[{"data":1,"prerenderedAt":192},["ShallowReactive",2],{"subject-dai-gou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5642,"dai-gou","带钩","带钩画高清赏析","精选中国历代带钩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9edd9856756c182e7885eb64f7c094.jpg",0,17,[14,35,51,65,77,87,97,108,117,124,130,138,148,160,166,173,180],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},241786,"fei-cui-dai-gou-tao-huan-yi-ming-241786","翡翠带钩绦环","清","佚名","藏地不详","此器取满色翡翠雕琢而成，翠色匀净莹润，尽显玉料本真之美。采用透雕、圆雕技法，通体满饰瑞兽戏灵芝纹样，钩身与绦环纹样呼应，层次错落饱满，瑞兽身姿矫健灵动，灵芝舒展圆润，线条婉转流畅，将料色与工法完美相融。\n\n纹饰暗含福寿康宁的吉祥祈愿，匠人以精巧刀工，将写实与写意结合，既凸显翠色浓艳质感，又让纹样鲜活生动，是一件兼具装饰实用与美好寓意的玉雕佳构，尽显彼时玉雕工艺的成熟雅致。",[23,24,25,26,27,7,28],"清代","玉石","翡翠","雕刻","饰品","绦环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be8c454438fe446ab67b7c0d899d042.jpg","","玉器精选",[31],29,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":10,"material":45,"size":46,"collection":30,"collections":47,"showCount":48,"zanCount":49,"manualWeight":11,"mainColor":50},226957,"yu-dai-gou-1-yi-ming-226957","玉带钩-1","汉","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[42,24,26,43,7,44],"汉代","龙","器","未知","Xcm*Xcm",[],3,1,"BDBDBD",{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":62,"material":45,"size":46,"collection":30,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":50},229923,"jin-qian-zhu-bao-dai-gou-liang-dai-yi-ming-229923","金嵌珠宝带钩凉带","织锦为底，匀净肌理自带雅致质感。带钩与带扣以累丝金花为骨，缠枝纹婉转铺陈，细密灵动尽显精工巧思。\n\n带钩之上，两枚蓝宝石浓邃如深海凝光，东珠凝脂似皎皎月华，红宝石艳若赤霞错落其间。金的明耀与珠宝莹润交相辉映，华贵天成。\n\n此作兼具配饰实用性与陈设观赏性，将清代细金作工艺与珠宝镶嵌巧思融合，把身份尊崇藏于方寸配饰间，华贵不失庄重，尽显制器的匠心考究。",[23,57,27,58,59,60,7,61],"金器","嵌珠宝","金属工艺","珠宝镶嵌","凉带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f28dfb437c172ced8ccef48c51a362.jpg",[],2,{"id":66,"slug":67,"title":68,"dynasty":39,"author":19,"museum":20,"description":69,"tags":70,"thumbUrl":75,"material":45,"size":46,"collection":30,"collections":76,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":34},279870,"bai-xi-wen-tong-dai-gou-yi-ming-279870","百戏纹铜带钩","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[71,72,27,7,26,73,74],"青铜器","铜制","兽","百戏纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953d85b618ae71e06e3fd44a39ebf57b.jpg",[],{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":84,"material":45,"size":46,"collection":30,"collections":85,"showCount":49,"zanCount":49,"manualWeight":11,"mainColor":86},268738,"yang-ma-nao-dai-gou-yi-ming-268738","洋玛瑙带钩","黄铜累丝攒成柔婉卷草边框，细密灵动，如织就的软金蕾丝。主石洋玛瑙凝润厚重，褐红与乳白自然晕染，似天地绘就的秋山烟岚，自带沉静古雅的意蕴。边框错落嵌饰红绿小珠，鲜亮撞色打破玛瑙的沉郁，提亮视觉层次。下方钩扣镶嵌的淡绿松石，莹润清新，中和了金属与玛瑙的厚重，让整套带饰华贵又不失雅致，将花丝细工的精巧柔美与玉石的天然意趣相融，尽显旧时匠人的绝妙巧思，晕开悠悠古韵。",[27,57,24,7,83],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea03997c63c71c66f35c5ab051087fb.jpg",[],"37474F",{"id":88,"slug":89,"title":90,"dynasty":39,"author":19,"museum":20,"description":69,"tags":91,"thumbUrl":95,"material":45,"size":46,"collection":30,"collections":96,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},245171,"zhang-bing-shao-yi-ming-245171","长柄勺",[71,72,42,92,7,93,94],"长柄","日用器","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94866b48df85702b6889f2d6ed3f0fd7.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":101,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":106,"material":45,"size":46,"collection":30,"collections":107,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},244314,"cuo-jin-qian-song-shi-dai-gou-yi-ming-244314","错金嵌松石带钩","周","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。",[104,105,71,7,27,72],"错金","嵌松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd617bf745afdf138a1a7964937c5eedb.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":115,"material":45,"size":46,"collection":30,"collections":116,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},229846,"bai-yu-dai-gou-2-yi-ming-229846","白玉带钩-2","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[23,24,26,43,114,7],"玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b9fcac23e24d76018e3ae91cf78d25.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":101,"author":19,"museum":20,"description":102,"tags":121,"thumbUrl":122,"material":45,"size":46,"collection":30,"collections":123,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},281215,"bang-tong-dai-gou-yi-ming-281215","“□□邦”铜带钩",[71,72,27,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fef31bc745a742e0827fee39cd3e5eb.jpg",[],{"id":125,"slug":126,"title":68,"dynasty":39,"author":19,"museum":20,"description":69,"tags":127,"thumbUrl":128,"material":45,"size":46,"collection":30,"collections":129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},279869,"bai-xi-wen-tong-dai-gou-yi-ming-279869",[71,72,27,73,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2c3fc8711b24bbfd36dc59ce2431f.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":20,"description":112,"tags":134,"thumbUrl":136,"material":45,"size":46,"collection":30,"collections":137,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},268729,"bai-yu-long-shou-dai-gou-yao-dai-yi-ming-268729","白玉龙首带钩腰带",[27,24,43,135,7],"腰带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc39347ac16105bb2d6bb95e9733eb.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":142,"author":19,"museum":20,"description":112,"tags":143,"thumbUrl":146,"material":45,"size":46,"collection":30,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},251301,"bai-yu-fu-diao-chi-wen-ma-shou-dai-gou-yi-ming-251301","白玉浮雕螭纹马首带钩","宋",[24,144,145,7,142,73,27],"浮雕","螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febfd19c83ef958752cba316b27bafabf.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":152,"author":19,"museum":20,"description":112,"tags":153,"thumbUrl":158,"material":45,"size":46,"collection":30,"collections":159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},251126,"bai-yu-fu-diao-pan-chi-wen-long-shou-dai-gou-yi-ming-251126","白玉浮雕蟠螭纹龙首带钩","明",[154,155,144,156,157,7,26],"明代","白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