[{"data":1,"prerenderedAt":67},["ShallowReactive",2],{"subject-chang-fang-wei-jiao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8824,"chang-fang-wei-jiao","长方委角","长方委角画高清赏析","精选中国历代长方委角题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36e351f13579a482c4a9388f54a21bc4.jpg",0,4,[14,37,48,56],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},248205,"ti-hong-chan-zhi-lian-wen-chang-fang-wei-jiao-he-yi-ming-248205","剔红缠枝莲纹长方委角盒","清","佚名","藏地不详","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",[23,24,25,26,27,28,29,30,7],"清代","剔红","雕漆","雕刻","漆器","缠枝莲纹","人物","海水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc883c6a92d2579ccc7f35b52fcd8c450.jpg","未知","Xcm*Xcm","",[],"795548",{"id":38,"slug":39,"title":40,"dynasty":18,"author":19,"museum":20,"description":21,"tags":41,"thumbUrl":45,"material":32,"size":33,"collection":34,"collections":46,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},247600,"ti-hong-shan-shui-ren-wu-tu-chang-fang-wei-jiao-he-yi-ming-247600","剔红山水人物图长方委角盒",[23,27,24,26,42,29,43,7,44],"山水","小桥","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a18698ddefec08b0811826e85bd7e0.jpg",[],"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":18,"author":19,"museum":20,"description":21,"tags":52,"thumbUrl":54,"material":32,"size":33,"collection":34,"collections":55,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},247121,"qian-long-kuan-ti-hong-fei-yu-wen-chang-fang-wei-jiao-he-yi-ming-247121","乾隆款剔红飞鱼纹长方委角盒",[23,27,24,26,53,44,7],"飞鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440625be79a7ecc1433180f087a241f1.jpg",[],{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":20,"description":60,"tags":61,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":65,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},246142,"qian-long-kuan-qiang-jin-cai-qi-wan-fu-feng-wen-chang-fang-wei-jiao-pan-yi-ming-246142","乾隆款戗金彩漆万福凤纹长方委角盘","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。",[23,27,62,63,7,64],"戗金彩漆","凤纹","设色",[],"37474F",1777535765919]