[{"data":1,"prerenderedAt":185},["ShallowReactive",2],{"subject-bai-jian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9571,"bai-jian","摆件","摆件画高清赏析","精选中国历代摆件题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea308889ddcef99337aba99c55d66e69.jpg",0,13,[14,38,52,64,78,91,108,118,127,140,152,165,175],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},270523,"yin-shao-lan-qian-yu-shi-bo-li-hai-tang-shi-ping-fen-se-bo-li-yue-ji-ping-jing-yi-ming-270523","银烧蓝嵌玉石玻璃海棠式瓶粉色玻璃月季瓶景","清","佚名","藏地不详","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。",[23,24,25,26,27,28,29,7],"银器","珐琅器","玉石","玻璃","月季","花卉","瓶景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154c4785f11a9d82183db6c7f9d3581a.jpg","未知","Xcm*Xcm","",[],18,1,"795548",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":48,"material":31,"size":32,"collection":33,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},270137,"ti-hong-tong-shi-pen-xiu-yan-shi-wan-nian-qing-pen-jing-yi-ming-270137","剔红筒式盆岫岩石万年青盆景","这件盆景工致精妙，剔红筒盆朱红莹润，满刻缠枝纹与回纹锦地，古雅端庄。岫岩玉琢为万年青叶，凝脂般清透莹润，脉络宛然，舒展间自带隽雅风姿。挺秀花茎上，攒簇珊瑚小花丹红似火，鲜活灵动，暗合长青纳福的吉庆寓意。\n\n盆面错落陈设玉石、玛瑙雕就的芝草灵菇，配搭镂雕木株，野趣横生，更衬出主体清雅端方。它集雕刻、宝玉镶嵌工艺于一体，将人工匠心与天然意趣融于一炉，尽显清代工艺的卓绝水准，藏着岁岁长安的美好祈愿。",[44,45,46,25,47,7],"盆景","漆器","雕刻","万年青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba528c72b61d768a58440000cb9cf1ef.jpg",[],4,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":56,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":61,"material":31,"size":32,"collection":33,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":51},269117,"zhu-xiao-song-kuan-zhu-gen-diao-fo-shou-yi-ming-269117","朱小松款竹根雕佛手","明","依循竹根天然瘤节随形施造，将粗粝肌理化作佛手褶皱苍润的外皮，仿若刚自枝桠摘下的鲜果。双佛手高低相携，虬曲枝蔓承托叶片，脉络宛然生动。\n\n刀意隐于天然形致之间，不做过多修饰却精准拿捏佛手的舒展姿态，暗合雅致意韵。古雅的如意卷云座承托整件雕品，将山野根材升成文房清玩，暗寄福寿绵长的祥瑞寓意，尽显以形传神、师法自然的审美意趣。",[46,59,60,7],"竹根雕","佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc14d1d279494b9690ad7ace70c33a8.jpg",[],3,{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":76,"material":31,"size":32,"collection":33,"collections":77,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},274605,"tong-du-jin-shi-zuo-shui-fa-ting-shi-zhong-yi-ming-274605","铜镀金石座水法亭式钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[70,71,72,73,46,7,74,75],"铜制","金器","亭","钟表","日用具","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa79aa53d1e7b3732e3c8e03cb1d9ee.jpg",[],{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":89,"material":31,"size":32,"collection":33,"collections":90,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":51},274419,"tong-du-jin-qian-hong-lv-shi-tai-ping-you-xiang-jing-yi-ming-274419","铜镀金嵌红绿石太平有象景","这件器物敦然沉稳，鎏金裹身，宝色温雅莹润。大象体态饱满驯顺，鞍鞯以红绿彩石镶嵌出缠花宝相纹样，华丽雅致。象背瑞兽昂首托举方亭，亭顶宝瓶抽枝绽花，累丝配各色宝石，层层递进，繁而不乱。\n\n它融汇錾刻、累丝、镶嵌诸般巧艺，处处可见精工细作。祥瑞意象层层叠加，藏着古人对太平康宁、岁稔年丰的祈愿，尽显清代工艺的奢华工巧，是祈福纳祥器物中的上乘之作。",[70,71,46,84,85,86,7,87,88],"象","兽","嵌宝","器","太平有象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6813d3359c745683877f3ce03e56c6dc.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":18,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":105,"material":31,"size":32,"collection":33,"collections":106,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":107},270535,"xi-qian-tong-bian-xiang-lu-yi-ming-270535","锡嵌铜边香炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[97,98,99,100,101,102,103,104,7],"锡器","铜边","香炉","兽钮","双耳","金属工艺","香具","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d7dacd5cea9f43e6fe155ab0e2f3ad.jpg",[],"37474F",{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":116,"material":31,"size":32,"collection":33,"collections":117,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},281481,"tong-shuang-ren-xiang-yi-ming-281481","铜双人像","这对造像以小爱神为形，鎏金残色晕在灰蓝铜锈之上，勾勒出娇憨天真的身姿，执缠枝倚立，灵动鲜活。底座纹饰精巧，兽足承托，羽纹与卷草交错铺陈，揉合洛可可柔媚意趣与锻铜工艺质感。\n\n西洋神话题材的柔美与东方金属细作的扎实相融，岁月摩挲出的斑驳旧痕晕开复古温润的质感，藏着旧时西学东渐的审美余韵，古意盎然。",[70,46,114,115,7],"人物","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748ec3f929a50c4d7273c3f3d3d6b685.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":68,"tags":122,"thumbUrl":125,"material":31,"size":32,"collection":33,"collections":126,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},274525,"tong-du-jin-fa-lang-lou-pan-gang-ren-zhong-yi-ming-274525","铜镀金珐琅楼攀杠人钟",[70,123,71,124,114,73,46,7],"琺瑯器","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4093df7896f74d9eb60fce744695fc8.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":138,"material":31,"size":32,"collection":33,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},274481,"tong-du-jin-qian-ma-nao-le-xiang-zhuan-feng-lun-zhuan-hua-biao-yi-ming-274481","铜镀金嵌玛瑙乐箱转风轮转花表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[71,70,133,134,73,46,135,7,136,137],"玛瑙","乐箱","镶嵌","转风轮","转花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02716f49fcd29e356c83f7bad7acbd1.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":68,"tags":144,"thumbUrl":149,"material":31,"size":32,"collection":33,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":151},274434,"tong-du-jin-shan-zi-niao-dong-ren-da-zhong-yi-ming-274434","铜镀金山子鸟动人打钟",[70,46,71,87,145,146,147,148,7],"飞鸟","山石","树木","时钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f96f1291dcdaaa8c01b1c16a86adcf.jpg",[],"FFFFFF",{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":163,"material":31,"size":32,"collection":33,"collections":164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},271004,"cheng-fen-wen-ju-zi-tan-duo-sheng-pan-yi-ming-271004","成份文具-紫檀多盛盘","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。",[158,159,160,46,87,161,162,7],"文房用具","木质","陶瓷","砚","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58704cef9fffccf6461eca51d4b38ea1.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":173,"material":31,"size":32,"collection":33,"collections":174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},269126,"zhu-gen-diao-san-xing-shan-zi-yi-ming-269126","竹根雕三星山子","这件作品依竹根本形施艺，以天然肌理塑就假山底座，朴拙浑然。孩童憨态可掬，扯住老者衣袖，老者垂眸含笑意态温煦。持笏者端方庄重，伛偻老者颔首慈和，三人晤谈间尽显悠然松弛。旁侧点缀寸许虬松，为这件案头小景添上山野雅意。\n\n衣褶纹理顺着竹材走势雕琢，刀意隐于圆润肌理中，将福禄寿三星的祥瑞意蕴，融作凡尘晤面的温情日常，把仙家气韵揉进案头雅趣，以竹雕的朴拙质感，成就兼具工巧与意趣的清隽小品。",[59,46,159,114,171,172,146,7],"福禄寿三星","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11acd8703866bcbbacfba073f618d84.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":179,"tags":180,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":184,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},251928,"ma-nao-qiao-zuo-san-guo-wen-hua-cha-yi-ming-251928","玛瑙巧作三果纹花插","此作巧用玛瑙天然双色，艳红部分琢就饱满桃实，圆浑丰硕，虬曲枝桠盘绕错落，肌理苍古尽显老木之态。莹白玉料化作舒展叶片，脉络隐见，鲜活灵动。\n\n匠人依形施艺，刀工柔婉细腻，将玛瑙温润质地尽情展现。以福寿桃寄寓吉祥意趣，静穆里藏着生机。搭配雕花红木底座，纹饰呼应主题，更衬玛瑙明丽质感，将材质之美与美好寓意相融，尽显俏色工艺的精妙巧思，雅韵自生。",[181,25,133,46,182,183,7,87],"清代","巧作","三果纹",[],1777535728189]