时光摩挲，金粉有所褪散，却晕开旧时光晕。素净修长的器型与华美的柄部形成巧妙反差，刚气雅致兼具。它褪去杀伐戾气，更似案头清玩，将实用属性与装饰意趣融于一体，凝萃着旧时匠造的审美意趣，静述着清代工艺美学的温婉格调。",[86,234,88,24,7,235],"锏","涂金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ccd9fb46c10373071c7ff7f66ca11f.jpg",[],{"id":239,"slug":240,"title":231,"dynasty":18,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":244,"material":29,"size":30,"collection":31,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272914,"mu-hei-qi-cai-hua-yun-fu-wen-bing-tu-jin-fen-jian-yi-ming-272914","锏身修长沉凝，涂金粉虽随年月失却鲜亮光泽，却依旧能窥见曾经的煊赫气场，带着钝器独有的厚重威严。柄身以黑漆为底，彩绘云蝠纹饰，流云缱绻舒卷，灵蝠翩跹其间，借谐音暗藏纳福祈祥的美好寓意，漆黑底色衬得纹样愈发生动雅致，是传统吉祥纹饰的精妙演绎。锏格兽首浮雕线条遒劲凌厉，怒目贲张，凭瑞兽威仪为器物更添几分凶煞气势，兼顾装饰与实用。整器将武备实用性、工艺美学与吉祥意趣相融，尽显旧时匠人巧思。",[86,234,88,7,243,24,91],"涂金粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77da487f405d0ae86e01e3fe23c37f31.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":19,"museum":20,"description":250,"tags":251,"thumbUrl":253,"material":29,"size":30,"collection":31,"collections":254,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272910,"mu-hei-qi-cai-hua-yun-fu-wen-gan-jiu-chi-ding-pa-yi-ming-272910","木黑漆彩画云蝠纹杆九齿钉耙","以黑漆为底，杆身晕绘云蝠纹样，蝠音谐福，流云缠绕瑞蝠，将纳福祈祥的美好愿景融于纹饰之中，雅致灵动。铁铸九齿沉实厚重，木杆髹漆饰彩，褪去农具的粗粝质感，揉入清代手作的审美意趣。实用器物与吉祥纹饰相映，把日常农作之具，化作兼具民俗意涵与工艺美感的小品，尽显旧时匠人的细腻巧思，藏着古人将美好期许揉进寻常造物的脉脉温情。",[88,24,252,7,91,41],"钉耙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986c2b28297cc2c9925f7ecd909a19af.jpg",[],{"id":256,"slug":257,"title":258,"dynasty":18,"author":19,"museum":20,"description":259,"tags":260,"thumbUrl":262,"material":29,"size":30,"collection":31,"collections":263,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272909,"mu-hei-qi-cai-hua-yun-fu-wen-gan-shuang-tou-chan-yi-ming-272909","木黑漆彩画云蝠纹杆双头铲","它是兼具攻守的奇门长兵，杆身髹黑漆为底，彩绘云蝠翩跹，蝠音谐福，流云缠绕间暗寄洪福绵延的祈愿。\n月牙铲刃开弧凌厉，銎处鎏金兽面威严肃穆，将镇祟纳吉的期许熔铸其间；尾饰小戟锋芒暗藏，攻防之际尽显从容。\n漆面沉敛如墨，彩画虽经岁月磨蚀，古韵却愈发醇厚，鎏金铜饰斑驳晕染，凝住旧时匠造的温热匠心，将实用形制与吉祥意趣相融，把护身护福的美好祈愿，藏进满身精工细节之中。",[86,88,24,7,91,261],"铲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9c7d248ea48aa8f455eee95275c8ae3.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":18,"author":19,"museum":20,"description":268,"tags":269,"thumbUrl":272,"material":29,"size":30,"collection":31,"collections":273,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},272908,"mu-hei-qi-cai-hua-yun-fu-wen-gan-jin-qi-quan-bing-zai-shou-yi-ming-272908","木黑漆彩画云蝠纹杆金漆权柄在手","杖首以金漆塑成执权手掌，指节分明、掌纹清晰，食指直指南天，威仪藏于细节之中，鎏金成色沉郁古雅，暗合执掌之意。\n杖身髹黑漆为地，满绘云蝠彩饰，蝠谐音“福”，流云缠绕蝠翼，线条舒展柔婉，在漆黑底色映衬下，彩饰鲜亮灵动，尽显典型的吉祥意趣。\n整器将乘身依仗的实用性，与纳福掌权的美好寄望相融，以精巧的髹漆、铸金工艺，诠释出民间造物里雅俗共赏的审美意涵。",[24,88,133,7,270,271],"手形柄","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dce8ece68ae4fbbe9fb04b2135bc9e2.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":18,"author":19,"museum":20,"description":278,"tags":279,"thumbUrl":282,"material":29,"size":30,"collection":31,"collections":283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272907,"mu-hong-qi-cai-hua-yun-fu-wen-tu-yin-fen-jiu-lian-huan-yi-ming-272907","木红漆彩画云蝠纹涂银粉九连环","朱红漆长杆仍存残色，晕开时光留下的温热余韵。涂银粉云蝠构件线条婉转，蝠纹衔着卷云舒展，藏纳纳福祈安的旧意。悬垂铜环轻触便可摇出细碎清响，缠绳固定的细节带着手作的朴拙温度。银粉虽经年月晕染斑驳，却为器物晕开更醇厚的古意。整体形制端庄雅致，融祈福寓意与手工巧思于一身，静静承载着旧时民俗里的质朴美学。",[88,24,91,7,280,281,27],"九连环","银粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63780a8b7d713d50f77e820171649036.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":18,"author":19,"museum":20,"description":288,"tags":289,"thumbUrl":292,"material":29,"size":30,"collection":31,"collections":293,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},272905,"mu-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