天地绚烂，"万相"多彩。 青瓷盘中一抹天青、宫墙深处那道朱砂、水墨卷首几点赭石……中国色彩，从不只是视网膜上的波长，而是文明长河中沉淀的意象、哲学与情 感。 南京博物院正在举行的"万相——中国传统色彩之美"展览，挑选百余件凝固传统色彩的院藏珍品，涵盖瓷器、漆器、金器、宝石、书画、织物 等多类型，展现东方美学的细腻与恢宏。 西周至秦汉时期，我国古人将对色彩的追寻凝练成独特的"五色体系"——青、赤、黄、白、黑。五色成文，每一种色彩都沉淀着民族文化的基 因。 翡翠、水晶、玛瑙、芙蓉石、孔雀石、珊瑚等玉石珍宝有着丰富的颜色，或单色绚丽，或多色斑斓，备受世人喜爱。 镶嵌碧玺翡翠带扣，带扣采用鎏金、花丝镶嵌等技法，镶嵌碧玺和翡翠而成，做工精细、用料奢华、配色夺目。 翡翠朝珠由108颗色泽相同、大小一致的翡翠珠穿成，4颗稍大的粉色碧玺佛头间隔其中，翠色鲜亮润泽。 鼻烟壶流行于清代东西方文化交汇之下。这件清代玻璃鼻烟壶，红白相间，色泽润雅，体现出顺色施艺的精妙工艺。 黄，是五色中的主色，代表着尊贵、崇高。 赤，是热血与激昂，为古代中国红色范畴的核心色。 青，代表生机与气节，它并非单一色彩，有着深浅变化。 白，在中国传统文化中 ...

12月4日，参观者在特展现场参观。 12月4日，"国宝重器·聚首冰城——海外回流文物哈尔滨特展"开幕式在哈尔滨美术馆举行。本次特展由哈尔滨市文化广电和旅游局、保利文化集 团指导，哈尔滨市博物馆和保利艺术博物馆共同主办，共展出76件珍贵文物，包括7件兽首和59件商周至两汉时期的青铜器。 新华社记者 张涛 摄 12月4日，参观者在特展现场参观。 12月4日，"国宝重器·聚首冰城——海外回流文物哈尔滨特展"开幕式在哈尔滨美术馆举行。本次特展由哈尔滨市文化广电和旅游局、保利文化集 团指导，哈尔滨市博物馆和保利艺术博物馆共同主办，共展出76件珍贵文物，包括7件兽首和59件商周至两汉时期的青铜器。 新华社记者 张涛 摄 12月4日，参观者在特展现场观看展出的猴首。 12月4日，"国宝重器·聚首冰城——海外回流文物哈尔滨特展"开幕式在哈尔滨美术馆举行。本次特展由哈尔滨市文化广电和旅游局、保利文化集 团指导，哈尔滨市博物馆和保利艺术博物馆共同主办，共展出76件珍贵文物，包括7件兽首和59件商周至两汉时期的青铜器。 新华社记者 张涛 摄 这是12月4日拍摄的展品牛首。 12月4日，"国宝重器·聚首冰城——海外回流文物哈尔滨特展 ...

Core Viewpoint - The exhibition in Tianjin showcases national treasures from the Yin Ruins, marking the first time in nearly a century that these artifacts have been displayed in the city, and it is the first panoramic exhibition of Shang Dynasty handicrafts in the country [1] Group 1: Historical Significance - The exhibition highlights the origins of the "craftsman spirit" through artifacts such as oracle bones, which provide the earliest evidence of the character "工" (work) and its association with official craftsmen [8][10][12] - Artifacts from the Shang Dynasty demonstrate advanced craftsmanship, including intricate bone carvings and bronze works, showcasing the high level of skill and artistry present 3,000 years ago [14][16][21] Group 2: Artifacts and Craftsmanship - Notable artifacts include a turquoise-inlaid bone tiger and a bronze square zun, both exemplifying the sophisticated techniques and artistic expression of the Shang Dynasty [14][16] - The exhibition features a variety of materials used in ancient craftsmanship, such as bone, jade, pottery, and bronze, indicating a well-developed industrial capability in the region [24][27][29] Group 3: Industrial Development - The layout of the Yin Ruins indicates the presence of a state-level industrial area, with production zones centered around palatial and temple districts, connected by efficient waterways and land routes [29][35] - Artisans utilized a range of specialized tools for various crafts, reflecting a structured approach to production and the existence of workshops dedicated to different crafts [29][33]

Core Viewpoint - The exhibition "Design Trends of the Qing Dynasty Court" at the Beijing Jiade Art Center showcases a wide range of artifacts, highlighting the Qing Dynasty's innovative approach to ancient design and craftsmanship, with a total of 211 items on display [14][15][19]. Group 1: Exhibition Overview - The exhibition is a collaboration between Jiade Art Center and the Palace Museum, featuring the most diverse range of artifacts in their series [14]. - It includes various categories such as bronze, porcelain, jade, enamel, paintings, ancient books, and textiles [14]. - The layout of the exhibition is designed to engage visitors, starting with a significant piece, the Qianlong Enamel Sacrificial Vessel, which sets the tone for the display [15]. Group 2: Key Artifacts - The Qianlong Enamel Sacrificial Vessel is noted for its innovative design and craftsmanship, showcasing the Qing Dynasty's ability to blend traditional techniques with new ideas [15]. - The exhibition features a variety of animal-shaped artifacts, such as the duck-shaped vessels, which symbolize good fortune and were popular in the imperial court [15][19]. - The exhibition also includes a crystal duck-shaped inkstone, praised for its clarity and craftsmanship, representing the high standards of Qing artisans [17]. Group 3: Historical Context - The Qing Dynasty's economic stability during the Kangxi, Yongzheng, and Qianlong eras allowed for significant investment in the creation of ancient-style art [19]. - The practice of imitating ancient artifacts was widespread across different regions, with notable production centers in Beijing, Suzhou, Guangzhou, and Jingdezhen [20]. - The exhibition reflects the Qing court's admiration for ancient artifacts, as seen in the inclusion of historical texts that influenced their design practices [19][21]. Group 4: Cultural Significance - The exhibition emphasizes the cultural importance of ancient artifacts in Chinese society, showcasing how they were integrated into daily life and royal customs [20][25]. - The concept of "using ancient artifacts to express respect for tradition" is highlighted, illustrating the deep-rooted cultural values in Chinese art [21][22]. - The display of various artifacts serves as a reminder of the continuous dialogue between past and present in Chinese artistic practices [26][27].

Group 1 - The article explores the historical significance of jade in early Chinese civilization, highlighting its dual role as a symbol of both divine and royal power [2][12][32] - Jade artifacts from different periods reflect the evolution of cultural practices, transitioning from spiritual communication tools to symbols of social hierarchy [12][32] - The craftsmanship of jade artifacts, such as the intricate designs and techniques used in the production of jade items, showcases the advanced skills of ancient artisans [5][18][24] Group 2 - The article discusses the transformation of jade from ritualistic objects in the Xia and Shang dynasties to more secular and decorative items in the Ming dynasty, indicating a shift in societal values [24][28][32] - Specific jade pieces, like the jade crown and belt buckles from royal tombs, illustrate the intertwining of art, power, and social status in ancient China [25][30][32] - The exhibition at Hubei Provincial Museum serves as a comprehensive showcase of jade artifacts across various dynasties, providing insights into the cultural and historical context of jade in Chinese civilization [33]