[{"data":1,"prerenderedAt":115},["ShallowReactive",2],{"subject-fang-sheng-zao-xing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6010,"fang-sheng-zao-xing","仿生造型","仿生造型画高清赏析","精选中国历代仿生造型题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8994d7a47cc588cddc8e31308f1d3930.jpg",0,7,[14,34,47,62,73,85,97],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},245405,"yin-hu-die-shi-he-yi-ming-245405","银蝴蝶式盒","清","佚名","藏地不详","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[23,24,25,26,27,7],"银器","清代","蝴蝶造型","雕刻纹饰","金属工艺","未知","Xcm*Xcm","",[],5,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":21,"tags":38,"thumbUrl":44,"material":28,"size":29,"collection":30,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":33},269186,"wen-zhu-li-zhi-shi-he-yi-ming-269186","文竹荔枝式盒",[39,40,41,42,7,43],"雕刻","木质","器","荔枝形","文玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4a53d8d776a841291faa0109955f77d.jpg",[],2,{"id":48,"slug":49,"title":50,"dynasty":18,"author":19,"museum":20,"description":51,"tags":52,"thumbUrl":57,"material":28,"size":29,"collection":58,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},261731,"yu-lin-kuan-yi-xing-yao-zi-sha-mu-gua-shi-hu-yi-ming-261731","玉麟款宜兴窑紫砂木瓜式壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有&quot;宜钧&quot;之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[53,54,55,56,7],"陶瓷","日用具","茶具","紫砂器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9215a35d51aa512388b53fa9d82e318f.jpg","瓷器精选",[58],1,"37474F",{"id":63,"slug":64,"title":65,"dynasty":66,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":71,"material":28,"size":29,"collection":30,"collections":72,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},272488,"luo-xiao-hua-ban-he-tao-shi-mo-yi-ming-272488","罗小华半核桃式墨","明","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[69,39,70,7],"墨","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc11672541ba695e3902c483cd68b072.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":82,"material":28,"size":29,"collection":30,"collections":83,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},258390,"yong-zheng-kuan-dan-huang-you-lian-peng-shi-pan-yi-ming-258390","雍正款淡黄釉莲蓬式盘","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[24,53,79,80,7,81],"淡黄釉","单色釉","盘器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21d6978b9bcadee769827e67bda84d2.jpg",[],"BDBDBD",{"id":86,"slug":87,"title":88,"dynasty":89,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":95,"material":28,"size":29,"collection":30,"collections":96,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256953,"qing-you-ya-tou-hu-yi-ming-256953","青釉鸭头壶","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[92,53,93,7,41,94],"晋代","青釉","烧制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b9cb0dc0647f9f2263eb700f05c93.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":66,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":113,"material":28,"size":29,"collection":30,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},228650,"yu-ao-yu-hua-cha-yi-ming-228650","玉鳌鱼花插","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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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。",[103,39,104,41,105,106,7,107,108,109,110,111,112],"玉石","鱼","明代风格","玉雕技法","玉质","带皮色","浮雕","圆雕","水生动物","花插造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac950dcb6ea104b5497163ae77d5df9c.jpg",[],1777535744549]