[{"data":1,"prerenderedAt":49},["ShallowReactive",2],{"artwork-jin-you-fen-cai-ci-wu-liang-fu-zuo-xiang-yi-ming-256117":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":24,"collections":25,"showCount":26,"zanCount":26,"manualWeight":26,"mainColor":27,"tagLinks":28},256117,"jin-you-fen-cai-ci-wu-liang-fu-zuo-xiang-yi-ming-256117","金釉粉彩瓷无量佛坐像","清","佚名","藏地不详","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[7,12,13,14,15,16,17,18,19,20],"宗教","人物","佛像","坐像","陶瓷","金釉","粉彩","瓷塑","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c2d2dcdc23623b6c1b1a4d473c7a14.jpg","未知","Xcm*Xcm","",[],0,"37474F",[29,31,33,35,37,39,41,43,45,47],{"name":7,"slug":30},"qing",{"name":12,"slug":32},"zong-jiao",{"name":13,"slug":34},"ren-wu",{"name":14,"slug":36},"fo-xiang",{"name":15,"slug":38},"zuo-xiang",{"name":16,"slug":40},"tao-ci",{"name":17,"slug":42},"jin-you",{"name":18,"slug":44},"fen-cai",{"name":19,"slug":46},"ci-su",{"name":20,"slug":48},"lian-hua-zuo",1777535570112]