[{"data":1,"prerenderedAt":235},["ShallowReactive",2],{"subject-chi-wu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6868,"chi-wu","持物","持物画高清赏析","精选中国历代持物题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4e26735c4da6d85050c5ed75c550790.jpg",0,18,[14,43,57,72,104,119,136,146,156,166,175,183,190,196,205,211,218,226],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":42},231658,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231658","室町时代 隋时佛像","不详","佚名","藏地不详","此作以沉凝古雅的色调，绘就护法神祇的威严气魄。黝黑面庞怒目圆睁，宝冠束发更添悍勇，周身火焰背光翻卷烈烈，烘衬出慑人气场。神将身披纹饰繁细的重甲，璎珞革带错落有致，右手长剑拄握，左手结印，甲叶錾刻精巧，衣摆飘带虬曲灵动。\n\n画师以劲挺线条勾勒轮廓，矿物颜料的沉郁色泽带着岁月晕染的斑驳旧痕，将护法狞厉刚猛的威仪尽数铺展，糅合佛画肃穆与武将雄健张力，古拙笔触间尽显东方宗教造像的力量之美。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","书画","立轴","宗教","设色","人物","室町时代风格","工笔","佛像","盔甲","火焰纹","宝相装饰","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe736348acdeaa504546c19869610b3fb.jpg","未知","Xcm*Xcm","",[],"37474F",{"id":44,"slug":45,"title":46,"dynasty":47,"author":19,"museum":20,"description":48,"tags":49,"thumbUrl":54,"material":38,"size":39,"collection":40,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":42},252895,"qing-you-ci-chi-wu-tong-zi-li-xiang-yi-ming-252895","青釉瓷持物童子立像","隋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[50,51,52,29,53,7],"陶瓷","青釉","童子","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff967a2a61f8d2b187da109719683ea2c.jpg",[],6,{"id":58,"slug":59,"title":60,"dynasty":61,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":67,"material":38,"size":39,"collection":68,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},254926,"shi-wan-yao-zhe-lan-you-chi-wu-luo-han-zuo-xiang-yi-ming-254926","石湾窑赭蓝釉持物罗汉坐像","清","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[64,50,27,29,65,66,7],"清代","赭蓝釉","石湾窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708ed59dede4efc507d517c6f9e1759c.jpg","瓷器精选",[68],5,"F48FB1",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":20,"description":77,"tags":78,"thumbUrl":10,"material":38,"size":39,"collection":40,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":103},232347,"a-er-ma-74-lao-lun-si-a-er-ma-ta-de-ma-232347","阿尔玛74","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[79,80,81,82,29,83,84,85,86,87,88,89,90,91,92,93,94,95,96,97,98,7,99,100],"新古典主义","油画","写实","古希腊场景","大理石建筑","花环","火炬","陶罐","青铜器","乐器","雕塑","水壶","篮子","常春藤","祭祀庆典","火焰","烟雾","壁画","大理石地砖","古希腊服饰","演奏","交谈",[],3,"795548",{"id":105,"slug":106,"title":107,"dynasty":61,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":116,"material":38,"size":39,"collection":40,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":42},252834,"ni-ren-zhang-su-ba-xian-zhang-guo-lao-xiang-yi-ming-252834","泥人张塑八仙张果老像","这件泥塑将张果老的仙者气韵尽显。老者额间圆光自带出尘之感，面容慈和，皱纹顺着肌理舒展，长髯如银丝垂落，根根分明写实传神。\n\n宽袍褶皱层叠自然，灰旧衣身镶边晕出岁月质感，衣料垂坠的重量感被拿捏入微。他手持简牍，姿态恭谨又带着闲散仙气，皮肤松弛的肌理细节逼真，仿若俗世中悠然隐世的长者，却又自带着仙灵清隽气质。\n\n写实技法揉合神话意趣，将泥料化作有温度的仙翁形象，清代泥塑的精湛匠心凝于寸尺泥胎，让神话人物走下传说，仿若可缓步而来。",[64,110,29,111,112,81,113,114,115,7],"泥塑","八仙","民间工艺","长袍","胡须","道帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363dba17b126f0b5166959a60da48c76.jpg",[],2,{"id":120,"slug":121,"title":122,"dynasty":123,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":133,"material":38,"size":39,"collection":40,"collections":134,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":135},252782,"mu-diao-shuang-shou-chi-wu-luo-han-zuo-xiang-yi-ming-252782","木雕双手持物罗汉坐像","宋","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[126,127,27,29,128,129,7,130,131,132],"宋代","木雕","罗汉","坐像","木质","雕刻","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf3c46465223dffc6cb88fa99085d38.jpg",[],"BDBDBD",{"id":137,"slug":138,"title":139,"dynasty":140,"author":19,"museum":20,"description":124,"tags":141,"thumbUrl":143,"material":38,"size":39,"collection":40,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":42},256113,"mu-diao-chi-wu-tong-zi-li-xiang-yi-ming-256113","木雕持物童子立像","明",[142,130,131,29,52,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeda44f6edc496d56369f3c84661fa1c.jpg",[],1,{"id":147,"slug":148,"title":149,"dynasty":123,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":154,"material":38,"size":39,"collection":40,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255782,"bai-you-ci-hei-cai-chi-wu-tong-zi-xiang-yi-ming-255782","白釉瓷黑彩持物童子像","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[50,152,153,29,52,7],"白釉","黑彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8181c407b5f4154c494e2e8306509b9f.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":123,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":164,"material":38,"size":39,"collection":40,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":103},255777,"lv-you-ci-chi-wu-nv-xiang-yi-ming-255777","绿釉瓷持物女像","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。",[123,50,162,29,7,163],"绿釉","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce299b1d2c0191253dfce09524886c34.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":140,"author":19,"museum":20,"description":124,"tags":170,"thumbUrl":173,"material":38,"size":39,"collection":40,"collections":174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255384,"mu-diao-cai-hui-chi-wu-guai-ren-li-xiang-yi-ming-255384","木雕彩绘持物怪人立像",[171,130,131,172,28,29,7],"明代风格","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3171ac900f5ccbad10cd64fe3a0b39f0.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":140,"author":19,"museum":20,"description":124,"tags":179,"thumbUrl":181,"material":38,"size":39,"collection":40,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255383,"mu-diao-cai-hui-chi-wu-nan-li-xiang-yi-ming-255383","木雕彩绘持物男立像",[140,130,127,172,29,180,7,27],"男立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffe0560d943699f29f82e68a2b8d2a4.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":140,"author":19,"museum":20,"description":124,"tags":187,"thumbUrl":188,"material":38,"size":39,"collection":40,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255357,"mu-diao-cai-hui-shuang-shou-chi-wu-nan-li-xiang-yi-ming-255357","木雕彩绘双手持物男立像",[140,130,131,172,29,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bd5ca5233106affca44afceaf21434.jpg",[],{"id":191,"slug":192,"title":186,"dynasty":140,"author":19,"museum":20,"description":124,"tags":193,"thumbUrl":194,"material":38,"size":39,"collection":40,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255346,"mu-diao-cai-hui-shuang-shou-chi-wu-nan-li-xiang-yi-ming-255346",[142,130,127,131,172,28,29,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745238f5b2c80cc394aa25145dba75bf.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":140,"author":19,"museum":20,"description":124,"tags":200,"thumbUrl":203,"material":38,"size":39,"collection":40,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},255171,"mu-diao-tie-jin-chi-wu-wen-li-zuo-xiang-yi-ming-255171","木雕贴金持物文吏坐像",[142,127,201,131,202,29,129,7,130],"贴金","文吏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd333d9d0fcaabdcadf6692c6187d0ef.jpg",[],{"id":206,"slug":207,"title":199,"dynasty":140,"author":19,"museum":20,"description":124,"tags":208,"thumbUrl":209,"material":38,"size":39,"collection":40,"collections":210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255169,"mu-diao-tie-jin-chi-wu-wen-li-zuo-xiang-yi-ming-255169",[142,130,127,201,131,29,202,7,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5b93f04d72664160aaa28f827e03b0.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":61,"author":19,"museum":20,"description":124,"tags":215,"thumbUrl":216,"material":38,"size":39,"collection":40,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255152,"mu-diao-cai-hui-gong-shou-chi-wu-tong-zi-li-xiang-yi-ming-255152","木雕彩绘拱手持物童子立像",[64,127,172,52,53,7,130,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f129fd95c54dcde7926df69533328e.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":61,"author":19,"museum":20,"description":124,"tags":222,"thumbUrl":224,"material":38,"size":39,"collection":40,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255151,"mu-diao-cai-hui-chi-wu-nan-tong-li-xiang-yi-ming-255151","木雕彩绘持物男童立像",[64,130,127,172,29,223,7,53],"男童","https:\u002F\u002Foss.chuangqi.store\u002Fthu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