[{"data":1,"prerenderedAt":344},["ShallowReactive",2],{"subject-chan-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8318,"chan-wen","蝉纹","蝉纹画高清赏析","精选中国历代蝉纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362db050e14124c54872c7c5ce194263.jpg",0,33,[14,33,50,68,81,90,98,108,114,120,130,143,155,165,172,180,186,192,202,218,227,235,244,252,259,268,277,288,298,307,317,324,333],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},243011,"chan-wen-shao-yi-ming-243011","蝉纹勺","商","佚名","藏地不详","弯长勺柄搭配敦实勺斗，形制古雅厚重。柄身以弦纹衬底，中段浮雕蝉纹，将彼时以蝉寄寓高洁永生的精神信仰熔铸于日常食器，让实用功能与礼制意涵相融共生。\n\n铜身浸漫岁月包浆，青绿锈迹晕开斑驳古韵，凝住了三千年前的青铜温度。它既是挹取酒浆的实用之器，亦是上古青铜工艺与精神内核的缩影，静诉着那个时代的审美意趣与信仰追求。",[23,24,7,25,26],"青铜器","雕刻","商代","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48dd7b9a218b64afbd42fb3934aedd5.jpg","","青铜器精选",[29],18,"795548",{"id":34,"slug":35,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":10,"material":44,"size":45,"collection":28,"collections":46,"showCount":47,"zanCount":48,"manualWeight":11,"mainColor":49},242150,"yin-du-jin-dian-cui-chan-wen-tou-hua-yi-ming-242150","银镀金点翠蝉纹头花","清","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[40,41,42,7,43],"清代","银镀金","点翠","饰品","未知","Xcm*Xcm",[],5,1,"37474F",{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":65,"material":28,"size":28,"collection":29,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":32},244659,"fang-qian-yin-si-shou-mian-chan-wen-chao-tian-er-san-zu-ding-yi-ming-244659","仿嵌银丝兽面蝉纹朝天耳三足鼎","明","朝天耳刚劲挺立，稳稳衔接平折鼎沿，线条利落爽利。鼓腹圆融饱满，周身晕染着沉厚包浆，漫溢时光浸润的温润质感。器身以银丝嵌饰兽面与蝉纹，兽面纹威严凝练，带着上古礼器的庄重肃穆，蝉纹则清灵雅致，刚柔相济间尽显古韵匠心。\n\n三足修长高挺，与器身比例匀停，稳稳承托起整体器形，尽显端方沉稳的古韵气场。追摹商周鼎彝规制，又暗合内敛雅致的造器意趣，将古礼厚重与文房清趣相融，静立间诉说着悠悠古意，是仿古铜器中的精妙之作。",[57,58,59,24,23,60,61,62,63,64,7],"明代","仿古","嵌银丝","铜制","礼器","三足鼎","朝天耳","兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19deb3df0c3b6d6fffae25976b2dcbd.jpg",[29],4,{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":79,"material":28,"size":28,"collection":29,"collections":80,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":32},244349,"chan-wen-duo-yi-ming-244349","蝉纹铎","周","它造型古朴厚重，矮方柄搭配覆钵器身，线条敦实沉稳。器身饰以排列齐整的蝉纹，羽翅脉络刻画细腻灵动，下方缀以三角垂叶纹呼应，层次分明。蝉在古人心目中寓意高洁不朽，纹样寄寓着先民对生命长存的质朴祈愿。\n\n苍绿铜锈层层晕染，凝萃千年岁月痕迹，仿佛能触到先秦礼乐的余温，静静见证着青铜时代日常仪礼的风雅，是兼具审美价值与文化意涵的青铜佳器。",[23,60,75,24,7,76,77,78],"乐器","周代","纹饰","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16721035c31a5761cbb062bcc8fcf7b.jpg",[29],{"id":82,"slug":83,"title":84,"dynasty":18,"author":19,"museum":20,"description":85,"tags":86,"thumbUrl":88,"material":44,"size":45,"collection":28,"collections":89,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":49},243739,"chan-wen-zhi-yi-ming-243739","蝉纹觯","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,24,7,61,87],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96c762a727cd78c3be977e9974a6efd6.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":85,"tags":94,"thumbUrl":96,"material":44,"size":45,"collection":28,"collections":97,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":32},242668,"chan-wen-ding-yi-ming-242668","蝉纹鼎",[23,24,7,61,95],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69dc46af2779112fa08c5de4f39be875.jpg",[],{"id":99,"slug":100,"title":93,"dynasty":18,"author":19,"museum":20,"description":85,"tags":101,"thumbUrl":105,"material":44,"size":45,"collection":28,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":32},242968,"chan-wen-ding-yi-ming-242968",[23,102,61,60,7,24,103,104],"器","三足","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fa71aefb7c1b501c2f606cec1f77a24.jpg",[],3,{"id":109,"slug":110,"title":93,"dynasty":18,"author":19,"museum":20,"description":85,"tags":111,"thumbUrl":112,"material":44,"size":45,"collection":28,"collections":113,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":32},242725,"chan-wen-ding-yi-ming-242725",[23,24,7,25,61,95,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b074ee5f1109dbd7919b03a4fa5ccd5.jpg",[],{"id":115,"slug":116,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":117,"thumbUrl":118,"material":44,"size":45,"collection":28,"collections":119,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":49},242153,"yin-du-jin-dian-cui-chan-wen-tou-hua-yi-ming-242153",[40,41,42,7,43,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3e07ba10f007e1ac85f3294e23e5d2.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":85,"tags":124,"thumbUrl":126,"material":44,"size":45,"collection":28,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":129},244193,"chan-wen-bing-qi-yi-ming-244193","蝉纹兵器",[25,23,125,7,24],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9cf2e8c49b16974e03683647311840.jpg",[],2,"BDBDBD",{"id":131,"slug":132,"title":133,"dynasty":37,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":141,"material":44,"size":45,"collection":28,"collections":142,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":129},268349,"hu-se-duan-ding-ling-xiu-chan-wen-xiang-dai-yi-ming-268349","湖色缎钉绫绣蝉纹香袋","此香袋以夏蝉为造型，以钉绫刺绣技法细细晕染蝉身，层层铺陈出柔和雅致的色彩过渡，翅脉纹理写实细腻，圆眸鲜亮灵动，将夏蝉的鲜活神态尽显无余。\n宝蓝盘长结搭配明黄流苏垂坠舒展，配色醒目和谐，蝉谐音“蝉联”，暗藏仕途顺遂、学业精进的美好祈愿，盘长结则寓意福寿连绵不绝。\n整体形制对称匀整，将贮香的实用功能与传统吉庆寓意相融，绣工精巧细腻，尽显旧时女红工艺的灵秀匠心，是民俗绣品里颇具巧思的佳作。",[43,136,137,138,7,139,140],"香袋","布料","钉绫绣","流苏","中国结","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ba570c21bbb0f9db8cce41eae30ffe.jpg",[],{"id":144,"slug":145,"title":146,"dynasty":37,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":153,"material":44,"size":45,"collection":28,"collections":154,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},249707,"qia-si-fa-lang-chan-wen-shuang-er-san-zu-gai-lu-yi-ming-249707","掐丝珐琅蝉纹双耳三足盖炉","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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