[{"data":1,"prerenderedAt":63},["ShallowReactive",2],{"subject-dai-lian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8376,"dai-lian","带链","带链画高清赏析","精选中国历代带链题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e5a24845831142f884e1b57524a78e.jpg",0,3,[14,34,49],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},251899,"shui-jing-dai-lian-hua-lan-yi-ming-251899","水晶带链花篮","清","佚名","藏地不详","整器取天然水晶雕琢而成，澄澈如冰似玉，莹润通透。花篮器型饱满周正，外壁浅刻柔婉纹饰，添了几分雅致韵味。最为绝妙的当属悬挂链饰，由整料掏挖环环相连而成，无丝毫拼接痕迹，链身灵动顺滑，尽显鬼斧神工的技艺巧思。木质提架柔润古朴，与清透水晶相映成趣，将水晶的清隽质感烘托得淋漓尽致，把天然材质之美与匠人极致工艺完美融合，自带出尘雅致的气韵，尽显工艺的精巧造诣。",[18,23,24,25,7,26,27],"玉石","雕刻","水晶","花篮","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b9463c3013319d4bbe2ec894919531.jpg","未知","Xcm*Xcm","",[],"37474F",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":46,"material":29,"size":30,"collection":31,"collections":47,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},245499,"chi-jin-hu-lu-hua-wen-dai-lian-ya-qian-er-wa-yi-ming-245499","赤金葫芦花纹带链牙签耳挖","这是一件兼具实用与装饰的细金佳作，以赤金打造牙签与耳挖，金链相连，可随身佩戴，妥帖适配古人雅致日常。器身錾刻葫芦缠枝纹，藤蔓萦回、葫芦饱满，暗合福禄绵长的吉祥意涵。\n赤金色泽沉稳华贵，浮雕纹饰立体生动，錾刻工艺细致入微，将日常小物雕琢为精巧饰物，把祈福心愿融于方寸器物，尽显细金作的精湛功底，诠释了旧时器物功能与美学的完美相融。",[40,41,24,42,43,7,44,45],"清代","金器","饰品","葫芦纹","牙签","耳挖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e71edfca457e2015410c4f66b69e50.jpg",[],"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":62,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},242891,"dai-lian-san-zu-hu-yi-ming-242891","带链三足壶","汉","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。",[56,57,58,7,59,60,61],"青铜器","铜制","三足","汉代风格","器物","铸造",[],1777535780149]