[{"data":1,"prerenderedAt":147},["ShallowReactive",2],{"subject-cha-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2386,"cha-qi","茶器","茶器画高清赏析","精选中国历代茶器题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3eb240e098bcec0b6892aa05df25f6.jpg",0,12,[14,36,49,58,69,81,90,101,111,120,128,138],{"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":11,"manualWeight":11,"mainColor":35},227321,"you-mian-cha-wan-yi-ming-227321","釉面茶碗","宋","佚名","藏地不详","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。",[23,24,25,26,27,7,28],"宋代","陶瓷","茶碗","窑变釉","釉陶","釉面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb83562f22be77dac1d07f79fb483e3.jpg","未知","Xcm*Xcm","",[],7,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":21,"tags":40,"thumbUrl":45,"material":30,"size":31,"collection":32,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},227319,"you-mian-da-cha-wan-yi-ming-227319","釉面大茶碗",[18,24,28,41,42,7,43,44],"开片","单色釉","日用器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519612748ebca8a747f9efc7e92d9b1a.jpg",[],4,"795548",{"id":50,"slug":51,"title":25,"dynasty":18,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":56,"material":30,"size":31,"collection":32,"collections":57,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":35},226684,"cha-wan-yi-ming-226684","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。",[23,24,7,43,54,55],"釉色","圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339c88695cd93be841a08ad05adda13d.jpg",[],{"id":59,"slug":60,"title":61,"dynasty":18,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":66,"material":30,"size":31,"collection":32,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":35},231451,"cu-tao-cha-wan-yi-ming-231451","粗陶茶碗","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[24,44,64,23,7,65],"粗陶","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2736b64b681f01df61707798b4338998.jpg",[],2,{"id":70,"slug":71,"title":72,"dynasty":73,"author":19,"museum":20,"description":74,"tags":75,"thumbUrl":78,"material":30,"size":31,"collection":32,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":48},273248,"xiao-zhong-hua-xiang-cha-yi-ming-273248","小种花香茶","清","六具锡制茶罐围簇成景，素净锡面晕开时光晕染的斑驳旧色，沉敛温润。罐顶黄封带着菊瓣纹饰，墨笔题字晕着旧纸暖意，藏着旧时茶铺的雅致意趣。\n\n锡器防潮隔味，是古人藏茶的用心之选，这一组茶罐齐整雅致，仿佛能窥见旧时光里，茶人封藏茶气、妥帖安置春味的细致。罐中曾收纳窨制的花香茶韵，将日常藏茶过成了带着雅致审美的生活图景，让茶香与古意一同沉凝在锡器之中，静静晕开旧时光的温柔底色。",[76,77,7],"锡器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d039efa977d3b86915036ca29e9131.jpg",[],1,{"id":82,"slug":83,"title":72,"dynasty":73,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":87,"material":30,"size":31,"collection":32,"collections":88,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":89},273247,"xiao-zhong-hua-xiang-cha-yi-ming-273247","七枚锡罐攒聚成束，素朴无饰，沉静的锡色晕开经年斑驳的包浆，自带时光浸洗后的苍古质感。锡性密不透风，是封藏佳茗的绝佳载体，恰好锁住茶叶的馥郁花香。\n\n罐口以皮纸固封，是旧时藏茶的古法，再以麻绳束紧罐体，既是规整收纳的巧思，也带着市井茶务实质朴的烟火气。\n\n整组茶罐无繁复雕饰，以物料本真之态，承托着茶烟清苦与蜜韵甜香的交融，藏着旧时茶事里，对香气与滋味妥帖珍藏的细致用心，将饮茶藏茶的日常雅趣，凝在这一方素色锡器之中。",[44,86,77,7],"金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff131d9501222c81ecb7be913565d1c07.jpg",[],"37474F",{"id":91,"slug":92,"title":93,"dynasty":73,"author":19,"museum":20,"description":94,"tags":95,"thumbUrl":99,"material":30,"size":31,"collection":32,"collections":100,"showCount":80,"zanCount":11,"manualWeight":11,"m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