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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。",[86,45,87,88,7,89,90,27,91],"明代","青花","釉下彩","双耳","扁壶","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7f8d2556faf082d059b4739ace8f52.jpg",[],2,{"id":96,"slug":97,"title":98,"dynasty":18,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":111,"material":31,"size":32,"collection":33,"collections":112,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":53},256905,"yan-zhi-hong-lan-di-ya-dao-fa-lang-cai-zhe-zhi-hua-wen-he-huan-ping-yi-ming-256905","胭脂红、蓝地轧道珐琅彩折枝花纹合欢瓶","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。",[101,102,103,104,105,106,7,27,107,108,109,110],"清代","珐琅彩","轧道","设色","工笔","瓶","胭脂红地","蓝地","珐琅器","彩瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e39d1604825ff6ac30cd7bc52d8a7dc.jpg",[],{"id":114,"slug":115,"title":116,"dynasty":18,"author":19,"museum":20,"description":117,"tags":118,"thumbUrl":121,"material":31,"size":32,"collection":33,"collections":122,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":123},267722,"hui-lan-se-zhe-zhi-hua-wen-shi-di-sha-yi-ming-267722","灰蓝色折枝花纹实地纱","整体色调如暮春烟雨浸润过的湖面，清柔灰蓝晕开雅致底色。折枝花叶以暗花隐现于纱地之间，似檐下竹影映透薄纱，朦胧含蓄，宛若将庭间春色悄悄凝织其中。纱面织纹匀净细密，提花肌理带着浅淡起伏，触之柔滑轻盈，观之静谧温润。纹样排布疏朗错落，以留白衬出东方意趣，不见冗杂堆砌，将日常织物晕染出诗意氛围，尽显织造技艺的细腻匠心，藏着中式审美里内敛温婉的浪漫情致。",[24,119,7,120],"灰蓝色","实地纱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38299ae57d81899e10f526f4a8217aa2.jpg",[],"2A56C6",{"id":125,"slug":126,"title":127,"dynasty":18,"author":19,"museum":20,"description":58,"tags":128,"thumbUrl":132,"material":31,"size":32,"collection":33,"collections":133,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":53},264020,"gu-tong-se-di-zhe-zhi-hua-wen-zhi-jin-jin-yi-ming-264020","古铜色地折枝花纹织金锦",[129,24,7,130,131],"织金锦","织金","古铜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f8573291fa5f3abd8394ab9ef7b6263.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":84,"tags":138,"thumbUrl":144,"material":31,"size":32,"collection":33,"collections":145,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},260994,"qing-hua-zhe-zhi-hua-wen-chang-fang-zhen-yi-ming-260994","青花折枝花纹长方枕",[45,87,7,139,140,141,142,143],"梅","竹","石榴","日用具","瓷枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bc00fcbfc291bcee8b86dc840248d2.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":155,"material":31,"size":32,"collection":33,"collections":156,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},258859,"ti-he-dian-kuan-huang-di-mo-cai-zhe-zhi-hua-wen-chang-fang-hua-pen-yi-ming-258859","体和殿款黄地墨彩折枝花纹长方花盆","此器以娇黄釉为底，匀净莹润如凝脂，沉静柔和。外壁以墨彩绘折枝花卉，牡丹饱满盛放，兰草舒展清隽，花叶姿态灵动写实。画师以墨色浓淡晕染，细腻勾勒花瓣柔润肌理与叶片舒展脉络，明暗层次分明，宛如淡墨小品，尽显雅致文气。口沿饰回纹一周，规整端庄，与生机盎然的花绘形成动静相宜的韵律。整体造型周正秀挺，黄釉与墨彩搭配明丽柔和，将宫廷制瓷的精细工巧与文人意趣相融，尽显内敛温婉的东方雅致，是颇具审美意趣的晚清瓷作佳器。",[45,152,104,76,7,153,18,154],"墨彩","长方","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26dc6965ef7325f5caa8f239ba698ce1.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":18,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":165,"material":31,"size":32,"collection":33,"collections":166,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},258712,"huang-you-mo-cai-zhe-zhi-hua-wen-hua-lan-yi-ming-258712","黄釉墨彩折枝花纹花篮","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。",[45,163,152,7,164],"黄釉","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7f44e74bc61433557de41b67febc1f.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":83,"author":19,"museum":20,"description":84,"tags":171,"thumbUrl":174,"material":31,"size":32,"collection":33,"collections":175,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":176},257140,"qing-hua-zhe-zhi-hua-wen-ba-fang-zhu-tai-yi-ming-257140","青花折枝花纹八方烛台",[45,172,173,7,88],"青花瓷","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48701dee75c1db533216a0f8b7702577.jpg",[],"37474F",{"id":178,"slug":179,"title":180,"dynasty":18,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":187,"material":31,"size":32,"collection":33,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":176},270767,"hei-qi-miao-jin-zhe-zhi-hua-wen-guan-dou-zi-hao-ti-bi-yi-ming-270767","黑漆描金折枝花纹管斗紫毫提笔","此提笔造型敦雅圆润，笔斗饱满舒展，紫毫锋颖锐利挺拔，外缘衬裹红褐色副毫，虚实明暗相映，兼具实用属性与视觉层次。\n\n漆黑地子匀净莹亮如镜，描金折枝花纹纤细灵动，花叶舒展柔婉，金彩在乌色衬托下愈显华贵明丽，将文房雅器的静穆雅致与宫廷华贵融于一体。髹漆工艺精湛，描金走线细腻流畅，折枝纹疏朗分布，于简约中透着雅致隽秀的文人情趣，尽显传统漆艺与文房审美结合的精妙意趣。",[183,184,185,186,7],"笔","漆器","描金","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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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。",[45,290,7,76,27,291,281],"粉彩","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ee0b00ba212e8ec46ec8387f1ec00a.jpg",[],{"id":295,"slug":296,"title":297,"dynasty":83,"author":19,"museum":20,"description":84,"tags":298,"thumbUrl":300,"material":31,"size":32,"collection":33,"collections":301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":176},260363,"qing-hua-zhe-zhi-hua-wen-shuang-xi-gai-guan-yi-ming-260363","青花折枝花纹双系盖罐",[45,87,7,299,27,154],"盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0921eab5af94c26255eefcd9e625f89.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":18,"author":19,"museum":20,"description":161,"tags":306,"thumbUrl":308,"material":31,"size":32,"collection":33,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":176},258356,"huang-you-lv-cai-zhe-zhi-hua-wen-pan-yi-ming-258356","黄釉绿彩折枝花纹盘",[101,45,110,307,7,291],"黄釉绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360dadd6213945bb08edbc8118154218.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":18,"author":19,"museum":20,"description":314,"tags":315,"thumbUrl":319,"material":31,"size":32,"collection":33,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},258274,"yong-zheng-kuan-dou-cai-tuan-he-zhe-zhi-hua-wen-xiao-wan-yi-ming-258274","雍正款斗彩团鹤折枝花纹小碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[18,45,316,317,7,318,105],"斗彩","团鹤","小碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7669636780007a3ff1297702c78677dc.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":20,"description":84,"tags":325,"thumbUrl":328,"material":31,"size":32,"collection":33,"collections":329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},258246,"qing-hua-zhe-zhi-hua-wen-kui-ban-wan-yi-ming-258246","青花折枝花纹葵瓣碗",[101,45,87,7,326,27,327],"葵瓣形","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb87b35a1a068e460f3f9e0b62e68831.jpg",[],{"id":331,"slug":332,"title":333,"dynasty":83,"author":19,"museum":20,"description":334,"tags":335,"thumbUrl":337,"material":31,"size":32,"collection":50,"collections":338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},257574,"long-quan-yao-qing-you-tu-hua-zhe-zhi-hua-wen-pan-yi-ming-257574","龙泉窑青釉凸花折枝花纹盘","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。",[45,46,336,7,281,86],"凸花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c542ee2755d581810b64ca66ab6f6a3.jpg",[50],{"id":340,"slug":341,"title":342,"dynasty":83,"author":19,"museum":20,"description":84,"tags":343,"thumbUrl":344,"material":31,"size":32,"collection":33,"collections":345,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":176},256868,"cheng-hua-kuan-qing-hua-zhe-zhi-hua-wen-wan-yi-ming-256868","成化款青花折枝花纹碗",[86,45,87,7,27,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6053e6670eecb48b8b034c88b92ff855.jpg",[],{"id":347,"slug":348,"title":349,"dynasty":83,"author":19,"museum":20,"description":350,"tags":351,"thumbUrl":352,"material":31,"size":32,"collection":33,"collections":353,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256439,"dou-cai-zhe-zhi-hua-wen-qian-bei-yi-ming-256439","斗彩折枝花纹浅杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[86,45,316,7,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac67e2fb483caa8560544bb1c31f6c74.jpg",[],{"id":355,"slug":356,"title":357,"dynasty":18,"author":19,"museum":20,"description":358,"tags":359,"thumbUrl":362,"material":31,"size":32,"collection":33,"collections":363,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},248391,"hei-qi-qian-wen-zhu-zhe-zhi-hua-wen-zhen-zhi-yi-ming-248391","黑漆嵌文竹折枝花纹镇纸","此器修长雅致，髹漆黑亮如镜，衬出文竹嵌饰的明丽清润。折枝花以文竹裁取纤巧瓣叶，舒展灵动，宛若含露轻摇，将草木柔态尽致呈现，线条婉转而生机暗涌。边缘以深浅木色回纹勾连回旋，规整中带着韵律，既框定画面，又添古朴端庄之气。\n\n整器以镶嵌之法将文竹的温润与黑漆的沉凝相融，色调对比鲜明和谐，可见匠人裁嵌精妙入微，于文房镇具之中寄寓清雅文心，尽显工致秀雅的审美意趣，是案头兼具实用与赏玩之妙的佳器。",[184,360,361,140,7,154],"雕刻","嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4017c9662b741323a2500d61d2728e8e.jpg",[],{"id":365,"slug":366,"title":367,"dynasty":18,"author":19,"museum":20,"description":368,"tags":369,"thumbUrl":373,"material":31,"size":32,"collection":33,"collections":374,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":176},246179,"pi-tai-hong-qi-miao-jin-zhe-zhi-hua-wen-san-lian-shi-guan-jia-yi-ming-246179","皮胎红漆描金折枝花纹三连式冠架","此冠架三连造型灵动雅致，弯弧舒展，末端卷转如如意云头，线条柔婉韵致。通体髹朱红漆为地，漆色莹润饱满，以描金绘饰折枝花纹，金彩勾绘缠枝卷叶，团花娇妍鲜活，纹饰顺着器形蜿蜒排布，朱红与描金相映，明艳华贵又不失秀雅。\n\n皮胎轻韧扎实，工艺考究，将束冠的日常器具，化为兼具实用与观赏性的陈设雅物，尽显清代髹漆工艺的细腻精妙，把匠心藏于雅致器形与华美纹饰之中，尽显中式传统工艺的审美意趣。",[101,184,185,370,371,7,372],"红漆","皮胎","冠架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc647ca7d705ca212f3b330c5575510e.jpg",[],{"id":376,"slug":377,"title":367,"dynasty":18,"author":19,"museum":20,"description":378,"tags":379,"thumbUrl":382,"material":31,"size":32,"collection":33,"collections":383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},246178,"pi-tai-hong-qi-miao-jin-zhe-zhi-hua-wen-san-lian-shi-guan-jia-yi-ming-246178","朱红漆色鲜亮匀净，如朱砂凝霞，描金折枝花卉与蝠纹蜿蜒其上，金线细腻流畅，在艳色底衬下愈显华贵灵动，暗合纳福呈祥的吉庆意涵。\n\n整体造型舒展柔婉，弯弧似流云垂落，卷云形足稳稳承托，线条韵律雅致柔和。皮胎髹漆工艺精湛，漆面莹润饱满，历经岁月仍鲜亮明丽，将雅致审美与实用功能相融，尽显内敛华贵的东方审美意韵。",[18,371,370,185,7,372,184,48,380,381],"描金工艺","折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ee0abc1c58207b6aa95a97258e0d05.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":18,"author":19,"museum":20,"description":388,"tags":389,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":176},243269,"zhe-zhi-hua-wen-jing-yi-ming-243269","折枝花纹镜","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。",[101,390,360,7,154],"铜制",[],1777535713479]