[{"data":1,"prerenderedAt":39},["ShallowReactive",2],{"artwork-nan-lu-niu-yu-yin-yi-ming-223782":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":18,"material":19,"size":20,"collection":21,"collections":22,"showCount":23,"zanCount":24,"manualWeight":24,"mainColor":25,"tagLinks":26},223782,"nan-lu-niu-yu-yin-yi-ming-223782","南鹿纽玉印","宋","佚名","藏地不详","宋代，官印的尺寸多为5～6厘米见方，所用文字以小篆为基础，印文屈曲填满，线条反复折叠，次数无定则，但因古代以“九”表示为数之多所以有“九叠篆”之称。到了金、辽时代，这种叠篆的程序走向极端，并一直延续到明清和近代。元代的官印多承袭前朝形制，特殊之处在易“九叠文”为“八思巴文”。宋代是实用印章向文人篆刻艺术的过渡期。宋代文人渐开好印之风，而且对篆刻艺术发展起了重要推动作用的“集古印谱”也风行开来。到了元代，这种对印章的认识发生了质的飞跃。元初喜好集古印谱的风气有增无减。元代文人书画家所用的印章基本上呈元朱文和汉白文两大格局。印章与书画关系的紧密，使书画家自篆自刻印章的欲望日趋强烈。在汉印审美观的影响下，大约在元代中期后，出现了集写刻于一身，并以汉印风采为追求对象的文人篆刻家。经过漫长的探索，元代文人终于完成了实用印章向文人艺术篆刻的转化，为明清文人流派篆刻艺术的发展奠定了坚实的基础。",[12,13,14,15,16,17],"玉石","印章","雕刻","鹿","兽","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17071b7167408e7ef9fbfa3aa3971b48.jpg","未知","Xcm*Xcm","",[],4,0,"BDBDBD",[27,29,31,33,35,37],{"name":12,"slug":28},"yu-shi",{"name":13,"slug":30},"yin-zhang",{"name":14,"slug":32},"diao-ke",{"name":15,"slug":34},"lu",{"name":16,"slug":36},"shou",{"name":17,"slug":38},"song-dai-feng-ge",1777535451549]