[{"data":1,"prerenderedAt":158},["ShallowReactive",2],{"subject-an-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10234,"an-wen","暗纹","暗纹画高清赏析","精选中国历代暗纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb516cd792f397e65b4cf908bd0a89d.jpg",0,12,[14,37,49,64,76,87,99,111,123,133,141,152],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":35,"manualWeight":11,"mainColor":36},267567,"fen-se-an-tuan-he-hua-shuang-xi-zi-wen-zhi-ma-sha-chang-yi-liao-yi-ming-267567","粉色暗团荷花双喜字纹芝麻纱氅衣料","清","佚名","藏地不详","清代衣料,多为丝绸",[23,24,25,26,7,27,28],"布料","衣帽","荷花","双喜字","氅衣料","芝麻纱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a63402e9d1ff394c8efbc7ea7a8443.jpg","未知","Xcm*Xcm","",[],11,1,"F48FB1",{"id":38,"slug":39,"title":40,"dynasty":18,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":45,"material":30,"size":31,"collection":32,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},264156,"ou-he-se-di-an-gui-hua-wen-hui-hui-jin-yi-ming-264156","藕荷色地暗桂花纹回回锦","《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。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[23,43,7,44],"织锦","植物纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c95c46619f25433abc1bc50f3fa584.jpg",[],3,"795548",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":61,"material":30,"size":31,"collection":32,"collections":62,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":63},257790,"cheng-hua-kuan-dou-cai-lian-hua-an-long-wen-pan-yi-ming-257790","成化款斗彩莲花暗龙纹盘","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。",[55,56,57,58,59,60,7],"清代","陶瓷","斗彩","设色","莲花","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f665ec11dcb402d2a55a191613e3ec2.jpg",[],"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":74,"material":30,"size":31,"collection":32,"collections":75,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},263737,"lan-se-die-bao-fu-gui-wen-chun-chou-yi-ming-263737","蓝色蝶报富贵纹春绸","靛蓝匀净沉雅，如浸了暮春天色。暗纹蝶报富贵隐于纱绸间，蝶影轻绕花团，敛藏着吉祥意趣。春绸质地柔润细腻，纹样若隐若现，将中式雅致融于日常。沉静蓝调裹着旧时光的温润，织造的匠心藏在低调肌理中，把东方审美里的内敛克制尽数展现，在无声里诉说旧时造物的雅致情致。",[23,70,71,72,73,7],"春绸","蓝色","蝴蝶","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34be3f0cfcdeb92d2c1edf47b67d562.jpg",[],{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":85,"material":30,"size":31,"collection":32,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},263723,"lv-se-teng-luo-die-wen-jiang-chou-yi-ming-263723","绿色藤萝蝶纹江绸","豆绿底色澄澈温婉，以暗花工艺将藤萝蛱蝶织入柔滑纱地。枝蔓蜿蜒舒展，缠连交错间晕开春日生机，蛱蝶轻栖花间，身影若隐若现，似藏在蔓叶里私语。\n整幅织物虚实相映，暗纹不彰自显，将中式写意的含蓄美学融于丝缕。没有浓艳着色，只以同色系暗花晕染出缱绻雅致的庭园意趣，触手柔润细腻，观之静谧悠然，把春日清景凝作可触可感的诗意，尽显东方温婉隽永的雅致格调。",[23,82,83,72,7,84],"江绸","藤萝","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d2f3a15f290f7b6b3984e6f147a854.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":97,"material":30,"size":31,"collection":32,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},258606,"qian-long-kuan-tian-lan-you-an-kui-feng-wen-shuang-huo-huan-er-zun-yi-ming-258606","乾隆款天蓝釉暗夔凤纹双活环耳尊","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[55,56,93,7,94,95,96],"天蓝釉","夔凤纹","双活环耳","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb995af6b1d90046bed3fb22278c7953.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":109,"material":30,"size":31,"collection":32,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},257987,"kang-xi-kuan-bai-di-an-hai-shui-lv-cai-yun-long-wen-wan-yi-ming-257987","康熙款白地暗海水绿彩云龙纹碗","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。",[18,56,105,7,106,107,108,96,58],"绿彩","龙","云","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3715c068a01fe4fb3016b7b940c5ae2.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":18,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":121,"material":30,"size":31,"collection":32,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},257874,"kang-xi-kuan-huang-you-an-kui-long-wen-shuang-chi-er-bei-yi-ming-257874","康熙款黄釉暗夔龙纹双螭耳杯","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[56,117,7,118,119,120],"黄釉","夔龙纹","螭","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c11582189f7b1523014c340c122ca3.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":18,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":131,"material":30,"size":31,"collection":32,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},257862,"xuan-de-kuan-ji-hong-you-an-duo-yun-wen-pan-yi-ming-257862","宣德款祭红釉暗朵云纹盘","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。",[56,129,7,130,55,96],"祭红釉","朵云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff144040f26d47db3a1728dac227fc286.j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