[{"data":1,"prerenderedAt":157},["ShallowReactive",2],{"subject-fu-shou-wen-11550":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},11550,"fu-shou-wen-11550","蝠寿纹","蝠寿纹画高清赏析","精选中国历代蝠寿纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dbdd1d27d25bef3d28c66b85965603.jpg",0,13,[14,38,51,64,77,87,98,108,116,127,133,140,149],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},267361,"huang-se-duan-xiu-gou-lian-fu-shou-wen-ying-shou-chai-pian-yi-ming-267361","黄色缎绣勾莲蝠寿纹迎手拆片","清","佚名","藏地不详","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[23,24,25,26,7,27,28,29,30],"布料","刺绣","缎绣","勾莲纹","花卉","牡丹","蝙蝠","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413219cd6f86c9f4f52c90ab2f6506b7.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":49,"material":32,"size":33,"collection":34,"collections":50,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},272309,"duan-shi-qin-shu-fu-shou-yan-yi-ming-272309","端石琴书蝠寿砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[44,45,46,47,7,48],"砚","端石","雕刻","文房用具","琴书纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0aa96e5a89a1979af5855da42d764b.jpg",[],{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":62,"material":32,"size":33,"collection":34,"collections":63,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},269329,"zi-tan-qian-yu-xiang-yin-fu-shou-wen-wei-jiao-chang-fang-he-yi-ming-269329","紫檀嵌玉镶银蝠寿纹委角长方盒","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。",[57,58,59,46,60,7,61],"木质","玉石","银器","日用具","方盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c62a28a6e6bad25b333f19e1d25a7f.jpg",[],{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":75,"material":32,"size":33,"collection":34,"collections":76,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},268184,"xue-hui-se-fu-shou-wen-an-hua-duan-xiang-diao-pi-bian-pi-pa-jin-jia-kan-jian-yi-ming-268184","雪灰色蝠寿纹暗花缎镶貂皮边琵琶襟夹坎肩","此坎肩是清代女装精巧之作，雪灰色暗花缎地之上，蝠寿纹隐于缎面，暗喻福寿绵长的美好祈愿。琵琶襟造型温婉雅致，墨色缎面衬得紫灰面料愈发柔润，翠色绣线盘绕出缠枝纹样，灵动勾勒轮廓，添了几分鲜活雅致。\n\n边缘镶饰顺滑油亮的貂皮，兼顾美观与冬日暖意，鎏金铜钮沿襟排列，提亮整体色调，暗显贵气。配色沉稳柔和，绣工细腻规整，将实用性、装饰性与传统吉祥寓意融为一体，尽显晚清女装精工细作的审美意趣，亦彰显出旧时世家衣着的雅致格调。",[30,23,70,7,71,72,73,74],"貂皮","琵琶襟","夹坎肩","服饰","暗花缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70dbd4371cb4081b79de846a4aeff003.jpg",[],{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":85,"material":32,"size":33,"collection":34,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},268180,"lv-se-fu-shou-wen-an-hua-duan-xiang-diao-pi-bian-pi-pa-jin-jia-kan-jian-yi-ming-268180","绿色蝠寿纹暗花缎镶貂皮边琵琶襟夹坎肩","此坎肩以玄色缎为底，沉稳内敛。琵琶襟造型柔婉古雅，碧色暗花缎挖镶局部面料，蝠寿纹隐于缎身，暗涵福寿绵长的美好祈愿。\n\n蓝绿绣线勾勒缠枝纹样，鲜亮跳脱，打破底色沉郁，与柔润的貂毛镶边相映成趣。鎏金铜钮沿襟纵列，提亮整体色调，兼顾实用与装饰。貂毛滚边柔暖华贵，中和绣色跳脱之感，尽显晚清服饰精工雅致的审美意趣，将保暖实用、吉祥寓意与装饰美感融于一身，尽显民间服饰的匠心巧思。",[30,83,23,70,74,7,71,84],"坎肩","镶边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a2e47950dda5a54936405d7f09538c.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":96,"material":32,"size":33,"collection":34,"collections":97,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},268178,"huang-se-fu-shou-wen-an-hua-duan-xiang-diao-pi-bian-pi-pa-jin-jia-kan-jian-yi-ming-268178","黄色蝠寿纹暗花缎镶貂皮边琵琶襟夹坎肩","玄色缎地沉稳大气，明黄琵琶襟鲜亮夺目，撞色营造出华贵雍容的视觉效果。宝蓝绣线盘织蝠寿暗纹，针脚匀净雅致，暗藏福寿绵长的吉祥祈愿。边缘镶饰柔润貂皮，柔暖毛边中和绸缎挺括质感，兼顾美观与冬日暖意。\n\n整体剪裁贴合身形，琵琶襟形制温婉古典，配色浓艳却和谐统一，将吉祥意趣与奢华工艺融于一身，尽显旧时女服的精致考究，是实用与装饰性兼具的服饰精品。",[30,83,93,94,7,95,71,23],"缎面","貂皮镶边","暗花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d4524d644c372dc3813f1950ccd819.jpg",[],{"id":99,"slug":100,"title":101,"dynasty":18,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":105,"material":32,"size":33,"collection":34,"collections":106,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},267393,"zi-se-fu-shou-wen-zhi-jin-duan-nan-pei-yi-ming-267393","紫色蝠寿纹织金缎男帔","此帔以柔润紫缎为底，织金蝠寿纹样如碎金隐于暮色。蝠纹翩然环绕寿纹，以谐音暗合福寿绵长之愿，是清代吉服纹样的典型手笔。通身对襟宽袖，形制舒展大气，贴合男帔端庄持重的气度。\n\n织金技法圆熟老到，金彩在暗紫底色上流光内敛，华贵却不张扬艳俗。整体剪裁规整利落，线条凝练简约，将礼制服饰的仪轨法度与祈福寄愿的民俗意趣相融，静穆间暗含祥瑞吉庆的底蕴，是清代织绣服饰中兼具工艺审美与文化意涵的精巧之作。",[73,30,23,104,7],"织金缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8a97e7149bb02853af51dfbd5b8d51.jpg",[],"BDBDBD",{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":21,"tags":112,"thumbUrl":114,"material":32,"size":33,"collection":34,"collections":115,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},267359,"huang-se-duan-xiu-gou-lian-fu-shou-wen-zuo-ru-yi-ming-267359","黄色缎绣勾莲蝠寿纹坐褥",[23,60,113,25,26,7],"坐褥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2560f3d245e68e26de7706efa40d47.jpg",[],{"id":117,"slug":118,"title":119,"dynasty":18,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":125,"material":32,"size":33,"collection":34,"collections":126,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},267040,"huang-se-duan-xiu-fu-shou-wen-tuo-yuan-he-bao-yi-ming-267040","黄色缎绣蝠寿纹椭圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[122,23,24,123,7,27,124],"饰品","荷包","桃纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f41980fa583dc60eb7e6b7d274b1339.jpg",[],{"id":128,"slug":129,"title":119,"dynasty":18,"author":19,"museum":20,"description":120,"tags":130,"thumbUrl":131,"material":32,"size":33,"collection":34,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},267039,"huang-se-duan-xiu-fu-shou-wen-tuo-yuan-he-bao-yi-ming-267039",[122,23,24,7,123,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa8903370c41ea4152dbd767479177b.jpg",[],{"id":134,"slug":135,"title":119,"dynasty":18,"author":19,"museum":20,"description":120,"tags":136,"thumbUrl":138,"material":32,"size":33,"collection":34,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},267036,"huang-se-duan-xiu-fu-shou-wen-tuo-yuan-he-bao-yi-ming-267036",[123,122,60,23,25,7,137],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eca95748fd9bed0a1a7a974ef075b21.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":147,"material":32,"size":33,"collection":34,"collections":148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},266506,"huang-se-fu-shou-wen-an-hua-duan-xiang-diao-pi-bian-dui-jin-jia-ma-gua-yi-ming-266506","黄色蝠寿纹暗花缎镶貂皮边对襟夹马褂","马褂是一种穿于袍服外的短衣，衣长至脐，袖仅遮肘，满语叫“鄂多赫”，因着之便于骑马而得名，亦称 “短褂” 或 “马墩子”，流行于清代及民国时期\n清代初期，马褂为一般士兵穿着，至康熙时期富贵之家也有穿者。雍正后，马褂已甚为流行 。并发展成单、夹、纱、皮、棉等服装，成为男式便衣，士庶都可穿着。之后更逐渐演变为一种礼仪性的服装，不论身份，都以马褂套在长袍之外，显得文雅大方 。民国年间曾被列为礼服之一。新中国成立后，马褂逐步被摈弃，后经改良又以“唐装”的名称重新回到人们的视野中 。",[30,23,70,93,7,146],"对襟马褂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db927bf982c2520eefc2928dacbc860.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":18,"author":19,"museum":20,"description":144,"tags":153,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":156},266482,"tuo-se-fu-shou-wen-an-hua-duan-diao-pi-bian-dui-jin-jia-ma-gua-yi-ming-266482","驼色蝠寿纹暗花缎貂皮边对襟夹马褂",[30,146,7,74,154,23],"貂皮边",[],"37474F",1777535728429]