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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 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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。",[196,500,501,502,503,504,505,506,507,508,490,509,510,511,7,357],"金点翠","嵌珠宝","嵌翠玉","饰品","金饰","玉石","金属工艺","吉祥纹样","福寿纹样","翠玉镶嵌","点翠工艺","嵌宝工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a71ba21d2fa9c8b85cb28988e30cfb.jpg",[],{"id":515,"slug":516,"title":517,"dynasty":69,"author":19,"museum":20,"description":518,"tags":519,"thumbUrl":522,"material":36,"size":37,"collection":38,"collections":523,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":112},256780,"qing-you-feng-shou-long-bing-hu-yi-ming-256780","青釉凤首龙柄壶","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。”",[73,430,520,199,317,318,215,521,7],"青釉","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f92d93059e40da186837d9846dbaa3.jpg",[],3,{"id":526,"slug":527,"title":528,"dynasty":97,"author":19,"museum":20,"description":529,"tags":530,"thumbUrl":535,"material":36,"size":37,"collection":38,"collections":536,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":64},226693,"xiang-lu-yi-ming-226693","香炉","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。",[102,430,215,531,532,533,7,534],"点彩","白釉","黑彩","日用器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c001dd86d5b34754dde0a0511a26be.jpg",[],{"id":538,"slug":539,"title":540,"dynasty":69,"author":19,"museum":47,"description":85,"tags":541,"thumbUrl":543,"material":36,"size":37,"collection":38,"collections":544,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":64},226384,"ku-zhu-shi-dong-bi-yi-ming-226384","窟主室东壁",[50,28,26,29,542,7],"车马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bc820f26f3246f056bb7795a256d34.jpg",[],{"id":546,"slug":547,"title":448,"dynasty":69,"author":19,"museum":47,"description":85,"tags":548,"thumbUrl":549,"material":36,"size":37,"collection":38,"collections":550,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":64},226305,"ku-zhu-shi-xi-pi-yi-ming-226305",[50,28,26,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc03250ac6a7fa13a90c223a21476c995.jpg",[],{"id":552,"slug":553,"title":84,"dynasty":69,"author":19,"museum":47,"description":85,"tags":554,"thumbUrl":557,"material":36,"size":37,"collection":38,"collections":558,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":64},226296,"ku-yong-dao-ding-bu-yi-ming-226296",[73,50,26,7,555,556],"甬道顶部","残存彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4901b713e8421a9c3341c9a7de7e034c.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":46,"author":19,"museum":20,"description":563,"tags":564,"thumbUrl":568,"material":36,"size":37,"collection":38,"collections":569,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":112},288687,"attributed-to-andre-s-de-melgar-grotesque-of-winged-female-term-and-bird-creature-yi-ming-288687","attributed 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Tomb2","整体兼具庄重纪念性与巴洛克装饰意趣。上方以浅浮雕胸像为核心，俏皮的小爱神静立旁侧，姿态舒展的拟人化缪斯坐于碑顶，柔美的雕塑形态辅以细腻的光影晕染，将石材的温润质感表现得淋漓尽致。碑身以涡卷雕饰与面具浮雕点缀铭文区域，华丽又不失肃穆。下方附带标注尺寸的立面细节，尽显设计的严谨周全，让这份设计不仅是饱含哀思的纪念造物，更是一件兼具美学观赏性与实用功能性的古典设计佳作。",[720,721,722,597,406,723,7],"墓碑设计","雕塑","人物像","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4909a348a0ddb1d798cfad44a860d952.jpg",[],"F48FB1",{"id":728,"slug":729,"title":730,"dynasty":46,"author":19,"museum":20,"description":731,"tags":732,"thumbUrl":737,"material":36,"size":37,"collection":38,"collections":738,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":64},288749,"school-of-raphael-fragment-of-a-tapestry-cartoon-foot-in-a-buskin-yi-ming-288749","School of Raphael--Fragment of a Tapestry Cartoon Foot in a 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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[488,787,846,503,7,506],"珐琅工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3976de4a357942c9d2dabc772291a38e.jpg",[],{"id":850,"slug":851,"title":852,"dynasty":46,"author":403,"museum":20,"description":404,"tags":853,"thumbUrl":865,"material":36,"size":37,"collection":38,"collections":866,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":64},232512,"he-er-bai-yin-171-he-er-bai-yin-232512","荷尔拜因171",[406,854,855,856,59,857,699,858,859,7,860,861,862,863,127,864],"写实","明暗表现","线条勾勒","人物群像","柱式结构","拱门装饰","长袍服饰","场景构图","单色设色","细节刻画","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a09c10ef1566e7df0555a3a4c7c86a8.jpg",[],{"id":868,"slug":869,"title":870,"dynasty":46,"author":403,"museum":20,"description":404,"tags":871,"thumbUrl":880,"material":36,"size":37,"collection":38,"collections":881,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},232501,"he-er-bai-yin-160-he-er-bai-yin-232501","荷尔拜因160",[28,29,105,872,873,874,7,875,876,877,878,879,57,672],"建筑","柱式","拱门","圣婴","圣母","服饰褶皱","古典建筑细节","素描线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632b6584b83162a9ec7903481129b9da.jpg",[],{"id":883,"slug":884,"title":885,"dynasty":46,"author":403,"museum":20,"description":404,"tags":886,"thumbUrl":891,"material":36,"size":37,"collection":38,"collections":892,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":64},232431,"he-er-bai-yin-90-he-er-bai-yin-232431","荷尔拜因90",[105,406,29,887,888,874,7,872,889,417,890],"盔甲","盾牌","风景","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65212f104130616ff5b6f4e9f815d6b.jpg",[],{"id":894,"slug":895,"title":896,"dynasty":46,"author":403,"museum":20,"description":404,"tags":897,"thumbUrl":899,"material":36,"size":37,"collection":38,"collections":900,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},232427,"he-er-bai-yin-86-he-er-bai-yin-232427","荷尔拜因86",[28,29,898,696,105,406,7],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa165a11a10bbf4488cccd2013e23fcc.jpg",[],{"id":902,"slug":903,"title":384,"dynasty":69,"author":19,"museum":47,"description":85,"tags":904,"thumbUrl":907,"material":36,"size":37,"collection":38,"collections":908,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":64},226439,"ku-zhu-shi-dong-pi-yi-ming-226439",[905,50,28,26,29,906,7],"名画","千佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe12f924d69cfe320c031bb57d544ccd.jpg",[],{"id":910,"slug":911,"title":156,"dynasty":69,"author":19,"museum":47,"description":85,"tags":912,"thumbUrl":915,"material":36,"size":37,"collection":38,"collections":916,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},226381,"ku-yong-dao-nan-bi-yi-ming-226381",[50,26,28,73,913,914,7],"残损","人物(残)","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b726d861debd4c2f6b77c1c1198e36.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":193,"author":19,"museum":20,"description":921,"tags":922,"thumbUrl":925,"material":36,"size":37,"collection":38,"collections":926,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},223983,"chun-bo-er-ti-jin-sha-yi-ming-223983","椿伯尔提锦纱","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。",[196,322,588,7,264,320,923,924],"传统工艺","织作技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfbf676c95e0e1559a2c7a9d674f640.jpg",[],{"id":928,"slug":929,"title":930,"dynasty":97,"author":19,"museum":20,"description":931,"tags":932,"thumbUrl":935,"material":36,"size":37,"collection":38,"collections":936,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":64},223908,"yin-hua-chang-chun-ji-yang-hua-shi-pan-yi-ming-223908","印花长春吉羊花式盘","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[97,430,933,215,934,87,532,7],"印花","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f9279a3deb756459df28faccc11f69.jpg",[],{"id":938,"slug":939,"title":940,"dynasty":193,"author":19,"museum":20,"description":941,"tags":942,"thumbUrl":946,"material":36,"size":37,"collection":38,"collecti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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。",[196,1152,1198,1199,1200,199,7],"剔彩","锦纹","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c154876d2f7a0ff65a5f1e9437f302.jpg",[],{"id":1204,"slug":1205,"title":1206,"dynasty":193,"author":19,"museum":20,"description":1207,"tags":1208,"thumbUrl":1211,"material":36,"size":37,"collection":38,"collections":1212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},245353,"jin-tai-qian-hua-fa-lang-zhi-hu-yi-ming-245353","金胎嵌画珐琅执壶","整体造型雍容端雅，鎏金执柄、长流与珊瑚盖钮交相辉映，华贵中带着温润雅致。湖蓝地掐丝珐琅缠枝宝相花繁丽规整，金彩勾勒下更显富丽堂皇。\n\n开光之内的画珐琅仕女图景笔触柔细，仕女温婉娴静，庭院花木、窗棂布景写实雅致，晕染柔润自然，将闺中幽居的悠然意趣细腻呈现。掐丝珐琅的重工华贵与画珐琅的清雅写实相融，尽显顶尖造办工艺水准，将盛世奢华审美与文人雅致意趣精妙合璧。",[787,799,1209,26,27,29,214,317,7,1210,200,199],"金胎嵌","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753fc6a712b59f70867f3fd25c538691.jpg",[],{"id":1214,"slug":1215,"title":1216,"dynasty":1217,"author":19,"museum":20,"description":1218,"tags":1219,"thumbUrl":1226,"material":36,"size":37,"collection":38,"collections":1227,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},244869,"xian-wen-wan-yi-ming-244869","弦纹碗","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[1220,1221,1222,1223,1224,7,1210,1225],"青铜器","弦纹","汉代","日用器","铜制","单柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F972471c378d8b35b79bd4f75be59919a.jpg",[],{"id":1229,"slug":1230,"title":1231,"dynasty":97,"author":19,"museum":20,"description":529,"tags":1232,"thumbUrl":1242,"material":36,"size":37,"collection":38,"collections":1243,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},243779,"cuo-jin-yin-ping-yi-ming-243779","错金银瓶",[1233,1220,1224,199,1234,578,1235,1236,1237,1238,7,1239,1240,1241],"错金银","兽形","宋式风格","错金银工艺","兽形器物","金属雕刻","带翼兽","铜器错金银","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb127f0a33560f1dece6db1586942c44.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":193,"author":19,"museum":20,"description":1248,"tags":1249,"thumbUrl":1255,"material":36,"size":37,"collection":38,"collections":1256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},243278,"bo-shan-lu-yi-ming-243278","博山炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[196,1220,1224,199,775,1250,1251,1252,1253,723,1254,7,812],"陈设器","熏香器","立体造型","镂空工艺","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab5e6060be9751aec02551a8ceb289c.jpg",[],{"id":1258,"slug":1259,"title":1260,"dynasty":193,"author":19,"museum":20,"description":1261,"tags":1262,"thumbUrl":1264,"material":36,"size":37,"collection":38,"collections":1265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},229942,"tong-fa-lang-wan-yi-ming-229942","铜珐瑯碗","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[196,1224,943,846,26,7,1263,812],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47267de90dc1a6655a6626ab48a1335.jpg",[],{"id":1267,"slug":1268,"title":1269,"dynasty":193,"author":19,"museum":20,"description":1261,"tags":1270,"thumbUrl":1271,"material":36,"size":37,"collection":38,"collections":1272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},229714,"qia-si-fa-lang-tian-ji-zun-yi-ming-229714","掐丝珐瑯天鸡尊",[786,787,299,788,625,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871329e07135fc047c673659a376c95f.jpg",[],{"id":1274,"slug":1275,"title":1276,"dynasty":193,"author":19,"museum":20,"description":1261,"tags":1277,"thumbUrl":1280,"material":36,"size":37,"collection":38,"collections":1281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},229542,"tong-fa-lang-wu-gong-zhu-tai-yi-ming-229542","铜珐瑯五供（烛台）",[193,1224,787,1278,7,26,1279],"烛台","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1836d1217b2f455f4044d589b7ca583.jpg",[],{"id":1283,"slug":1284,"title":1276,"dynasty":193,"author":19,"museum":20,"description":1261,"tags":1285,"thumbUrl":1287,"material":36,"size":37,"collection":38,"collections":1288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},229397,"tong-fa-lang-wu-gong-zhu-tai-yi-ming-229397",[196,787,1224,1278,846,26,87,1286,1109,7],"铜胎珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb224cfbfb888b0e8cf925106e7b59c08.jpg",[],{"id":1290,"slug":1291,"title":1292,"dynasty":193,"author":19,"museum":20,"description":941,"tags":1293,"thumbUrl":1294,"material":36,"size":37,"collection":38,"collections":1295,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},229356,"fen-cai-ci-ya-qian-tong-5-yi-ming-229356","粉彩瓷牙签筒-5",[196,1080,430,215,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8645098bce4cf575a9c5fad82dc8f43.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":193,"author":19,"museum":20,"description":941,"tags":1300,"thumbUrl":1301,"material":36,"size":37,"collection":38,"collections":1302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},229352,"fen-cai-ci-ya-qian-tong-10-yi-ming-229352","粉彩瓷牙签筒-10",[430,1080,215,487,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f767d96da1250d1b866f47ec6a63ad.jpg",[],{"id":1304,"slug":1305,"title":617,"dynasty":193,"author":618,"museum":20,"description":1306,"tags":1307,"thumbUrl":1308,"material":36,"size":37,"collection":38,"collections":1309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},229044,"qing-long-yue-wu-ce-qing-ren-229044","此册以深沉玄色为底，泥金题字点缀其上，古雅庄重。细密规整的回纹环绕板面，勾勒出端庄雅致的边框形制，尽显工整考究。汉、满双语题字笔致端方秀挺，竖排线格留白疏朗有致，暗合礼制中的规整肃穆之意。\n泥金在墨色衬托下愈显莹润亮眼，装帧工艺精湛华贵，细节间流露着宫廷仪典的庄严气度，将传统装帧美学与礼制内涵融于一体，尽显清代宫廷工艺的精妙考究，自带沉静典雅的皇家仪范。",[25,621,74,76,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6fca3f4e593ad5ce9493a406b8eb5.jpg",[],1777535703823]