[{"data":1,"prerenderedAt":295},["ShallowReactive",2],{"subject-ba-fang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5873,"ba-fang","八方","八方画高清赏析","精选中国历代八方题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb9c5ce6fa3a4adaf40a7dbf40834f4.jpg",0,25,[14,35,49,66,78,91,103,115,130,143,156,168,176,186,196,205,212,221,230,237,247,257,266,276,286],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256973,"jing-de-zhen-yao-qing-hua-hai-shui-bai-long-wen-ba-fang-mei-ping-yi-ming-256973","景德镇窑青花海水白龙纹八方梅瓶","元","佚名","藏地不详","景德镇窑是中国传统窑炉之一，景德镇窑系属于宋代六大窑系之一。诞生于今江西省景德镇，故称景德镇窑，实际上由数个窑口组成。\n景德镇有着悠久的制瓷历史，完备的陶瓷产业体系，广泛的国际影响，是一座因瓷而生、因瓷而兴、因瓷而名的城市，也是一座“因开放而生，因开放而兴”的深度开放城市。\n景德镇窑据记载始烧于唐武德(618一626)年间。建国后发现瓷窑遗址多处，以杨梅亭窑、石虎湾窑、黄泥头窑最早，均为五代时期。\n中国传统的陶瓷可分为三大类：龙窑（倾斜式隧道窑）、阶级窑（倾斜式冷底多室窑）以及景德镇窑（平焰窑）。 景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[23,24,25,26,7,27],"陶瓷","青花","龙","海水","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5686cc95112656096e3613a7b9bcd5f2.jpg","未知","Xcm*Xcm","瓷器精选",[31],33,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":46,"material":29,"size":30,"collection":31,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":34},256178,"de-hua-yao-bai-you-ba-fang-dou-shi-bei-yi-ming-256178","德化窑白釉八方斗式杯","清","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[42,23,43,7,44,45],"清代","白釉","斗式","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1f8d0eb745ba01c7586c73b531a302.jpg",[31],6,{"id":50,"slug":51,"title":52,"dynasty":39,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":63,"material":29,"size":30,"collection":64,"collections":65,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":34},246354,"miao-you-jin-wen-qian-yu-ba-gua-wen-ba-fang-he-yi-ming-246354","描油锦纹嵌玉八卦纹八方盒","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。",[39,55,56,57,58,59,7,45,60,61,62],"漆器","描油","嵌玉","锦纹","八卦纹","马","玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8736e99ca07b01d129051452fc10fa03.jpg","",[],{"id":67,"slug":68,"title":69,"dynasty":39,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":75,"material":29,"size":30,"collection":64,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":34},248632,"qian-long-kuan-ti-hong-wan-nian-ru-yi-long-feng-wen-ba-fang-pen-yi-ming-248632","乾隆款剔红万年如意龙凤纹八方盆","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[39,55,72,62,25,73,74,7],"剔红","凤","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9292c5af09d217689ed3e01544afdfd.jpg",[],3,{"id":79,"slug":80,"title":81,"dynasty":39,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":87,"material":29,"size":30,"collection":64,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":90},258915,"kang-xi-kuan-qing-hua-ba-xian-tu-ba-fang-hua-pen-yi-ming-258915","康熙款青花八仙图八方花盆","青花瓷（blue and white 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。",[23,24,84,7,85,86],"八仙","人物","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de0a48cbf48f061a9d9c34fbe0e5b71.jpg",[],2,"795548",{"id":92,"slug":93,"title":94,"dynasty":39,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":101,"material":29,"size":30,"collection":64,"collections":102,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":90},246182,"hei-qi-qian-luo-dian-hua-hui-wen-ba-fang-gao-zu-he-yi-ming-246182","黑漆嵌螺钿花卉纹八方高足盒","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",[42,55,97,98,99,7,100],"嵌螺钿","黑漆","花卉纹","高足盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7370711a9830ef8c367ce74e1e2bf52a.jpg",[],{"id":104,"slug":105,"title":106,"dynasty":39,"author":19,"museum":20,"description":95,"tags":107,"thumbUrl":112,"material":29,"size":30,"collection":64,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":34},248396,"hei-qi-miao-jin-tuan-shou-yun-long-wen-ba-fang-peng-he-yi-ming-248396","黑漆描金团寿云龙纹八方捧盒",[42,108,109,110,7,111,55],"黑漆描金","云龙纹","团寿纹","捧盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F590799ea2b16cbadf740d5cdfad52570.jpg",[],1,{"id":116,"slug":117,"title":118,"dynasty":39,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":127,"material":29,"size":30,"collection":64,"collections":128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},269441,"tian-ran-hua-mu-diao-guang-su-ba-fang-bi-tong-yi-ming-269441","天然桦木雕光素八方笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[121,62,122,123,124,7,125,126],"木质","木刻","笔筒","文房","光素","桦木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bea40f42633fe4b7d1a0c08c9432d1.jpg",[],"FFFFFF",{"id":131,"slug":132,"title":133,"dynasty":39,"author":19,"museum":20,"description":82,"tags":134,"thumbUrl":141,"material":29,"size":30,"collection":64,"collections":142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},258357,"qing-hua-hui-wen-jin-di-kui-lian-wen-ba-fang-shuang-er-lu-yi-ming-258357","青花回纹锦地夔莲纹八方双耳炉",[23,24,135,136,137,138,7,139,39,140],"回纹","锦地","夔纹","莲纹","双耳","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935e4a634615c14820da1a864fbedaac.jpg",[],{"id":144,"slug":145,"title":146,"dynasty":147,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":154,"material":29,"size":30,"collection":31,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},256804,"ge-yao-qing-you-ba-fang-bei-yi-ming-256804","哥窑青釉八方杯","宋","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[150,23,151,152,7,153],"宋代","青釉","开片","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc712a30d383b02c2023ff8694c2b52a1.jpg",[31],{"id":157,"slug":158,"title":159,"dynasty":160,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":166,"material":29,"size":30,"collection":64,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256483,"cheng-hua-kuan-fang-ge-you-ba-fang-gao-zu-bei-yi-ming-256483","成化款仿哥釉八方高足杯","明","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。",[163,23,153,164,152,7,165],"明代","仿哥釉","高足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2bc48d855a0447bef0c12a27dddff6.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":160,"author":19,"museum":20,"description":161,"tags":172,"thumbUrl":174,"material":29,"size":30,"collection":64,"collections":175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256482,"fang-ge-you-ba-fang-gao-zu-bei-yi-ming-256482","仿哥釉八方高足杯",[23,164,152,7,173,153,163],"高足杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90beaa390902e70d8b57915690bfd5c0.jpg",[],{"id":177,"slug":178,"title":179,"dynasty":39,"author":19,"museum":20,"description":95,"tags":180,"thumbUrl":183,"material":29,"size":30,"collection":64,"collections":184,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},248898,"ti-hong-ren-wu-tu-ba-fang-he-yi-ming-248898","剔红人物图八方盒",[42,55,62,72,85,181,7,182,45],"海浪","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0a43a5266a3a4148a510730265028.jpg",[],"BDBDBD",{"id":187,"slug":188,"title":189,"dynasty":39,"author":19,"museum":20,"description":95,"tags":190,"thumbUrl":194,"material":29,"size":30,"collection":64,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},248673,"hei-qi-qian-luo-dian-ren-wu-gu-shi-tu-er-ceng-ba-fang-he-yi-ming-248673","黑漆嵌螺钿人物故事图二层八方盒",[39,55,191,192,7,193,45],"黑漆嵌螺钿","人物故事","二层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa429f33aa246151186a33c85226905fe.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":39,"author":19,"museum":20,"description":200,"tags":201,"thumbUrl":203,"material":29,"size":30,"collection":64,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},248641,"ti-hong-shuang-feng-wen-ba-fang-pan-yi-ming-248641","剔红双凤纹八方盘","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。",[42,55,72,62,73,202,7],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa737473df56013152107f8a0fc43e0a2.jpg",[],{"id":206,"slug":207,"title":69,"dynasty":39,"author":19,"museum":20,"description":70,"tags":208,"thumbUrl":210,"material":29,"size":30,"collection":64,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},248636,"qian-long-kuan-ti-hong-wan-nian-ru-yi-long-feng-wen-ba-fang-pen-yi-ming-248636",[55,72,62,25,73,209,7,45,182],"如意纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7bdb918eb3cb1d4345b7663c860f54a.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":39,"author":19,"museum":20,"description":95,"tags":216,"thumbUrl":219,"material":29,"size":30,"collection":64,"collections":220,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},248329,"ti-hong-hua-hui-wen-ba-fang-wei-jiao-he-yi-ming-248329","剔红花卉纹八方委角盒",[39,72,55,62,217,7,218],"花卉","委角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c1555f0e6181f42f7e764c523b116a.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":39,"author":19,"museum":20,"description":95,"tags":225,"thumbUrl":228,"material":29,"size":30,"collection":64,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},248276,"ti-hong-wu-fu-peng-shou-wen-ba-fang-he-yi-ming-248276","剔红五蝠捧寿纹八方盒",[39,55,72,62,226,227,7],"五蝠","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3f6c5cb539f48aaf73a8dbcde94d72.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":39,"author":19,"museum":20,"description":95,"tags":234,"thumbUrl":235,"material":29,"size":30,"collection":64,"collections":236,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},248203,"ti-hong-hai-shui-ren-wu-tu-ba-fang-he-yi-ming-248203","剔红海水人物图八方盒",[55,72,62,26,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde28bae1126f92ef38472315d0f62e3b.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":39,"author":19,"museum":20,"description":95,"tags":241,"thumbUrl":245,"material":29,"size":30,"collection":64,"collections":246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},247953,"ti-cai-mu-dan-fei-niao-wen-er-ceng-ba-fang-tao-he-yi-ming-247953","剔彩牡丹飞鸟纹二层八方套盒",[55,242,62,202,243,7,244],"剔彩","飞鸟","套盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389791b0c556f092c0a9db7cbce7c78b.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":39,"author":19,"museum":20,"description":95,"tags":251,"thumbUrl":255,"material":29,"size":30,"collection":64,"collections":256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},247950,"ti-hong-xian-ren-cheng-feng-tu-er-ceng-ba-fang-tao-he-yi-ming-247950","剔红仙人乘凤图二层八方套盒",[42,55,72,62,252,73,244,7,193,85,253,254],"仙人","神兽","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e55cfa023a760b1f1bd6e03e465953.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":39,"author":19,"museum":20,"description":95,"tags":261,"thumbUrl":264,"material":29,"size":30,"collection":64,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},247512,"ti-hong-shan-shui-ren-wu-tu-kai-guang-ba-bao-wen-ba-fang-he-yi-ming-247512","剔红山水人物图开光八宝纹八方盒",[42,55,72,62,86,85,262,7,263],"八宝纹","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7712ed3c5c6e2cb7caa8fc05542d61bf.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":39,"author":19,"museum":20,"description":270,"tags":271,"thumbUrl":274,"material":29,"size":30,"collection":64,"collections":275,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},246722,"ti-hong-ba-bao-wen-ba-fang-hu-lu-shi-ping-yi-ming-246722","剔红八宝纹八方葫芦式瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[42,55,72,62,262,272,7,273],"葫芦式","大吉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb97439c1d98da620727488740987a4c.jpg",[],{"id":277,"slug":278,"title":279,"dynasty":39,"author":19,"museum":20,"description":280,"tags":281,"thumbUrl":284,"material":29,"size":30,"collection":64,"collections":285,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":185},245744,"yin-ba-fang-cha-hu-yi-ming-245744","银八方茶壶","此壶八方器身挺括端庄，弯弧提梁与壶身呼应成趣，线条舒展雅致。器身錾刻鎏金纹饰，团寿纹样居于版面中央，环绕吉庆题字，金辉浮于哑光银地之上，古雅庄重又带着富贵暖意。\n壶嘴曲度合宜，兼顾实用与美观，既保证出水劲爽利落，又让整体形制更为协调。它融陈设美学与日常器用于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