[{"data":1,"prerenderedAt":520},["ShallowReactive",2],{"subject-zhi-hu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4343,"zhi-hu","执壶","执壶画高清赏析","精选中国历代执壶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7152277e911ff3fbee8682934ab6d18.jpg",0,47,[14,36,50,63,78,95,111,121,131,142,152,162,177,189,199,212,223,232,242,250,263,270,281,291,302,312,322,333,341,350,361,369,376,384,394,402,411,420,429,438,447,456,467,480,490,499,509],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},261813,"yi-xing-yao-zi-sha-tu-hua-lian-chi-wen-zhi-hu-yi-ming-261813","宜兴窑紫砂凸花莲池纹执壶","清","佚名","藏地不详","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[23,24,25,26,27,28,7],"陶瓷","紫砂器","凸花技法","荷花","莲池纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd898ffce5bb7e19e0987ab5c983c8bcd.jpg","未知","Xcm*Xcm","瓷器精选",[32],6,"795548",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":46,"material":30,"size":31,"collection":47,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":35},262149,"qing-you-shuang-xi-zhi-hu-yi-ming-262149","青釉双系执壶","隋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[23,43,28,44,7,45],"器","青釉","双系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf95b436aafc2a162cff4e4f7cfb847.jpg","",[],5,{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":61,"material":30,"size":31,"collection":32,"collections":62,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":35},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","元","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。",[54,23,57,58,59,7,60],"青花","凤","牡丹","穿花纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240c8433cb7727800b70450c78c37c92.jpg",[32],{"id":64,"slug":65,"title":66,"dynasty":67,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":75,"material":30,"size":31,"collection":47,"collections":76,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":77},228697,"qing-ci-hua-hua-ba-jiao-hu-shi-zhi-hu-yi-ming-228697","青瓷划花芭蕉湖石执壶","明","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。",[70,71,72,23,7,73,74],"明代","青瓷","划花","芭蕉","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6346b0042236483a6e9adcfb9dd912.jpg",[],"37474F",{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":92,"material":30,"size":31,"collection":47,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":77},245395,"qian-long-kuan-yin-zan-ke-liu-jin-chan-zhi-lian-wen-hu-lu-shi-zhi-hu-yi-ming-245395","乾隆款银錾刻鎏金缠枝莲纹葫芦式执壶","此执壶取葫芦造型，暗合福禄吉意。以素银为地，局部鎏金錾饰缠枝莲纹，浅地起浮雕缠枝卷叶作为衬底，饱满金莲错落排布，主纹宝相花饱满雍容，尽显富丽堂皇。弯流与执柄衔接处以鎏金瑞兽点缀，线条灵动婉转，盖顶鎏金钮精巧端庄，银质的清冷与金饰的华贵相映成趣，将清代细作金银工艺的精湛造诣展现得淋漓尽致，雅致华贵又不失庄重气度，是清代宫廷风格金银器的上乘之作。",[84,85,86,87,88,89,90,7,43,28,91],"清代","银器","金器","錾刻","鎏金","缠枝莲纹","葫芦式","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88861ae0872ee43131dbae1c804e0f84.jpg",[],4,{"id":96,"slug":97,"title":98,"dynasty":18,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":109,"material":30,"size":31,"collection":47,"collections":110,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":35},245343,"yin-mei-zhu-ren-wu-tu-long-bing-dai-gai-zhi-hu-yi-ming-245343","银梅竹人物图龙柄带盖执壶","此执壶造型华贵精巧，龙形执柄矫健灵动，龙头探向壶口，似欲衔取壶中琼浆；盖顶瑞狮盘踞，鬃毛毕现威严雄健。鎏金壶嘴提亮器物色调，冷银暖金相映，撞出雅致的视觉层次。\n\n瓜棱形壶身錾刻梅竹人物图景，梅枝清逸、竹影萧萧，其间人物鲜活传神，将文人雅会的闲逸意趣融于银器之上。錾刻工艺细腻入微，衬得画面层次分明，把方寸间的小景勾勒得生动饱满。四足稳稳承托壶身，让整体形制庄重不失灵韵，尽显清代银作工艺的精湛水准，将瑞兽吉意与文人雅景巧妙融合，是一件匠心独具的银作珍品。",[85,7,101,102,103,104,105,106,87,88,107,108],"饮酒器","龙","瑞狮","梅","竹","人物","瓜棱形","文人雅会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3066668cd747814fe15f921a93728b94.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":67,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":117,"material":30,"size":31,"collection":32,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":120},262153,"long-quan-yao-qing-you-seng-mao-shi-zhi-hu-yi-ming-262153","龙泉窑青釉僧帽式执壶","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。",[23,44,7,101,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff106c72f77f6626856259184aac750d7.jpg",[32],3,"BDBDBD",{"id":122,"slug":123,"title":124,"dynasty":125,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":129,"material":30,"size":31,"collection":32,"collections":130,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":120},256693,"yue-yao-qing-you-zhi-hu-yi-ming-256693","越窑青釉执壶","唐","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[128,23,44,7,43],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d7dbd15ef9888f042a3f1e89f93e2e0.jpg",[32],{"id":132,"slug":133,"title":134,"dynasty":67,"author":19,"museum":20,"description":135,"tags":136,"thumbUrl":140,"material":30,"size":31,"collection":47,"collections":141,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":120},252755,"yu-ba-xian-wen-zhi-hu-yi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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。",[70,137,138,106,7,139],"玉石","雕刻","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64bfd27a50fa2b80be61076640cdf7e.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":149,"material":30,"size":31,"collection":47,"collections":150,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":120},281462,"yin-cha-ju-he-hua-wen-zhi-hu-yi-ming-281462","银茶具-荷花纹执壶","梨形壶身柔润秀雅，修长弯流与蜷曲执柄线条流转舒展。通体以高浮雕铺陈荷塘盛景，菡萏或绽或含，修长茎叶错落交织，将夏日莲池的清灵逸趣凝于银质肌理。盖顶兽钮精巧别致，执柄暗缀莲苞饰纹，细节呼应主题，浑然相融。经年岁月晕出深浅虹彩包浆，为冷硬银器晕开温润古意，将东方雅致审美熔铸于金属质感中，静诉旧时饮茶雅事的悠然意韵。",[85,28,7,148,138],"荷花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39556653fb548e7c5e8e9ddbed952083.jpg",[],2,{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":160,"material":30,"size":31,"collection":47,"collections":161,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":35},260932,"qing-hua-ren-wu-shou-zi-bo-gu-tu-zhi-hu-yi-ming-260932","青花人物寿字博古图执壶","青花瓷（blue 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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,28,7,328,329,330],"白釉","塑贴","蟠螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6203cbf0a98f7ad4896d2b1157306c27.jpg",[32],{"id":334,"slug":335,"title":336,"dynasty":125,"author":19,"museum":20,"description":337,"tags":338,"thumbUrl":339,"material":30,"size":31,"collection":47,"collections":340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},260033,"bai-you-shou-bing-zhi-hu-yi-ming-260033","白釉兽柄执壶","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。",[23,43,28,139,7,328,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79b0d8be23e3c7820c06d7ceef84fc.jpg",[],{"id":342,"slug":343,"title":344,"dynasty":18,"author":19,"museum":20,"description":345,"tags":346,"thumbUrl":348,"material":30,"size":31,"collection":47,"collections":349,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},259196,"huang-you-dai-gai-zhi-hu-yi-ming-259196","黄釉带盖执壶","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。",[23,101,7,347,43],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cd6f1f9cdb7c12d32da2d9393ba703.jpg",[],{"id":351,"slug":352,"title":353,"dynasty":67,"author":19,"museum":20,"description":156,"tags":354,"thumbUrl":359,"material":30,"size":31,"collection":47,"collections":360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},257145,"qing-hua-san-guo-wen-zhi-hu-yi-ming-257145","青花三果纹执壶",[70,23,57,355,228,356,357,358,7,101,196],"釉下彩","缠枝纹","果实","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ecdb5b56c078222a0f410be33fa758.jpg",[],{"id":362,"slug":363,"title":364,"dynasty":67,"author":19,"museum":20,"description":156,"tags":365,"thumbUrl":367,"material":30,"size":31,"collection":47,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},257136,"xuan-de-kuan-qing-hua-yun-long-wen-gua-leng-zhi-hu-yi-ming-257136","宣德款青花云龙纹瓜棱执壶",[70,23,57,102,366,167,7],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac65473eb7494cf1fe5e43d7c5afaf20.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":67,"author":19,"museum":20,"description":156,"tags":373,"thumbUrl":374,"material":30,"size":31,"collection":47,"collections":375,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},256373,"qing-hua-hua-hui-wen-zhi-hu-yi-ming-256373","青花花卉纹执壶",[70,23,57,355,358,59,356,237,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617c498461068faec977e569a042f6f1.jpg",[],{"id":377,"slug":378,"title":379,"dynasty":67,"author":19,"museum":20,"description":156,"tags":380,"thumbUrl":382,"material":30,"size":31,"collection":47,"collections":383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},256366,"qing-hua-hua-guo-wen-zhi-hu-yi-ming-256366","青花花果纹执壶",[23,57,381,7,101,28],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a62a53fdecad59d5a2b9bc6c98eb75.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":18,"author":19,"museum":20,"description":135,"tags":388,"thumbUrl":392,"material":30,"size":31,"collection":47,"collections":393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},252057,"qian-long-fang-gu-kuan-bi-yu-kui-long-wen-tian-ji-shi-zhi-hu-yi-ming-252057","乾隆仿古款碧玉夔龙纹天鸡式执壶",[84,389,138,137,390,391,7,43],"仿古","夔龙纹","天鸡式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7673fb22f7800767eecb9030a14496.jpg",[],{"id":395,"slug":396,"title":397,"dynasty":18,"author":19,"museum":20,"description":135,"tags":398,"thumbUrl":400,"material":30,"size":31,"collection":47,"collections":401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},251853,"hen-dou-si-tan-qing-yu-xiang-jin-qian-bao-shi-zhi-hu-yi-ming-251853","痕都斯坦青玉镶金嵌宝石执壶",[137,185,7,101,28,399],"镶金嵌宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa688e2e7a25e9893d53e72f3dae1dfaa.jpg",[],{"id":403,"slug":404,"title":405,"dynasty":18,"author":19,"museum":20,"description":135,"tags":406,"thumbUrl":409,"material":30,"size":31,"collection":47,"collections":410,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},251843,"hen-dou-si-tan-qing-yu-fu-diao-hua-hui-wen-zhi-hu-yi-ming-251843","痕都斯坦青玉浮雕花卉纹执壶",[407,408,138,137,183,7,28,43],"痕都斯坦风格","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b06a65ee2f75fa21545d186e282d49.jpg",[],{"id":412,"slug":413,"title":414,"dynasty":18,"author":19,"museum":20,"description":415,"tags":416,"thumbUrl":418,"material":30,"size":31,"collection":47,"collections":419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},251766,"bai-yu-gou-yun-wen-shuang-lian-bing-zhi-hu-yi-ming-251766","白玉勾云纹双连柄执壶","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。",[84,137,138,417,7,43],"勾云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc0f8139b74e13506388d594c7be5a5b.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":18,"author":19,"museum":20,"description":135,"tags":424,"thumbUrl":427,"material":30,"size":31,"collection":47,"collections":428,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":120},251569,"qing-yu-guang-su-ba-gua-wen-gai-ding-zhi-hu-yi-ming-251569","青玉光素八卦纹盖顶执壶",[137,84,425,426,138,28,7],"光素","八卦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb75b2f3eb960bf6d5bfb4d6a418caa4.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":67,"author":19,"museum":20,"description":135,"tags":433,"thumbUrl":436,"material":30,"size":31,"collection":47,"collections":437,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},251240,"qing-yu-lu-yan-wen-zhi-hu-yi-ming-251240","青玉芦雁纹执壶",[137,138,434,7,70,435,239],"芦雁","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128f29a3cb38918312c15fc31a3076c9.jpg",[],{"id":439,"slug":440,"title":441,"dynasty":67,"author":19,"museum":20,"description":135,"tags":442,"thumbUrl":445,"material":30,"size":31,"collection":47,"collections":446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},251232,"qing-yu-lian-hua-wen-huo-huan-zhi-hu-yi-ming-251232","青玉莲花纹活环执壶",[137,138,443,43,7,101,70,444],"莲花","活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2114ec9a4d2cf364cc1113465fae448a.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":18,"author":19,"museum":20,"description":415,"tags":451,"thumbUrl":454,"material":30,"size":31,"collection":47,"collections":455,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},250390,"hen-dou-si-tan-bai-yu-jiao-ye-wen-zhi-hu-yi-ming-250390","痕都斯坦白玉蕉叶纹执壶",[137,452,7,453,185,28,138],"白玉","蕉叶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893d58c4d5a9cb120e426070556478c.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":18,"author":19,"museum":20,"description":460,"tags":461,"thumbUrl":465,"material":30,"size":31,"collection":47,"collections":466,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},249729,"qia-si-fa-lang-jiao-ye-kai-guang-gou-lian-wen-zhi-hu-yi-ming-249729","掐丝珐琅蕉叶开光勾莲纹执壶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[462,205,7,453,463,464,18],"掐丝珐琅","开光纹","勾莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61b9eae65f20ee059243aa2128bf44b.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":18,"author":19,"museum":20,"description":471,"tags":472,"thumbUrl":478,"material":30,"size":31,"collection":47,"collections":479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},248566,"qian-long-kuan-zi-sha-tai-hei-qi-miao-jin-hua-die-wen-zhi-hu-yi-ming-248566","乾隆款紫砂胎黑漆描金花蝶纹执壶","此器以紫砂为胎，髹乌亮黑漆为底，以描金填彩技法装饰。鱼、蝙蝠、葫芦这类吉瑞纹样错落铺陈，暗含金玉满堂、福禄双全的美好祈愿。描金线条细腻流畅，朱彩点缀其间，在黑釉衬托下更显华贵雍容。\n\n器型饱满圆润，壶盖、柄与流搭配协调自然，兼具实用属性与陈设美感。它将紫砂的朴拙质感与漆艺的华丽精妙相融，尽显清代装饰工艺的精巧华贵，是一件匠心独到的工艺佳作。",[18,473,474,475,319,7,43,196,476,477],"紫砂","漆器","黑漆描金","花","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf3f99e23f71ea4487dd6868b433026.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":18,"author":19,"museum":20,"description":484,"tags":485,"thumbUrl":488,"material":30,"size":31,"collection":47,"collections":489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},248564,"qian-long-kuan-zi-sha-tai-hei-qi-miao-jin-hua-hui-wen-zhi-hu-yi-ming-248564","乾隆款紫砂胎黑漆描金花卉纹执壶","此器以紫砂为胎，通体髹黑漆为地，乌亮如镜，衬得描金纹饰愈发鲜亮夺目。金彩勾勒出的花卉饱满舒展，或盛放或含蕊，枝蔓轻盈缠绕，更有蛱蝶振翅穿梭其间，线条柔婉细腻，将秋日花景描摹得灵动鲜活。\n\n整体造型圆润饱满，壶身线条流转柔和，执柄与壶嘴比例合宜，握持趁手。朴拙紫砂胎骨与华贵漆金装饰相融，把文人紫砂的雅致与宫廷工艺的精巧完美结合，尽显雍容秀雅的气度，是髹漆紫砂工艺中的上乘之作。",[84,486,475,319,474,23,487,358,209,43,7],"紫砂胎","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64931576b4d276bc13052afb0aa2d592.jpg",[],{"id":491,"slug":492,"title":493,"dynasty":18,"author":19,"museum":20,"description":494,"tags":495,"thumbUrl":497,"material":30,"size":31,"collection":47,"collections":498,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},245531,"guang-xu-kuan-jin-zan-hua-zhi-hu-yi-ming-245531","光绪款金錾花执壶","此执壶取玉壶春身形制，线条舒展秀挺，曲流与执柄对称呼应，器型端庄雅致。周身以细金錾刻工艺妆点，器身浅刻卷草纹为地，开光内浮雕花鸟图景，灵动鲜活，生机盎然。\n\n流与柄的衔接处以镂空螭纹构件过渡，精巧华贵。盖顶圆珠钮以金链系于执柄之上，细节处尽显匠心。整体金水厚重匀净，光泽内敛温润，纹饰繁简相宜，既有皇家器物的威仪华贵，又暗含雅致隽永的审美意趣，是晚清细金工艺的上乘之作，尽显造办精湛水准。",[84,86,87,496,7,101,43],"錾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0c8f7af9a8f7fd21acdd2656f23a4e.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":18,"author":19,"museum":20,"description":503,"tags":504,"thumbUrl":507,"material":30,"size":31,"collection":47,"collections":508,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},245440,"yin-liu-kai-guang-shan-shui-ren-wu-hua-hui-tu-zhi-hu-yi-ming-245440","银六开光山水人物花卉图执壶","此壶银胎鎏金，龙首为盖钮、为执柄，龙威灵动，首尾呼应。六棱瓜腹分设开光，浅錾山水人物与折枝花卉。开光内，林泉间高士围坐晤谈，松石层峦衬出雅聚闲情，另一面缠枝花卉柔蔓舒展，花叶鲜活饱满。\n\n弯长鎏金壶流与卷云壸门足台相衬，刚柔并济。银色沉敛古雅，鎏金部分灿然明丽，明暗交错间尽显錾刻细作的精湛工艺，将瑞兽威仪与文人情趣融于一壶，尽显旧时手作的精妙意韵，是兼具雅玩意趣与匠造匠心的银作精品。",[85,138,237,505,106,358,102,7,84,506],"山水","装饰技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123dfc97f7889bf7fa43586f32fa6a0f.jpg",[],{"id":510,"slug":511,"title":512,"dynasty":18,"author":19,"museum":20,"description":513,"tags":514,"thumbUrl":518,"material":30,"size":31,"collection":47,"collections":519,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":77},245422,"yin-zan-ke-fu-shou-wen-zhi-hu-yi-ming-245422","银錾刻福寿纹执壶","器身修长高挺，穹顶盖顶托举圆珠钮，高挑弯管舒展出酒，龙首执柄遒劲灵动，尾缀卷云饰件，刚柔相衬，造型雅正大气。\n\n壶身以錾刻工艺饰蝙蝠环绕团寿纹，蝠谐音“福”，携着吉祥寓意环护团寿，云纹错落点缀其间，把对福寿绵长的祈愿凝于银身之上。岁月晕染出银质基底的旧泽，錾刻走线细腻入微，蝠翼纹理鲜活灵动，团寿线条周正饱满，将精巧工法与吉祥意趣相融，是兼具实用价值与美好寄寓的银作精品。",[84,85,87,515,516,517,7,101],"福纹","寿纹","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53744feaf57c7babd52cfbaf67e2338f.jpg",[],1777535710073]