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显旧时工艺的内敛雅致。它曾婉转奏响丝竹雅音，如今静默伫立，仍能让人遥想往昔雅集间的清越笛音，是兼具审美性与实用性的古物遗存。",[267,125,7],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b386e26c24365d9635636260d7b81b3.jpg",[],{"id":271,"slug":272,"title":273,"dynasty":18,"author":19,"museum":20,"description":274,"tags":275,"thumbUrl":280,"material":48,"size":49,"collection":29,"collections":281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},275430,"zhu-hong-qi-miao-jin-duo-lian-wen-long-xing-di-yi-ming-275430","竹红漆描金朵莲纹龙形笛","此笛以竹为骨，龙首作吹口，鬃须张弛、鳞爪分明，描金晕染出威灵神态，蜷曲身形宛若游龙将醒。通体髹朱红漆地，以描金绘就朵莲，顺着竹节依次铺陈，朱赤与赤金交相辉映，华贵雅致。\n它将雕刻、髹漆与描金工艺相融，把礼乐之用与工艺美学结合，瑞龙衔音、莲纹缀身，让朴素竹材蜕变为兼具雅韵与威仪的工艺精品，藏着旧时匠人精妙的造物巧思。",[267,276,277,7,125,278,24,279],"笛","龙","描金","朵莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F514f883d06ea39b32cb3b5af1eea1dfc.jpg",[],{"id":283,"slug":284,"title":273,"dynasty":18,"author":19,"museum":20,"description":285,"tags":286,"thumbUrl":288,"material":48,"size":49,"collection":29,"collections":289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},275429,"zhu-hong-qi-miao-jin-duo-lian-wen-long-xing-di-yi-ming-275429","龙首昂然为笛首，鳞纹肌理刻画入微，将清雅乐器与瑞兽威仪相融。朱红漆底鲜亮沉凝，描金勾勒朵莲缠枝纹饰，分段排布于竹身之上，金红交辉，古雅华贵。作为竹制雅器，它兼顾吹奏实用，又以重工髹饰承载传统审美，匠造精工与礼乐意趣合二为一，尽显清代手工技艺的雅致格调。",[267,125,7,278,277,24,287,279],"笛子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38aa7308f1abcccc862079bf88858315.jpg",[],{"id":291,"slug":292,"title":273,"dynasty":18,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":296,"material":48,"size":49,"collection":29,"collections":297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},275426,"zhu-hong-qi-miao-jin-duo-lian-wen-long-xing-di-yi-ming-275426","此笛以苍龙塑型，昂首为吹口，尾盘作出音之处，将器乐巧化为龙躯，构思奇巧灵妙。\n朱红漆为地，描金朵莲纹环饰笛身，赤金纹饰在红地之上鲜亮夺目，华贵雍容。竹胎髹漆既稳固材质，更凭饰纹点亮气韵，匠人之巧思藏于每一处细节，将实用器乐与陈设雅玩合二为一，尽显清代工艺的雅致考究，古韵悠长。",[267,7,125,278,295,279,24,287],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c202ecedbe856a024b03d487303fe4d.jpg",[],{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":20,"description":302,"tags":303,"thumbUrl":305,"material":48,"size":49,"collection":29,"collections":306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},275421,"zhu-hong-qi-miao-jin-yun-long-wen-xiao-yi-ming-275421","竹红漆描金云龙纹箫","整器以竹为胎，髹朱红漆为地，描金饰云龙纹。金龙身姿矫健，鳞爪宛然灵动，祥云迤逦相随，线条细腻流畅，金彩与红底交相辉映，华贵雍容之感扑面而来。\n漆面匀净莹润，历经岁月仍鲜亮动人，尽显髹漆描金工艺的精湛造诣。它既是可奏出清雅之声的礼乐雅器，亦是装饰精美的工艺珍品，将传统漆艺与乐器形制精妙结合，承载着对华贵雅致的审美追求，融实用与赏玩为一体，尽显古雅雍容的东方意趣。",[267,304,7,125,278,295],"箫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84482544844b513f0a48795b7f0e8d1c.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":18,"author":19,"museum":20,"description":311,"tags":312,"thumbUrl":316,"material":48,"size":49,"collection":29,"collections":317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":318},273589,"ban-zhu-qi-mian-yi-yi-ming-273589","斑竹漆面椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[313,125,46,7,314,315],"椅子","菊纹","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02dfe893697d84cc64e5140b803c46db.jpg",[],"FFFFFF",{"id":320,"slug":321,"title":322,"dynasty":18,"author":19,"museum":20,"description":323,"tags":324,"thumbUrl":329,"material":48,"size":49,"collection":29,"collections":330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},273182,"hei-pi-qian-tong-du-jin-zhu-bing-qiao-dao-yi-ming-273182","黑皮嵌铜镀金竹柄鞘刀","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。”",[325,326,327,7,328],"兵器","鞘刀","铜镀金","皮质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a78adc2ba8ee0651955d63d842186df.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":18,"author":19,"museum":20,"description":335,"tags":336,"thumbUrl":339,"material":48,"size":49,"collection":29,"collections":340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},272633,"cheng-fen-wen-ju-wen-zhu-duo-sheng-pan-yi-ming-272633","成份文具-文竹多盛盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[63,62,24,7,170,337,338,110,46],"墨","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8115e473e3323a7dadd4ed114fb6291.jpg",[],{"id":342,"slug":343,"title":344,"dynasty":18,"author":19,"museum":20,"description":345,"tags":346,"thumbUrl":347,"material":48,"size":49,"collection":29,"collections":348,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},272555,"zhu-guan-bi-yi-ming-272555","竹管笔","此笔以素竹为管，肌理匀净温润，带着竹材天然的清雅质感。笔管阴刻题字，刀工简雅古拙，晕开旧时书卷意蕴。笔头为兼毫制就，锋颖饱满挺括，青褐双色毫料层次分明，可见制工的精妙考究。\n\n它如案头君子，静静沉淀着旧时文房的风雅余韵，藏着昔人铺纸挥毫、笔走龙蛇的悠悠过往。历经岁月摩挲，依旧带着沉静文雅的质感，将实用匠心与文人审美相融，是文房雅器里兼具意趣与工艺的典范。",[170,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91fca9f6f2e63040290e0d700f4ea082.jpg",[],{"id":350,"slug":351,"title":352,"dynasty":18,"author":19,"museum":20,"description":353,"tags":354,"thumbUrl":356,"material":48,"size":49,"collection":29,"collections":357,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},272023,"zhu-guan-lan-ting-shang-lang-hao-bi-yi-ming-272023","竹管兰亭赏狼毫笔","此笔取天然竹为管，色泽温黄莹润，质感细腻古朴，管身阴刻题字，古意暗藏。狼毫笔头锋颖修长饱满，毛色沉褐鲜亮，可见选料严苛、做工匀整。\n整体形制洗练雅致，无过多修饰，尽显文房雅器的清简风骨，暗合传统文人审美意趣。虽经岁时摩挲，依旧气韵完好，静静诉说着旧时案头研墨挥毫的风雅日常，是传统制笔工艺匠心的凝练载体。",[170,355,7,62],"狼毫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10feebeb36dc29aaf0c908ccd25c37e.jpg",[],{"id":359,"slug":360,"title":361,"dynasty":18,"author":19,"museum":20,"description":362,"tags":363,"thumbUrl":366,"material":48,"size":49,"collection":29,"collections":367,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},271663,"zhu-guan-ge-wu-sheng-ping-yang-hao-bi-yi-ming-271663","竹管歌舞升平羊毫笔","此笔取竹为管，色泽匀净温润，浅镌题字清秀雅致，晕开淡远文趣。金属笔斗素洁修长，挺括质感中和竹的清逸，形制简约协调，尽显制笔工艺的含蓄考究。羊毫笔锋柔润饱满，适配多样书体书写，兼顾实用与赏玩。整器无繁复修饰，将竹之清雅与金属之挺括相融，暗合悠然升平之意，藏着旧时文人挥毫时的静好雅致。",[170,7,364,365],"羊毫","歌舞升平","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad95a0b05f2f10161ed9c47de586b4b3.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":18,"author":19,"museum":20,"description":372,"tags":373,"thumbUrl":375,"material":48,"size":49,"collection":29,"collections":376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},271088,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shi-liu-hua-shi-bi-yi-ming-271088","各式御制花卉诗管紫毫笔-竹管石榴花诗笔","竹管莹润修长，浅镌诗文，将文思与工巧藏于素朴纹理间，笔韵墨意暗流于方寸之上。笔帽烫绘石榴花，榴华灼灼，暗寓多子嘉祥的美好意涵。首尾以骨质饰件镶嵌，凝润素雅，中和竹材的清朴质感。紫毫笔锋颖锐齐整，攒束精良，尽显制笔工艺的精妙。\n\n整器兼具实用与赏玩之趣，将题咏、雕刻与文房雅器合而为一，尽显旧时文房清隽雅致的审美意韵，藏着传统文人的闲情雅思，亦见匠人造物的极致用心。",[170,7,24,374,171,62],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d7fd81a23157d4b40970d7fc8cc9ec.jpg",[],{"id":378,"slug":379,"title":380,"dynasty":18,"author":19,"museum":20,"description":381,"tags":382,"thumbUrl":383,"material":48,"size":49,"collection":29,"collections":384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},271054,"zhu-guan-ti-hong-dou-zi-hao-ti-bi-yi-ming-271054","竹管剔红斗紫毫提笔","管身取天然竹材，色泽温莹淡黄，肌理素净细腻，带着草木原生的清雅质感。剔红笔斗朱红沉润，刀工匀整凝练，与竹管的浅淡色调相映成趣，明暗撞色晕开复古意蕴。紫毫笔尖锋颖挺括，毛质油亮紧实，选材考究精良。\n整支笔形制秀雅内敛，将文房器物的实用与赏玩相融，质朴中藏着华贵细节，尽显旧时文房的雅致意趣，晕染出往昔笔墨相伴的悠然日常。",[170,125,62,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387375d512d9c769edb2d0efd46ec432.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":18,"author":19,"museum":20,"description":389,"tags":390,"thumbUrl":393,"material":48,"size":49,"collection":29,"collections":394,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":115},271009,"cheng-fen-wen-ju-zhu-gen-diao-shui-cheng-yi-ming-271009","成份文具-竹根雕水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[7,24,391,86,392,232],"文具","水丞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb647d576727b94e93dbd65eda69d4a.jpg",[],{"id":396,"slug":397,"title":398,"dynasty":18,"author":19,"museum":20,"description":399,"tags":400,"thumbUrl":401,"material":48,"size":49,"collection":29,"collections":402,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},270949,"cheng-fen-wen-ju-zhu-guan-wei-jing-wei-yi-zi-hao-bi-yi-ming-270949","成份文具-竹管惟精惟一紫毫笔","此笔以素竹为管，肌理温润匀净，不着华饰，自带清简雅致的文房气韵，管身题字隽秀，暗合文人修身治学的心境。紫毫笔头锋颖锐利挺健，色呈青褐，捆扎紧实，是专为小楷细书打造的佳器。整体形制简约克制，尽显旧时文房器物重实尚雅的审美意趣，静静伫立间，仿佛仍能窥见往昔案头研墨挥毫的风雅余韵，将文人内敛沉静的笔墨心事藏于一身，是兼具实用价值与审美意涵的文房好物。",[170,62,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f5a783a3836998d8ab149389e068fb.jpg",[],{"id":404,"slug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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 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[712,82,24,25,28,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a3d6f367f6ff1699de216df56a5e54.jpg",[],1777535706498]