[{"data":1,"prerenderedAt":436},["ShallowReactive",2],{"subject-duo-hua-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10162,"duo-hua-wen","朵花纹","朵花纹画高清赏析","精选中国历代朵花纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37199f0f47ffa884c0b59d31b7c42423.jpg",0,45,[14,38,48,67,78,92,100,109,116,124,132,143,153,159,166,177,187,195,205,213,222,229,238,248,256,262,268,275,281,287,297,305,314,323,334,345,357,371,381,388,400,407,414,422,428],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},267539,"qian-tuo-se-di-duo-hua-wen-zhi-jin-jin-yi-ming-267539","浅驼色地朵花纹织金锦","清","佚名","藏地不详","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[23,24,25,7,26,27,28,29],"织金锦","布料","织金","花卉","设色","织锦","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6177f70740bd214bb48f8c0a3f4dd2d5.jpg","未知","Xcm*Xcm","",[],8,1,"FF9800",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":44,"material":31,"size":32,"collection":33,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},267685,"chen-xiang-se-di-man-cao-duo-hua-wen-jin-yi-ming-267685","沉香色地蔓草朵花纹锦",[24,28,43,7],"蔓草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d9f63532c41de507d33ca0977a7b1a.jpg",[],6,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":62,"material":31,"size":32,"collection":63,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},260613,"jun-yao-yue-bai-you-ti-ke-duo-hua-wen-lu-yi-ming-260613","钧窑月白釉剔刻朵花纹炉","元","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[55,56,57,58,7,59,60,61],"陶瓷","钧窑","器","剔刻","双耳三足炉","月白釉","礼器","h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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。",[55,7,377,378],"黄地绿彩","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cfcca5c862c41acb6774adcea66337.jpg",[],{"id":382,"slug":383,"title":384,"dynasty":18,"author":19,"museum":20,"description":349,"tags":385,"thumbUrl":386,"material":31,"size":32,"collection":33,"collections":387,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},259173,"yong-zheng-kuan-huang-di-lv-cai-duo-hua-wen-pan-yi-ming-259173","雍正款黄地绿彩朵花纹盘",[55,377,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1ccc493d60960cf55098b02949bba5.jpg",[],{"id":389,"slug":390,"title":391,"dynasty":18,"author":19,"museum":20,"description":375,"tags":392,"thumbUrl":398,"material":31,"size":32,"collection":33,"collections":399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},258631,"qian-long-kuan-huang-di-zi-lv-long-duo-hua-wen-pan-yi-ming-258631","乾隆款黄地紫绿龙朵花纹盘",[393,55,394,395,396,397,7],"清代","黄地","紫绿彩","釉上彩","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14d237c91001a7332b384c57becb43c.jpg",[],{"id":401,"slug":402,"title":348,"dynasty":18,"author":19,"museum":20,"description":349,"tags":403,"thumbUrl":405,"material":31,"size":32,"collection":33,"collections":406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},258281,"yong-zheng-kuan-dou-cai-duo-hua-wen-wan-yi-ming-258281",[55,351,404,7,27,57],"清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48375384112c48f70f01ee99f2d5b650.jpg",[],{"id":408,"slug":409,"title":348,"dynasty":18,"author":19,"museum":20,"description":349,"tags":410,"thumbUrl":412,"material":31,"size":32,"collection":33,"collections":413,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},258280,"yong-zheng-kuan-dou-cai-duo-hua-wen-wan-yi-ming-258280",[393,55,351,7,378,27,411],"工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e8a28370dc8ed59c0a01697d8907e.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":361,"author":19,"museum":20,"description":362,"tags":418,"thumbUrl":420,"material":31,"size":32,"collection":63,"collections":421,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},257586,"long-quan-yao-qing-you-ke-hua-duo-hua-wen-pan-yi-ming-257586","龙泉窑青釉刻划朵花纹盘",[55,365,174,7,419,367],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9501dc48fca6582e5bd57baa361933fe.jpg",[63],{"id":423,"slug":424,"title":417,"dynasty":361,"author":19,"museum":20,"description":362,"tags":425,"thumbUrl":426,"material":31,"size":32,"collection":63,"collections":427,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},257585,"long-quan-yao-qing-you-ke-hua-duo-hua-wen-pan-yi-ming-257585",[55,365,174,7,361,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f760be0a6434ae735b393e3c779ee5.jpg",[63],{"id":429,"slug":430,"title":431,"dynasty":361,"author":19,"museum":20,"description":362,"tags":432,"thumbUrl":434,"material":31,"size":32,"collection":63,"collections":435,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},257584,"long-quan-yao-qing-you-ke-hua-duo-hua-wen-ju-ban-pan-yi-ming-257584","龙泉窑青釉刻划朵花纹菊瓣盘",[419,55,365,174,7,433],"菊瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3a675319ee09fb722a0a0f6a537ec7.jpg",[63],1777535710482]