[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"subject-dong-wu-yong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9759,"dong-wu-yong","动物俑","动物俑画高清赏析","精选中国历代动物俑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b0841fb0803289eaa96f51125161a6.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},254685,"tao-hua-cai-ma-yi-ming-254685","陶画彩马","汉","佚名","藏地不详","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[18,23,24,25,7,26,27],"陶塑","彩绘","马","陶质","画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b815700b8db057801f8202f9e7bc2ac.jpg","未知","Xcm*Xcm","",[],"37474F",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":47,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},253913,"san-cai-ma-yi-ming-253913","三彩马","唐","此马劲健挺拔，昂首伫立，身形饱满流畅，将神骏剽悍的风骨尽显无遗。乌黑釉色匀净莹亮，鞍鞯装饰华美繁丽，橙黄鞍面衬以湖绿地障，缀有鎏金质感的贴花饰件，华贵雅致。缰绳络头刻画细致写实，分毫毕现匠人的精妙技艺。整体配色沉稳又不失明艳，古朴厚重间流淌着飞扬意气，尽显雍容豪迈的时代气象，是古陶瓷雕塑中的上乘之作。",[41,42,43,44,45,46,25,7,23],"唐代","陶瓷","釉陶","三彩","低温釉","设色",[],"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":70,"material":29,"size":30,"collection":31,"collections":71,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},253717,"tao-zhu-yi-ming-253717","陶猪","南北朝","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。",[42,56,57,58,23,59,60,61,62,63,64,65,66,67,68,7,69],"俑","兽","雕刻","古朴","南北朝风格","写实","动物造型","陶制","雕塑","古朴风格","陶塑技法","兽类题材","南北朝陶塑","陶雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7005e0dc8b5b9f9e1bec44f9d095482.jpg",[],1777535780094]