[{"data":1,"prerenderedAt":197},["ShallowReactive",2],{"subject-fang-gu-feng-ge":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1784,"fang-gu-feng-ge","仿古风格","仿古风格画高清赏析","精选中国历代仿古风格题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43ea6935b04882969269e7e985c946a.jpg",0,14,[14,36,62,80,94,104,115,129,139,148,159,168,178,187],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},251918,"fei-cui-fang-gu-tong-wen-hai-tang-shi-hua-gu-yi-ming-251918","翡翠仿古铜纹海棠式花觚","清","佚名","藏地不详","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[23,24,25,7,26,27,28],"清代","玉石","雕刻","仿古铜纹","海棠式","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa097dffb509c3c7b1b7b599712740178.jpg","未知","Xcm*Xcm","",[],7,"795548",{"id":37,"slug":38,"title":39,"dynasty":18,"author":40,"museum":20,"description":41,"tags":42,"thumbUrl":58,"material":32,"size":32,"collection":32,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},238216,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238216","仿王翬山水册","曹夔音","此作为仿古佳制，右幅绘溪林静境，苍松虬劲成荫，溪桥隐于林下，远山以淡墨晕染留白，晕开空濛烟岚，尽显林泉幽寂的隐逸之趣。笔触温婉秀润，循古法而出新意，将淡远清和的山水风神尽显无余。\n左幅题咏琳琅，诗画合璧，以文衬景，把寄情丘壑的雅怀诉诸笔端，笔墨间浸透了传统文人澄怀观道的林下襟怀，整幅册页清雅隽永，尽显师古能化的笔墨功力。",[43,44,45,46,47,48,49,50,51,52,53,54,55,56,7,57],"国画","书画","名画","山水画","水墨","设色","皴法","山石","树木","松树","小桥","流水","云雾","传统技法","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763a5f1073179bed6806c33f9105b513.jpg",[],5,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":66,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":77,"material":30,"size":31,"collection":32,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":35},245014,"fu-ding-jue-yi-ming-245014","父丁爵","民国","它敞口前伸为流，后收作尖尾，束颈深腹，腹侧设鋬，口沿立双柱，下承三棱锥足，形制恪守古礼器规制。腹部浅铸兽面纹，线条凝练古拙，纹理虽简却尽显庄重肃穆。器身铜色沉穆苍古，带着旧物特有的温润包浆，将上古青铜礼器的端雅威仪复刻传神。虽为仿古之作，却尽显青铜礼器的规整端方，仿若带着往昔祭祀典仪的厚重回响，静静诉说着古礼器的肃穆韵味。",[69,70,71,25,7,72,73,74,75,76],"青铜器","饮酒器","铜制","民国时期","纹饰","三足器","爵形","青铜铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecb82ee0c75c15f14afbf5738a29ff3.jpg",[],2,{"id":81,"slug":82,"title":83,"dynasty":18,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":92,"material":30,"size":31,"collection":32,"collections":93,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258544,"qian-long-kuan-fang-gu-tong-cai-miao-jin-chao-tian-er-gai-ding-yi-ming-258544","乾隆款仿古铜彩描金朝天耳盖鼎","此器取青铜鼎为形，朝天耳高挑舒展，狮钮踞于盖顶，威严灵动。盖面镂空作烟孔，烟气弥散间愈添雅韵。腹身以回纹衬地，浮雕兽面纹饰，古朴肃穆，古意盎然。三兽足敦实沉稳，承托器身尽显端庄厚重。\n\n仿铜彩釉色沉穆逼真，描金勾勒纹饰脉络，将青铜古器的苍劲质感复刻传神。既保留礼器的庄重形制，又以瓷作复刻古意，兼具焚香雅用与陈设之美，尽显仿古工艺的精妙匠心。",[18,7,86,87,28,88,89,90,25,91],"描金","陶瓷","鼎","朝天耳","兽足","铜彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec108cfc7baff10b1889dcb09a934b0.jpg",[],{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":102,"material":30,"size":31,"collection":32,"collections":103,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243293,"hui-wen-gu-yi-ming-243293","回纹觚","此器仿商周青铜觚形制，喇叭敞口，器身分段起棱出戟，以错金嵌蓝工艺饰兽面与回纹。敞口内壁浮雕兽面，威严古朴；颈、腹、足部以回纹为地，铺陈兽面纹饰，层次分明。金彩勾边填廓，蓝料晕染纹饰，冷色古铜底衬映金蓝交辉，既留存三代青铜的沉穆厚重，又融清代作器的妍丽工巧，将复古意趣与细作匠心融为一体，是仿古铜器中的精巧之作。",[23,71,25,100,101,28,70,7],"回纹","兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F544beda67b3de2cef1571190b0f07c4f.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":112,"material":30,"size":31,"collection":32,"collections":113,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},243232,"su-ding-yi-ming-243232","素鼎","器形敦厚朴拙，双兽耳出戟沉稳厚重，器身浅刻兽面纹，暗承商周礼器肃穆古雅之韵，冷硬铜色自带沉凝的岁月质感。后配紫檀盖作涡旋凹面，柔润线条中和青铜刚劲，盖顶嵌镂雕俏色玉钮，莹润玉光对比古铜哑光，刚柔相济。\n\n此作追摹三代庙堂礼器的庄重威仪，又融入清代工艺雅致巧思，古意新工，尽显慕古又重赏玩的审美意趣。",[23,69,71,25,28,24,110,73,111,7],"双耳","盖钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd41431d307ea13946c51255e7a9f235.jpg",[],"37474F",{"id":116,"slug":117,"title":118,"dynasty":119,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":127,"material":30,"size":31,"collection":32,"collections":128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243207,"ya-gui-yi-ming-243207","亚簋","宋","青铜簋，为商周时期重要的青铜礼器和食器，主要盛放煮熟的黍、稷、稻、粱等食粮，作用相当于我们现在使用的大碗，人们使用工具从簋中取食。在商周礼制中，青铜簋通常在祭祀和宴飨时以偶数组合与以奇数组合的列鼎配合使用，如，天子用九鼎八簋，诸侯七鼎六簋，大夫五鼎四簋，元士三鼎二簋。\n现在所见最早的青铜簋是二里岗时期的。商代早中期，簋多为圆形，侈口、深腹、圈足；到了商代晚期，双耳簋开始增多。西周时期是簋的盛行时期，不仅出土数量增多，而且形制亦趋复杂，除双耳圈足簋外，还出现了四耳簋、三足簋、四足簋和方座簋等；西周中期后多有盖。至战国后始衰落。",[122,69,71,25,73,123,124,7,28,125,126],"宋代","龙纹","兽纹","方形底座","龙形耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9f785be537d0914e5add1af74ae587.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":137,"material":30,"size":31,"collection":32,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243177,"shou-mian-wen-fang-ding-yi-ming-243177","兽面纹方鼎","此器取方鼎形制，立耳沉稳方正，器膛浅阔利落。器壁饰兽面纹，线条古拙凝练，带着上古礼器特有的狞厉威严，复刻商周青铜古韵。四足为点睛之笔，以伫立神鸟造型塑成，翎羽层叠舒展，末端卷曲灵动，将上古礼器的厚重庄穆，糅入灵动雅致的细节。整体古韵盎然，尽显清代仿古工艺的细腻匠心，让古雅彝器重焕生机，肃穆中带着雅致的金石意趣。",[69,71,25,101,135,28,7,136],"饪食器","兽形足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a338e916903714e7e1a3d7e46ba3a0.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":146,"material":30,"size":31,"collection":32,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},243173,"kui-wen-fang-ding-yi-ming-243173","夔纹方鼎","器身方正挺拔，立耳沉稳持重，复刻上古礼器的端严气度。器腹夔纹回环盘绕，线条古拙狞厉，带着商周彝器的狞厉之美，对称排布间尽显规整肃穆。四足最为精妙，将夔形蜷曲融于足身，刚硬轮廓下藏扭转灵动，消解了方鼎的沉滞，让重器生出几分婉转意趣。\n\n通体包浆厚润，仿古却不失清代作器的工致精细，暗合彼时金石复古的风潮，以复刻之手追慕上古礼制美学，让千年青铜雅韵重焕光彩。",[69,71,25,145,28,135,7],"夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad92d29fbc3b7f635eb7b57b2ab7274.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":157,"material":30,"size":31,"collection":32,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},243165,"shou-mian-wen-ding-yi-ming-243165","兽面纹鼎","立耳挺拔敛口，鼎腹圆浑饱满，三足沉稳敦实，复刻上古礼器的庄重规制。腹部满饰兽面纹，回云纹衬底铺陈，兽面双目圆睁、鼻梁高挺，线条刚柔并济，鎏金走线勾勒出狞厉威仪，带着殷商古拙肃穆的气韵，铜色温润又尽显复刻的精工细腻。\n\n整器端庄厚重，既承袭上古祭祀重器的庄严气度，又以巧思重现商周青铜美学，将古雅礼制与当世工艺相融，静穆间自有沉浑厚重的庙堂雅韵。",[69,71,28,135,154,25,7,101,155,156],"浅浮雕","三足","立耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5860145622aeb763c3fe721d282247e1.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":166,"material":30,"size":31,"collection":32,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},243164,"jiao-ye-wen-ding-yi-ming-243164","蕉叶纹鼎","立耳敞口，三足沉稳敦实，复刻上古礼器威仪。颈间兽面纹线条狞厉古拙，带着先秦祭祀重器的肃穆气韵；腹身蕉叶纹层叠舒展，细密走线勾出叶脉肌理，将青铜的厚重冷硬融于叶片的灵秀舒展，刚柔相济。整体包浆沉厚莹润，器形周正大气，既有古鼎的庄重肃穆，又带着仿古作器的精工考究，把商周青铜的上古风华复刻得传神到位，静穆之中尽显古韵雅致，是一件兼具古风意蕴与匠造心思的青铜佳器。",[69,71,28,135,25,165,101,7,23,73],"蕉叶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1357c0cd23f28c71f2e6f842ccb8af0.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":119,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":176,"material":30,"size":31,"collection":32,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243140,"xiang-shi-dao-ren-ding-yi-ming-243140","香侍道人鼎","此器取上古方鼎形制，古雅端凝。青铜器身错银勾勒兽面纹饰，鎏金圆钉点缀其间，将商周礼器的狞厉古意凝缩于方寸案头。深棕木盖温润朴拙，盖顶白玉瑞兽钮莹光洁净，柔润玉色、沉穆铜泽、温雅木质相映成趣，刚柔相济。\n\n整器把庙堂重器的肃穆，化为文房清供的雅玩，暗合追慕古风的审美意趣。燃香时，青烟从立耳袅袅溢出，古纹样与清芬萦绕一室，尽显雅致闲淡的文房意韵。",[119,71,25,24,174,28,135,175,7],"镶嵌","兽形装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e584242ac6f740894f3519e228b6102.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":185,"material":30,"size":31,"collection":32,"collections":186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},243112,"shou-mian-wen-hu-yi-ming-243112","兽面纹壶","此壶取古铜礼器形制，贯耳高挑舒展，鼓腹饱满沉稳，圈足敛收端庄，线条张弛有度，浑朴古雅。\n\n周身纹饰分层排布，兽面纹威严狞厉，圆目突出，轮廓刚劲凌厉，衬地细纹勾勒古拙肌理，将先秦青铜礼器的肃穆气韵复刻传神。铜身包浆厚重斑驳，凝着岁月沉韵，把三代青铜的金石意趣藏于周身，尽显复古工艺的细腻匠心。",[71,25,101,28,23,73,184,7],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7870d2c0da04bb24ff3f79a919df37.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":191,"author":19,"museum":20,"description":192,"tags":193,"thumbUrl":195,"material":30,"size":31,"collection":32,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},228702,"ming-wan-qi-zhi-qing-fang-gu-yu-huang-yi-ming-228702","明晚期至清 仿古玉璜","明","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。",[24,7,25,194],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe949904cc365601da23c239bd5e0c7d4.jpg",[],1777535726912]