[{"data":1,"prerenderedAt":183},["ShallowReactive",2],{"subject-gai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6149,"gai","盖","盖画高清赏析","精选中国历代盖题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0382b7e2baa10bc50c273782fcb26c5a.jpg",0,14,[14,35,54,66,82,91,101,109,116,126,136,151,163,172],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256727,"qing-you-si-xi-gai-guan-yi-ming-256727","青釉四系盖罐","五代十国","佚名","藏地不详","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。”",[18,23,24,25,7,26,27],"陶瓷","青釉","四系","罐","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b445e21b8ff8344bfff0c6617d9fbca.jpg","未知","Xcm*Xcm","",[],4,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":50,"material":29,"size":30,"collection":31,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},249707,"qia-si-fa-lang-chan-wen-shuang-er-san-zu-gai-lu-yi-ming-249707","掐丝珐琅蝉纹双耳三足盖炉","清","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”。",[42,43,27,44,45,46,7,47,48,49],"掐丝珐琅","琺瑯器","蝉纹","双耳","三足","铜制","设色","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9cfc304d8a03b12c5c89f75466a1e98.jpg",[],1,"37474F",{"id":55,"slug":56,"title":57,"dynasty":58,"author":19,"museum":20,"description":59,"tags":60,"thumbUrl":64,"material":29,"size":30,"collection":31,"collections":65,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":34},243298,"gai-guan-yi-ming-243298","盖罐","唐","它圆浑饱满，敛口鼓腹，盖顶钮饰小巧敦实，线条柔和内敛，尽显雍容沉静的气度。苍绿铜锈爬满器身，晕染出深浅不一的斑驳肌理，是岁月浸淫下沉淀的痕迹，如时光镌刻的印记。通体无繁缛纹饰，以素净造型彰显古拙韵味，暗合简雅天成的审美意趣，静静承载着千年前的日常烟火，将内敛朴质的器物美学融于一身，带着穿越岁月的沉静质感。",[58,61,47,62,7,63],"青铜器","日用器","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472f9abfd69d4a1c1900d75662143df9.jpg",[],{"id":67,"slug":68,"title":69,"dynasty":39,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":80,"material":29,"size":30,"collection":31,"collections":81,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},252060,"qing-yu-fang-gu-tong-wen-si-er-xian-huo-huan-chu-ji-dai-gai-bian-fang-hu-yi-ming-252060","青玉仿古铜纹四耳衔活环出戟带盖扁方壶","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。",[72,73,74,49,75,76,77,78,7,79,27],"玉石","雕刻","仿古","活环","出戟","衔环","纹","壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd944470a9cc1d34e8f0550de0df58061.jpg",[],{"id":83,"slug":84,"title":85,"dynasty":39,"author":19,"museum":20,"description":70,"tags":86,"thumbUrl":89,"material":29,"size":30,"collection":31,"collections":90,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},251423,"qian-long-kuan-qing-yu-yun-wen-ti-liang-gai-you-yi-ming-251423","乾隆款青玉云纹提梁盖卣",[49,72,73,87,27,88,7],"云纹","提梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e9cab544c5344f44b2351df296315c.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":39,"author":19,"museum":20,"description":40,"tags":95,"thumbUrl":99,"material":29,"size":30,"collection":31,"collections":100,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},250161,"qia-si-fa-lang-gou-lian-hui-wen-chao-tian-er-san-zu-gai-lu-yi-ming-250161","掐丝珐琅勾莲回纹朝天耳三足盖炉",[49,42,43,47,46,96,7,97,98],"耳","勾莲纹","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c29710c3a1483e2b56e304ee2e644.jpg",[],{"id":102,"slug":103,"title":104,"dynasty":39,"author":19,"museum":20,"description":40,"tags":105,"thumbUrl":107,"material":29,"size":30,"collection":31,"collections":108,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},249700,"qia-si-fa-lang-gou-lian-wen-shuang-er-san-zu-yan-shi-gai-lu-yi-ming-249700","掐丝珐琅勾莲纹双耳三足甗式盖炉",[42,97,45,46,7,27,106,47,39],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb885574baaf548b6989c1d95c128f4.jpg",[],{"id":110,"slug":111,"title":112,"dynasty":39,"author":19,"museum":20,"description":40,"tags":113,"thumbUrl":114,"material":29,"size":30,"collection":31,"collections":115,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},249693,"qia-si-fa-lang-gou-lian-wen-shuang-er-san-zu-gai-lu-yi-ming-249693","掐丝珐琅勾莲纹双耳三足盖炉",[42,106,47,27,97,45,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0782aef8795029bd8dcb44564f8c371.jpg",[],{"id":117,"slug":118,"title":119,"dynasty":39,"author":19,"museum":20,"description":40,"tags":120,"thumbUrl":124,"material":29,"size":30,"collection":31,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},249687,"qia-si-fa-lang-fang-kui-wen-shuang-er-san-zu-gai-lu-yi-ming-249687","掐丝珐琅方夔纹双耳三足盖炉",[49,42,106,27,46,45,7,121,122,123],"兽纹","方夔纹","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe576926db4ae674de9d7549a28677673.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":39,"author":19,"museum":20,"description":40,"tags":130,"thumbUrl":134,"material":29,"size":30,"collection":31,"collections":135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},249127,"qia-si-fa-lang-gou-lian-shuang-feng-wen-shuang-er-san-zu-gai-lu-yi-ming-249127","掐丝珐琅勾莲双凤纹双耳三足盖炉",[49,42,106,47,27,131,45,46,7,132,133,97],"礼器","凤","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6160b5d2787555f7ae0012766670b608.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":39,"author":19,"museum":20,"description":140,"tags":141,"thumbUrl":149,"material":29,"size":30,"collection":31,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},245863,"jia-qing-kuan-yin-gai-guan-yi-ming-245863","嘉庆款银盖罐","此罐造型饱满敦实，敛口鼓腹下接浅圈足，器身线条圆融柔和。盖面简约，置小环钮便于启闭，肩部双系活环增添灵动之余更兼顾使用属性。银胎历经年月晕染出厚重包浆，色泽沉穆温润，通体无过多繁缛纹饰，以素净形制传递出清寂雅致的质感，将日常用器的实用性与审美性相融，尽显古朴内敛的东方造物美学，静静诉说着旧时光里的烟火日常。",[49,142,26,7,143,144,145,146,147,148],"银器","金属","器物","银制","带盖","实用器","清代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4999865ab529647c2c3a073d630c199b.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":39,"author":19,"museum":20,"description":155,"tags":156,"thumbUrl":161,"material":29,"size":30,"collection":31,"collections":162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},245415,"yin-liu-jin-dai-gai-hu-lu-shi-zhi-hu-yi-ming-245415","银鎏金带盖葫芦式执壶","此器取葫芦形，暗合福禄祥瑞之吉意，体态丰腴饱满，线条流转柔和。盖顶以宝莲承托圆钮，雅致端庄。通体鎏金莹润厚重，满饰錾刻缠枝莲纹，游转于卷云之间，细密繁丽却疏密得宜，不见拥塞之感。长流弧柄错落排布，流首錾刻兽纹，添几分灵动威严，执握称手合宜。\n它融实用与礼制意蕴为一体，既藏祈福纳祥的美好寄寓，又尽显雍容华贵的气度，每一处錾刻都凝结着匠人巧思，将金工细作的精妙诠释尽致，是金属工艺中的上乘佳器。",[49,157,73,27,158,7,159,160,123],"银鎏金","葫芦式","流","柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3401939d755f3d48b98dd9d2f7525bfb.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":39,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},229627,"shuang-bing-gai-guan-yi-ming-229627","双柄盖罐","此器玉质莹润匀净，色泽如春水凝碧，自带温雅柔光。盖作莲瓣覆顶，宝钮敦实利落，线条圆润舒展。罐身浅浮雕满池娇景致，芙蕖或绽或含，茎叶舒卷灵动，暗含水波悠悠之态，将夏日荷塘生机凝于玉上。两侧兽首小柄圆润古朴，与饱满器型相得益彰。\n\n整体构图繁而不乱，雕刻刀法细腻婉转，将玉雕温润质感与工笔意趣相融，既见匠人高超的起皱压地技艺，又暗含清逸雅致的审美意韵，静赏间似可轻嗅荷风，是清代玉雕写实工艺的精妙之作。",[49,72,73,48,169,27,170,7,123],"花卉","双柄",[],{"id":173,"slug":174,"title":175,"dynasty":39,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":181,"material":29,"size":30,"collection":31,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},229200,"qian-long-fen-cai-hu-lv-di-fan-lian-gai-guan-yi-ming-229200","乾隆 粉彩湖绿地番莲盖罐","湖绿地釉色澄澈如春水初凝，粉彩缠枝番莲蜿蜒舒展，各色花萼饱满柔妍，填色匀净明丽，描金勾边提亮轮廓，将纹饰衬得愈发华贵雅致。\n\n盖顶鎏金球钮端凝，盖沿、颈肩与底足的如意云纹、回纹，与主纹呼应协调，层次井然。器身形制秀挺饱满，纹饰繁而不乱，将粉彩柔媚晕染与瓷质莹润质感相融，尽显宫廷制瓷的精工巧思。缠枝交错间藏着盛世审美意趣，静绽清丽华贵的绝代风华，堪称彩瓷中的隽美佳器。",[23,49,178,48,179,26,7,180,169],"粉彩","湖绿地","番莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80dc246c87a6ed6e7c53164a12abdc.jpg",[],1777535727027]