[{"data":1,"prerenderedAt":167},["ShallowReactive",2],{"subject-di-zuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},973,"di-zuo","底座","底座画高清赏析","精选中国历代底座题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb90b24581dd8caf95aefde875947afc0.jpg",0,9,[14,48,68,86,107,123,135,145,154],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},232515,"he-er-bai-yin-174-he-er-bai-yin-232515","荷尔拜因174","不详","荷尔拜因","藏地不详","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38,39,40],"宗教","人物","白描","素描","立轴","天使","恶魔","剑","天平","怪兽","翅膀","铠甲","长袍","装饰纹样","神话生物","武器","称量工具","竖幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397e2eb2133791e351d36266ae48288e.jpg","未知","Xcm*Xcm","",[],5,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":20,"description":54,"tags":55,"thumbUrl":64,"material":42,"size":43,"collection":44,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},246777,"ti-hong-ju-hua-wen-dai-zuo-guo-pan-yi-ming-246777","剔红菊花纹带座果盘","清","佚名","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。",[52,56,57,58,59,60,61,62,7,63],"漆器","剔红","雕刻","设色","佛手","菊花纹","果盘","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db7ba71a7fd49ce6304192da3fe8da6.jpg",[],2,"37474F",{"id":69,"slug":70,"title":71,"dynasty":72,"author":53,"museum":20,"description":73,"tags":74,"thumbUrl":82,"material":42,"size":43,"collection":44,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},244424,"lu-yi-ming-244424","炉","宋","此炉取莲瓣塑就炉身，瓜棱饱满柔婉，如将半绽芙蕖凝于铜色间，下承矮圆底座，古拙沉静。长柄弯折为支架，线条舒展利落，与炉身柔美形成刚柔相济的韵律。铜身晕染青绿锈迹，是岁月浸蚀的痕迹，带着清雅审美意趣，褪去繁复华丽，将日常器具融于文人雅致风骨。实用与审美在此相融，于沉静内敛中，晕开旧时案头的悠然时光。",[75,76,58,77,78,79,7,80,81],"青铜器","铜制","器","莲花瓣","宋代","支架","炉身","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ccc165d05a0168588c8ad027cb0f1a.jpg",[],1,"795548",{"id":87,"slug":88,"title":89,"dynasty":90,"author":53,"museum":20,"description":91,"tags":92,"thumbUrl":105,"material":42,"size":43,"collection":44,"collections":106,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},243843,"xi-yi-ming-243843","洗","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。",[93,75,76,94,95,96,97,98,99,100,101,102,103,104,7,63],"汉代","日用器具","铜锈","单柄","圈足","线纹","金属器","日常用品","汉代风格","铜器","锈蚀","带柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f8c4baf2e5cc6b4d289513f8b24721.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":52,"author":53,"museum":20,"description":111,"tags":112,"thumbUrl":121,"material":42,"size":43,"collection":44,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},245876,"yin-huo-wan-yi-ming-245876","银火碗","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。",[113,114,115,58,116,117,118,7,119,120],"银器","饪食器","清代","兽足","双耳","带盖","金属工艺","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f88c6d479c6d89e711a722fb879d6dc.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":90,"author":53,"museum":20,"description":91,"tags":127,"thumbUrl":133,"material":42,"size":43,"collection":44,"collections":134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},245268,"bo-shan-lu-yi-ming-245268","博山炉",[93,75,76,58,128,129,130,131,7,101,132],"镂空","三足","多孔","链环","熏香器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292f84b9f7bcae0eb333582736a60d06.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":72,"author":53,"museum":20,"description":139,"tags":140,"thumbUrl":143,"material":42,"size":43,"collection":44,"collections":144,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},245126,"xiang-tong-yi-ming-245126","香筒","器身高挑秀挺，筒身以界栏分割纹饰，上下錾刻游龙穿云，龙姿矫健灵动，云气迤逦缠绕，尽显腾跃之态。筒壁两侧设衔环兽耳，古拙沉稳，带着岁月浸润的厚重质感。下承四兽足，兽首昂然、卷足灵动，托举筒身更显挺拔俊逸。座架镂空雕花，线条婉转柔媚，座面边角回纹铺陈，添古朴雅韵。\n\n整体包浆厚重莹润，铜色凝着沉穆幽光，将精工雅致与庄重大气融为一体，静立间尽显古雅肃穆的东方意韵，藏着旧时造物的审美意趣。",[75,76,58,63,116,7,141,142],"宋代风格","筒形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40d5e19b584df4cadec9f6790db1adee.jpg",[],{"id":146,"slug":147,"title":126,"dynasty":90,"author":53,"museum":20,"description":91,"tags":148,"thumbUrl":152,"material":42,"size":43,"collection":44,"collections":153,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},244882,"bo-shan-lu-yi-ming-244882",[93,75,76,58,128,149,150,7,151],"山峦造型","托盘","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663beb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