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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。",[166,167,168,29,28,7,169,30],"清代","陶瓷","粉彩","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc8b379b47a6cbb0affdb5e7da049bc.jpg",[],16,{"id":174,"slug":175,"title":176,"dynasty":48,"author":177,"museum":111,"description":178,"tags":179,"thumbUrl":182,"material":118,"size":119,"collection":120,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":43},236693,"zhi-ji-mei-hua-shan-zhang-cui-236693","雉鸡梅花扇","张萃","此作为金笺扇面，工写兼施。虬曲梅干苍劲老辣，苔点皴染尽显风霜古意，淡色晕染梅花，瓣色清透柔丽，枝桠舒展暗合章法。坡石下雉鸡身形半掩花丛，翎羽晕染细腻，姿态安然灵动，自带野逸之趣。\n\n左上角题款笔墨清雅秀润，朱红印信点缀留白，令画面虚实相生更显和谐。整体画风明秀隽雅，兼具文人写意的疏淡意韵与院体写生的细腻工致，将春日梅间幽寂生机尽显于尺幅扇面之中。",[25,180,116,28,7,31,181,133],"扇面","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c53a858b847f01a0496b129b30c09f0.jpg",[],13,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":111,"description":191,"tags":192,"thumbUrl":200,"material":118,"size":119,"collection":201,"collections":202,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":43},225951,"hunting-trophy-1862-mo-nai-225951","Hunting 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