[{"data":1,"prerenderedAt":73},["ShallowReactive",2],{"subject-bi-shan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10272,"bi-shan","笔山","笔山画高清赏析","精选中国历代笔山题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6088fffa681adaa3a3975ff57a005e7a.jpg",0,4,[14,33,51,62],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},259715,"yi-xing-yao-yue-bai-you-bi-shan-yi-ming-259715","宜兴窑月白釉笔山","明","佚名","藏地不详","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[23,7,24,25],"陶瓷","文房器","山形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bdd15763f62f9fc742179c569ddde2.jpg","未知","Xcm*Xcm","瓷器精选",[29],2,"795548",{"id":34,"slug":35,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":47,"material":27,"size":28,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":32},270985,"cheng-fen-wen-ju-fa-lang-bi-shan-yi-ming-270985","成份文具-珐琅笔山","清","这套文房器具精巧雅致，筐编纹木盒内敛温润，镶边构件衬出雅致格调，将诸般文房清供妥帖收纳。珐琅笔山晕着柔润光泽，云形轮廓精巧灵秀，恰好承起狼毫笔杆，晕开文人心底思绪。墨锭凝脂般莹润，古拙纸签晕染着时光痕迹，素净砚池静待墨色晕开。\n\n编织、髹木、珐琅工艺相映成趣，把匠心藏进案头小景里，既有文房清供的雅致意趣，又藏着旧时文人案头的闲逸日常，是工艺与文心相融的缩影，将悠悠古韵晕染在方寸之间。",[40,41,42,43,44,45,7,46],"笔","墨","砚","琺瑯器","文房用具","日用具","文具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb353faa83ee72064112e4c60a10916e8.jpg","",[],1,{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":59,"material":27,"size":28,"collection":48,"collections":60,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},259580,"xian-hong-you-su-e-xing-bi-shan-yi-ming-259580","鲜红釉宿鹅形笔山","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。",[23,57,44,7,58],"鹅","红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dbbd7587a5b9275760937dee9e10dc4.jpg",[],"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":10,"material":27,"size":28,"collection":48,"collections":72,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},257495,"wan-li-kuan-qing-hua-jia-cai-wu-long-wen-bi-shan-yi-ming-257495","万历款青花加彩五龙纹笔山","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。",[68,69,70,71,23,7],"明代","青花加彩","设色","龙",[],1777535763431]