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[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。",[52,27,36,53,54,55,7],"铜胎画珐琅","珐琅器","铜制","几何纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95bfe5dd35656ef0e3446415e2afd84c.jpg","未知","Xcm*Xcm",[],4,"795548",{"id":63,"slug":64,"title":65,"dynasty":66,"author":19,"museum":49,"description":67,"tags":68,"thumbUrl":87,"material":57,"size":58,"collection":39,"collections":88,"showCount":89,"zanCount":42,"manualWeight":11,"mainColor":61},250902,"qing-yu-long-er-mei-hua-wen-bei-yi-ming-250902","青玉龙耳梅花纹杯","明","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。 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。",[69,70,71,72,73,74,75,76,77,78,79,80,81,82,83,7,84,85,86],"玉石","雕刻","龙","梅","饮酒器","明代","青料","纹饰","杯形","龙耳","梅花纹","玉器","传统工艺","明代器物","浮雕","植物纹","瑞兽纹","实用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138cb255448765766da257cb423ade9.jpg",[],3,{"id":91,"slug":92,"title":93,"dynasty":48,"author":19,"museum":49,"description":94,"tags":95,"thumbUrl":102,"material":57,"size":58,"collection":39,"collections":103,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":61},248383,"hei-qi-qian-luo-dian-yun-long-wen-yuan-pan-yi-ming-248383","黑漆嵌螺钿云龙纹圆盘","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。",[96,97,98,71,99,100,101,81,7],"清代","漆器","嵌螺钿","云","圆盘","黑漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9c4b6af45a933d53a8cf8272670787.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":48,"author":19,"museum":49,"description":108,"tags":109,"thumbUrl":119,"material":57,"size":58,"collection":39,"collections":120,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":121},242036,"yin-du-jin-qian-bao-shi-ren-wu-wen-zan-yi-ming-242036","银镀金嵌宝石人物纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[96,110,111,112,113,114,115,116,117,118,70,7],"银镀金","嵌宝石","人物纹","饰品","镶嵌","镀金","珐琅","银器","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e4f043c329aaff64617c012d4e14a2.jpg",[],"FFFFFF",{"id":123,"slug":124,"title":125,"dynasty":48,"author":19,"museum":49,"description":126,"tags":127,"thumbUrl":135,"material":57,"size":58,"collection":39,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":43},258571,"qian-long-kuan-fen-cai-huang-di-ba-ji-xiang-wen-bi-yan-hu-yi-ming-258571","乾隆款粉彩黄地八吉祥纹鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[48,128,27,129,130,131,132,133,7,134],"粉彩","陶瓷","八吉祥纹","黄地","鼻烟壶","吉祥纹","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3242767fc15b9b45b01184675c95d7.jpg",[],2,{"id":139,"slug":140,"title":141,"dynasty":48,"author":19,"museum":49,"description":142,"tags":143,"thumbUrl":149,"material":57,"size":58,"collection":39,"collections":150,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":43},242071,"yin-du-jin-shou-zi-wen-liu-su-yi-ming-242071","银镀金寿字纹流苏","一种下垂的以五彩羽毛或丝线等制成的穗子，常用于舞台服装的裙边下摆等处。唐代妇女流行的头饰步摇，是其中一种。还有冕旒，帝王头上的流苏，以珍珠串成，按等级划分，数量有所不同。\n流苏又称穗子，为一种下垂的，以五彩羽毛或丝绒等扎成、如禾穗状的饰物，常见挂与帐中窗帘四角或玉佩扇子手柄。有道是“道家崇紫色，释门尚姜黄，才子香红佳人绿“，流苏，随风飘摇荡漾，传递着古雅与婉约的韵味。",[96,117,118,70,144,145,146,147,148,7],"金属工艺","寿字纹","流苏","珍珠","宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F765aa982885172f892d56a8df622a47a.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":155,"author":19,"museum":49,"description":156,"tags":157,"thumbUrl":171,"material":57,"size":58,"collection":39,"collections":172,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":61},226944,"xian-wen-xi-yi-ming-226944","弦纹洗","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。",[158,54,159,160,161,162,7,163,164,165,166,167,168,169,170,86],"青铜器","弦纹","三足","日用器","汉代","盥洗用具","三足器","古物","汉代器物","金属器","铜器","弦纹装饰","三足结构","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527e3f0b93c0d510ed3ec55daf34f1d.jpg",[],{"id":174,"slug":175,"title":176,"dynasty":48,"author":19,"museum":49,"description":177,"tags":178,"thumbUrl":182,"material":57,"size":58,"collection":39,"collections":183,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":184},224015,"du-jin-xiang-song-shi-zhai-jie-pai-fu-mu-zuo-yi-ming-224015","镀金镶松石斋戒牌（附木座）","斋戒牌，中国古代行斋戒礼时所置示警牌。明洪武五年（1372）令诸衙门各制作木斋戒牌，刻文于上，文为“国有常定，神有鉴焉”。\n凡行祭祀则设置。清沿明制，凡大祀、中祀皇帝致祭，事前应斋戒，由太常寺进斋戒牌。斋戒牌为木质，饰以黄纸，以清汉文书写斋戒日期。圜丘、祈谷、常雩，皇帝宿内廷斋宫，于乾清门设斋戒牌二日，置于黄案。坛所斋宫设斋戒牌一日。皇后亲蚕，亦进斋戒牌，由太常寺进递到乾清门交给内监，置于交泰殿。各衙门官员斋戒，大祀斋于公署，于大堂正中设案置斋戒红牌；中祀斋于私署。行祀之日各佩斋戒牌，不理刑名，不宴会，不作乐，不入内寝，不问疾吊丧，而有疾有服者不与戒",[118,114,179,180,113,36,181,7],"篆书","宗教","松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F587a2163dfd3ea3bff70dcaaa2bcc849.jpg",[],"BDBDBD",{"id":186,"slug":187,"title":188,"dynasty":189,"author":19,"museum":49,"description":190,"tags":191,"thumbUrl":196,"material":57,"size":58,"collection":39,"collections":197,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":184},289028,"louis-joseph-le-lorrain-study-for-a-vase-in-a-suite-yi-ming-289028","Louis 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Suite","不详","棕褐淡晕铺就沉静底色，笔线精准勾勒出古典祭瓶的庄重轮廓。器身浅浮雕暗藏古风叙事，人物纹饰带着庄重的仪式感，环绕的垂缎柔化石材冷硬，将肃穆与典雅揉为一体。稳重的层叠基座承托起瓶身，衬景的草木枝桠与轻描云气，为这件礼器晕染出静谧的纪念氛围。明暗层次细腻过渡，将石材厚重质感与织物垂坠柔感巧妙区分，既有理性克制的素描法度，又带着对古风器物的追慕，把祭瓶的仪式感与优雅风韵尽数铺展，沉静间尽显复古装饰的精妙张力。",[192,193,134,194,7,195],"素描","手绘","花瓶","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a3de3d127de8a0507c6e9824ed12c6.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":48,"author":19,"museum":49,"description":202,"tags":203,"thumbUrl":210,"material":57,"size":58,"collection":39,"collections":211,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":184},258527,"qian-long-kuan-fen-cai-ying-xi-tu-gai-guan-yi-ming-258527","乾隆款粉彩婴戏图盖罐","此罐描金饰彩，华贵雅致。盖钮作莲苞状，盖面、颈足部饰缠枝宝相花与回纹，勾勒出匀整富丽的边饰。\n器身通景婴戏图，孩童们或燃爆竹、或抬花灯，嬉游于蕉梅庭院间，神态灵动鲜活，衣色鲜妍明快，粉彩晕染柔润细腻，将稚子嬉闹的吉庆童趣铺陈开来。整器绘工精湛考究，把祥瑞意趣融于瓷绘，尽显彩瓷妍丽精巧的典型风貌，藏着旧时匠人的细腻巧思与雅致审美。",[96,129,128,27,204,205,206,207,208,209,33,7],"婴孩","树木","花草","回纹","缠枝纹","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff99ca14894554181f39cc59dd79f34d3.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":48,"author":19,"museum":49,"description":216,"tags":217,"thumbUrl":221,"material":57,"size":58,"collection":222,"collections":223,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},256732,"lang-yao-hong-you-xian-wen-ping-yi-ming-256732","郎窑红釉弦纹瓶","清代康熙后期景德镇官窑。康熙四十四年到五十一年（1705—1712），江西巡抚郎廷极在景德镇督造瓷器，故名。釉色以宝石红、宝石蓝、宝石绿最佳，宝石红有“郎窑红”之称。法国人称“牛血红”。在红釉中最杰出。洒蓝和霁蓝瓷，再上一道极薄釉子，然后加绘金花金彩，华丽静穆，匠心独运。素三彩创于此时。青花和斗彩也很有名。\n清初郎廷极所监督的江西景德镇窑及其所督造的瓷器之代称。其瓷器仿古暗合，摹仿明永乐、宣德红釉烧制，釉水颜色，桔皮砂眼几可乱真，款字也酷肖，极难辨识。刘廷玑《在园杂记》谈及此事，事距郎廷极督造瓷器时间很近，极可能系刘所目睹。",[129,36,218,159,219,96,220,7],"郎窑红釉","红釉","高温铜红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f31c0830e61ff62ee41d201c8af03f.jpg","瓷器精选",[222],{"id":225,"slug":226,"title":227,"dynasty":48,"author":19,"museum":49,"description":142,"tags":228,"thumbUrl":230,"material":57,"size":58,"collection":39,"collections":231,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},242115,"yin-du-jin-ji-qing-wen-liu-su-yi-ming-242115","银镀金吉庆纹流苏",[96,110,116,229,146,113,147,144,7],"吉庆纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7fdbcfb528f0a7b2a8a65a8ea20496.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":66,"author":19,"museum":49,"description":236,"tags":237,"thumbUrl":241,"material":57,"size":58,"collection":39,"collections":242,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":184},223944,"qing-hua-lian-tang-wen-jin-cai-wan-1-yi-ming-223944","青花莲塘纹金彩碗-1","青花瓷（blue 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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。",[129,238,239,74,240,32,36,7],"青花","金彩","莲塘纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3315ab0bd08d87b71acfdf53e2c17e76.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":48,"author":19,"museum":49,"description":236,"tags":247,"thumbUrl":251,"material":57,"size":58,"collection":39,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":184},258258,"qing-hua-you-li-hong-zhan-tuo-yi-ming-258258","青花釉里红盏托",[96,129,248,249,208,250,7,161],"青花釉里红","釉下彩","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf04da3f07c5a9d02e65d501d3a2ce.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":66,"author":19,"museum":49,"description":257,"tags":258,"thumbUrl":264,"material":57,"size":58,"collection":39,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},255043,"tao-zi-lv-you-fang-guan-yi-ming-255043","陶紫绿釉方罐","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。",[259,74,260,261,262,83,263,7],"陶器","紫绿釉","方形器","模印","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa699aa497bed2b73bcc2d2f1bcca453f.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":48,"author":19,"museum":49,"description":270,"tags":271,"thumbUrl":276,"material":57,"size":58,"collection":39,"collections":277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},250084,"qia-si-fa-lang-kai-guang-fu-qing-wen-hai-tang-shi-hua-pen-yi-ming-250084","掐丝珐琅开光蝠磬纹海棠式花盆","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”。",[272,273,274,275,53,36,96,27,7],"掐丝珐琅","开光","蝙蝠","磬纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a95ffc9ef2ccfb9bf33a1a14d88dc6.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":48,"author":19,"museum":49,"description":282,"tags":283,"thumbUrl":284,"material":57,"size":58,"collection":39,"collections":285,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},250082,"tong-shao-lan-mei-hua-shi-hua-pen-yi-ming-250082","铜烧蓝梅花式花盆","敞口敛腹，五足承托，造型柔婉舒展，兼具置物实用与陈设雅趣。器身以鎏金为底，填饰烧蓝与紫料缠枝宝相花，瓣叶饱满妍丽，蓝紫撞色鲜明华贵。口沿与足部錾刻回纹、卷草，细节精巧入微。烧蓝匀净莹润，鎏金厚重亮泽，将宫廷重工珐琅的精致感尽数铺展，雍容雅致藏于静穆器形之中，尽显清代金属细作的审美意趣与工艺造诣。",[48,53,54,272,36,32,160,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166f9ed92e0b278859efea76658f80a6.jpg",[],{"id":287,"slug":288,"title":289,"dynasty":48,"author":19,"museum":49,"description":290,"tags":291,"thumbUrl":295,"material":57,"size":58,"collection":39,"collections":296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},249012,"qian-long-kuan-hua-fa-lang-tuan-jin-hua-wen-gai-guan-yi-ming-249012","乾隆款画珐琅团锦花纹盖罐","以素白珐琅为底，铺陈繁复团锦纹饰。宝相花居中舒展，缠枝柔蔓回环绕簇，彩蝶翩跹点缀其间，各色纹饰错落排布，繁而不乱。填色饱满鲜亮，以蓝、金彩勾勒轮廓，晕染细腻明丽，糅合西洋珐琅的明艳质感与中式吉祥纹样的典雅意趣。盖顶鎏金宝珠钮精巧雅致，口沿、足部以彩釉饰边，呼应整体华贵气韵。器型丰腴端庄，将宫廷审美中的妍丽精致藏进每一处釉色纹路，尽显工艺精妙造诣。",[53,292,96,293,294,27,7],"画珐琅","团锦花纹","盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0a7b47aad6538964c333817843fe3.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":48,"author":19,"museum":49,"description":301,"tags":302,"thumbUrl":307,"material":57,"size":58,"collection":39,"collections":308,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},246971,"qian-long-kuan-ti-hong-shou-chun-tu-kai-guang-shan-shui-ren-wu-tu-yuan-he-yi-ming-246971","乾隆款剔红寿春图开光山水人物图圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[96,97,303,70,273,304,209,305,306,134,7],"剔红","山水","寿字","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90986d68eb331cf3ad9d53bd2de57b24.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":313,"author":19,"museum":49,"description":314,"tags":315,"thumbUrl":319,"material":57,"size":58,"collection":39,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},245467,"yin-zan-ke-hua-cha-yi-ming-245467","银錾刻花插","元","青铜器历史主要是夏商周三代，到宋朝徽宗以后，就很少有青铜器的制造了。",[313,117,316,317,134,7,144,318],"錾刻","刻花","古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51fd394d9796b343d9eec4a65db64c0d.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":155,"author":19,"museum":49,"description":325,"tags":326,"thumbUrl":334,"material":57,"size":58,"collection":39,"collections":335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},244448,"si-shen-wen-jing-yi-ming-244448","四神纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[158,54,70,327,71,328,162,76,329,330,83,331,165,332,167,333,7,134],"四神","兽","青铜镜","传统纹样","圆形器","汉代风格","神兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1946babf13bcef7cf4b73a3f34fc04f7.jpg",[],{"id":337,"slug":338,"title":339,"dynasty":48,"author":19,"museum":49,"description":340,"tags":341,"thumbUrl":345,"material":57,"size":58,"collection":39,"collections":346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},243256,"mu-bing-su-jing-yi-ming-243256","木柄素镜","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。",[96,97,342,70,343,344,113,7,32],"木质","描金","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a643502802ea23fd160bd6fdba9ac9a.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":48,"author":19,"museum":49,"description":351,"tags":352,"thumbUrl":358,"material":57,"size":58,"collection":39,"collections":359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},242140,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242140","铜镀金点翠嵌珠宝双喜纹钿花","用金、银、玉、贝等做成的花朵状装饰品。",[96,54,353,354,355,144,356,357,7,113],"金饰","点翠工艺","嵌珠宝","珠宝镶嵌","双喜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e9d346d6d4dc3e05b94d51d79d7e9e8.jpg",[],{"id":361,"slug":362,"title":363,"dynasty":48,"author":19,"museum":49,"description":364,"tags":365,"thumbUrl":370,"material":57,"size":58,"collection":39,"collections":371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},241856,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241856","玳瑁镶金嵌珠宝镯","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[96,366,118,367,114,368,369,113,34,7],"玳瑁","珠宝","嵌宝","镶金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598c4aafe3b43546a48b50a649d1cbbe.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":48,"author":19,"museum":49,"description":50,"tags":376,"thumbUrl":380,"material":57,"size":58,"collection":39,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":184},229940,"tong-fa-lang-ping-yi-ming-229940","铜珐瑯瓶",[96,54,53,377,134,378,379,7,27],"珐琅工艺","瓶形","吉祥图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e33e769c1b36da5718cc4101d4c4ff1.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":48,"author":19,"museum":49,"description":50,"tags":386,"thumbUrl":390,"material":57,"size":58,"collection":39,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},229398,"tong-tai-lan-di-fa-lang-wan-yi-ming-229398","铜胎蓝地珐瑯碗",[48,387,388,27,389,7,36],"铜胎","珐瑯器","蓝地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77ad92b8b16ccdf309e9b906ae870d3.jpg",[],1777535716581]