[{"data":1,"prerenderedAt":143},["ShallowReactive",2],{"subject-chui-die":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8645,"chui-die","锤揲","锤揲画高清赏析","精选中国历代锤揲题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8587fa636cf88e583666642f1c3ab1.jpg",0,11,[14,35,49,63,74,84,94,104,114,124,134],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},245402,"yin-chui-die-yun-long-wen-wan-yi-ming-245402","银锤碟云龙纹碗","清","佚名","藏地不详","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。",[23,24,7,25,26,27,28],"清代","银器","雕刻","龙","云","饮酒器","未知","Xcm*Xcm","",[],3,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":45,"material":29,"size":30,"collection":31,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},245464,"yin-chui-yun-long-wen-mei-ping-yi-ming-245464","银锤云龙纹梅瓶","元","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。",[39,24,7,42,26,43,44,25],"云龙纹","金属器","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55076ac5ac6a83af058d22c347d2b73a.jpg",[],1,"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":61,"material":29,"size":30,"collection":31,"collections":62,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},245420,"yin-chui-die-hua-niao-tu-cha-bei-yi-ming-245420","银锤碟花鸟图茶杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[23,24,7,55,56,57,58,59,60],"浮雕","花鸟","鸟类","花卉","传统工艺","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e05a2934e93560ce1ab2ea26ba67f60.jpg",[],{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":71,"material":29,"size":30,"collection":31,"collections":72,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},245954,"guang-xu-gui-mao-kuan-yin-jiu-ti-yi-ming-245954","光绪癸卯款银酒提","修长银杆线条舒展流畅，尾端挂环简约利落，兼顾收纳之便。勺头敛成深弧，包浆柔润厚重，银质清匀净透，经年摩挲晕开柔光，暗合着旧时雅舍酒肆的松弛日常。\n\n它褪去繁复雕饰，以素净肌理尽显器物本心，银作工艺内敛克制，将实用与雅致相融。提杆趁手称意，舀取之间尽显宴饮添樽的温润意趣，静静承载着往昔沽酒对酌的温热记忆，把日常烟火淬成沉静的时光印记。",[23,24,28,7,69,43,70],"器","錾刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11c783d42bdffd53421fb2692f7cc1a4.jpg",[],"BDBDBD",{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":21,"tags":78,"thumbUrl":82,"material":29,"size":30,"collection":31,"collections":83,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},245893,"guang-xu-yong-he-gong-kuan-yin-dai-tuo-wan-yi-ming-245893","光绪永和宫款银带托碗",[18,24,79,80,81,7,43],"带托碗","日用具","银制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2976cc60b4ad076a950809c8f0f5a75.jpg",[],{"id":85,"slug":86,"title":87,"dynasty":18,"author":19,"museum":20,"description":21,"tags":88,"thumbUrl":91,"material":29,"size":30,"collection":31,"collections":92,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},245886,"yin-qian-wan-yi-ming-245886","银浅碗",[24,80,23,89,90,7],"金属工艺","浅腹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762cf441111b02f0199f5dd34ed66ad0.jpg",[],"F48FB1",{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":102,"material":29,"size":30,"collection":31,"collections":103,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},245811,"tong-zhi-ba-nian-kuan-yin-he-ye-shi-pan-yi-ming-245811","同治八年款银荷叶式盘","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。",[18,24,100,25,7,101,69],"荷叶","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7e301f92ed3c14a0dcef8caadd972b.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":112,"material":29,"size":30,"collection":31,"collections":113,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},245740,"yin-duan-bing-hu-yi-ming-245740","银端柄壶","此壶造型敦厚朴拙，壶身饱满圆融，轮廓线条柔和舒展，执柄曲度恰好贴合握持的舒适感，壶嘴挺括利落，出水顺畅。\n\n编链将盖钮与执柄相连，精巧用心，既防止壶盖遗失，也为素净的器物添上一份灵动细节。银身蒙着一层温润的岁月包浆，深浅晕染，凝纳着百年烟火气，不见繁复雕饰，全凭形制流露内敛雅致的中式意趣，藏着旧时慢煮茶汤的松弛日常，将实用与雅意融为一体，静诉往昔温茶度日的温柔余韵。",[23,24,80,110,111,25,7],"饮具","链条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf8e85df03633fb2a9e40958d027607.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":18,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":122,"material":29,"size":30,"collection":31,"collections":123,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},245511,"jin-yin-xia-yin-chi-yi-ming-245511","金印匣印池","此器方正沉稳，斜刹盖顶勾勒出利落线条，通体金面凝润华贵，历久弥新。锁扣简约周正，与器身严丝合缝，边角镶饰加固，巧思暗藏，兼顾端庄形制与实用功能。\n\n整体不着繁复雕饰，以素净金质凸显材质本身的厚重质感，将庄重内敛的气度融于极简形制，自带沉静肃穆的古韵，尽显东方文器重器的内敛奢华，是旧时工艺匠心的绝佳体现。",[120,69,25,7,121],"金器","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f52a1e06a8b16e5ca0fb20889cd9e8f.jpg",[],{"id":125,"slug":126,"title":127,"dynasty":39,"author":19,"museum":20,"description":98,"tags":128,"thumbUrl":132,"material":29,"size":30,"collection":31,"collections":133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},245465,"yin-liu-jin-chui-die-gua-wen-tuo-yuan-pan-yi-ming-245465","银鎏金锤碟瓜纹椭圆盘",[39,24,120,7,129,130,25,131],"鎏金","瓜纹","椭圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426d39e05390ae259df8e120983cc6a3.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":39,"author":19,"museum":20,"description":53,"tags":138,"thumbUrl":141,"material":29,"size":30,"collection":31,"collections":142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},245462,"yin-chui-ling-hua-shi-bei-yi-ming-245462","银锤菱花式杯",[139,24,7,140,28,25],"元代","菱花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa84f8562efd93e2f300a118ec12d2f.jpg",[],1777535732997]