[{"data":1,"prerenderedAt":199},["ShallowReactive",2],{"subject-fu-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8253,"fu-zi","福字","福字画高清赏析","精选中国历代福字题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9985d0e4f7c2191e8257c9a2d927ee22.jpg",0,14,[14,42,59,73,84,99,109,127,140,151,163,170,181,190],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},273646,"zi-tan-mu-bian-qian-ya-xian-ren-fu-shou-zi-gua-ping-yi-ming-273646","紫檀木边嵌牙仙人福寿字挂屏","清","佚名","藏地不详","这件挂屏以“福”字为骨，以百宝嵌工艺将牙雕仙人、灵鹿、仙鹤错落铺陈于字形间。紫檀素地沉穆古雅，衬得镶嵌物象鲜活灵动。\n\n仙翁策杖、芝草吐翠，灵鹿悠游、仙鹤独立，将福禄寿的祥瑞寓意藏于笔形弯折之中，把书法意趣与吉祥图景相融。方寸之内排布疏密有致，刀工细腻入微，物象栩栩如生，尽显工艺精妙造诣，将中式吉庆雅韵凝于一屏，华贵雅致，尽显东方美学意趣。",[23,24,25,26,27,28,29,30,7,31,32,33,34],"挂屏","木质","象牙","雕刻","镶嵌","仙人","鹤","鹿","祈福","祝寿","工艺品","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0acb72958e837dfac68f4d59813c928.jpg","未知","Xcm*Xcm","",[],18,"37474F",{"id":43,"slug":44,"title":45,"dynasty":18,"author":19,"museum":20,"description":46,"tags":47,"thumbUrl":55,"material":36,"size":37,"collection":38,"collections":56,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":58},248625,"ti-cai-long-feng-ji-fu-kui-ban-shi-pan-yi-ming-248625","剔彩龙凤集福葵瓣式盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。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。",[48,49,26,50,51,52,7,53,54],"漆器","剔彩","清代","龙","凤","葵瓣式","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3905cea2c47cb5e31b0a1c28f2f482b0.jpg",[],4,"795548",{"id":60,"slug":61,"title":62,"dynasty":63,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":70,"material":36,"size":37,"collection":38,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":41},262212,"qing-hua-lian-hua-wen-xi-yi-ming-262212","青花莲花纹洗","明","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[66,67,68,7,69,54],"陶瓷","青花","荷花","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c4ae18861e0a57dfe9818174426c73.jpg",[],3,{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":64,"tags":77,"thumbUrl":81,"material":36,"size":37,"collection":38,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":58},261043,"cheng-hua-kuan-qing-hua-long-feng-wen-kui-ban-da-wan-yi-ming-261043","成化款青花龙凤纹葵瓣大碗",[66,67,78,79,80,7],"龙纹","凤纹","葵瓣大碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abfac7a67bdb922782617b537ad43ea.jpg",[],2,{"id":85,"slug":86,"title":87,"dynasty":63,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":96,"material":36,"size":37,"collection":38,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":58},254822,"mi-you-ci-hei-cai-fu-zi-wen-guan-zuo-xiang-yi-ming-254822","米釉瓷黑彩福字文官坐像","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。",[90,66,91,92,34,93,94,7,95],"明代","米釉","黑彩","文官","坐像","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c938a0119d0014696a05c8865af40a.jpg",[],1,{"id":100,"slug":101,"title":102,"dynasty":63,"author":19,"museum":20,"description":46,"tags":103,"thumbUrl":106,"material":36,"size":37,"collection":38,"collections":107,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":108},246239,"jia-jing-kuan-ti-hong-fu-zi-ba-bao-long-wen-fang-xing-wei-jiao-pan-yi-ming-246239","嘉靖款剔红福字八宝龙纹方形委角盘",[90,48,26,104,51,105,7,54],"剔红","八宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a692ca87c437920d8f8a62359e7bb8b.jpg",[],"BDBDBD",{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":20,"description":113,"tags":114,"thumbUrl":125,"material":36,"size":37,"collection":38,"collections":126,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":108},245737,"yin-du-jin-shao-lan-fu-zi-hu-lu-xing-zhang-gou-yi-ming-245737","银镀金烧蓝福字葫芦形帐钩","以银镀金为骨，烧蓝晕出翠色鲜亮。取葫芦造型暗合福禄吉意，主体錾饰网格肌理，叠缀缠枝花叶，福字纹藏纳其间，把祈愿融于细节。柔润弯钩承接悬帐之用，配链纤细灵动，兼顾装饰性与实用性。整体饱满雅致，将东方祈福心意凝在珐琅与金属的交融中，尽显旧时匠人的精妙巧思，是民俗造物里兼具审美与功能的精巧之作。",[50,115,116,117,118,119,120,121,122,123,7,124],"银器","金器","烧蓝","珐琅器","葫芦形","帐钩","饰品","银镀金","装饰","金属雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce6dbd8c689d07ea141d3af8d5ed4b1.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":139,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":41},242128,"cui-qiu-ye-xing-er-zhui-yi-ming-242128","翠秋叶形耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[18,121,133,134,135,136,137,7,26,138],"玉石","翡翠","金饰","珍珠","秋叶","翠色",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":149,"material":36,"size":37,"collection":38,"collections":150,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":108},241958,"ga-nan-xiang-dai-zhu-shou-chuan-yi-ming-241958","伽南香带珠手串","此串手串以伽南香制珠，包浆莹润，木色沉敛古拙，自带沉静雅致之感。两颗深海珊瑚圆珠点缀其间，暖润朱红中和木色厚重，明暗相映，色调排布尽显巧思。佛头与弟子珠亦以珊瑚打造，与顶珠呼应协调。\n\n下配伽南香雕刻盘长结，纹络往复连绵，暗含福寿不断的美好祈愿；坠饰双“喜”雕件，添阖家祥瑞之意。米粒珍珠串联起饰件，柔化木质朴拙，更显精巧温婉。整器将材质肌理之美与传统吉祥意韵相融，尽显旧时雅致审美意趣。",[50,121,24,26,146,147,148,7],"串珠","珊瑚","中国结","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab21e155dbe3593d424a2cdcc5af581.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":155,"tags":156,"thumbUrl":161,"material":36,"size":37,"collection":38,"collections":162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},269647,"qian-long-kuan-pao-zhi-tuan-fu-zi-shuang-kui-long-wen-wan-yi-ming-269647","乾隆款匏制团福字双夔龙纹碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[54,157,158,26,159,7,160],"日用具","饮酒器","夔龙","匏器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ac048919ac0e69790489ec78c38e26.jpg",[],{"id":164,"slug":165,"title":87,"dynasty":18,"author":19,"museum":20,"description":88,"tags":166,"thumbUrl":168,"material":36,"size":37,"collection":38,"collections":169,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},254924,"mi-you-ci-hei-cai-fu-zi-wen-guan-zuo-xiang-yi-ming-254924",[50,66,91,92,93,94,34,167,7],"瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d2705df0a2efa81a3a73b446cc720dd.jpg",[],{"id":171,"slug":172,"title":173,"dynasty":18,"author":19,"museum":20,"description":174,"tags":175,"thumbUrl":179,"material":36,"size":37,"collection":38,"collections":180,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},250141,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250141","掐丝珐琅万寿无疆碗","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[176,118,177,54,157,7,178],"掐丝珐琅","铜制","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c8b82c172c7cf9347b21cbd6e58987.jpg",[],{"id":182,"slug":183,"title":173,"dynasty":18,"author":19,"museum":20,"description":174,"tags":184,"thumbUrl":188,"material":36,"size":37,"collection":38,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},250097,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250097",[176,118,177,7,185,186,187],"寿字","花卉纹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d933a547667d1fc2cb507e4e62d2efb.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":18,"author":19,"museum":20,"description":194,"tags":195,"thumbUrl":197,"material":36,"size":37,"collection":38,"collections":198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},248777,"ti-hong-fu-zi-he-yi-ming-248777","剔红福字盒","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",[48,104,26,196,54,7],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ac3dfd00ed37c156d9e046f87b0784.jpg",[],1777535726627]