[{"data":1,"prerenderedAt":492},["ShallowReactive",2],{"subject-gong-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3086,"gong-qi","供器","供器画高清赏析","精选中国历代供器题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c393aaef36c5bd32b836628222e5a89.jpg",0,52,[14,45,61,76,88,98,107,114,125,137,145,154,164,173,181,191,200,206,213,219,227,235,242,251,259,266,273,281,288,297,305,313,322,331,340,346,352,358,369,376,385,394,405,416,426,436,443,451,458,465,472,481],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":40,"size":41,"collection":41,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},217198,"fa-jie-yuan-liu-tu-juan-7-li-ming-217198","法界源流图卷-7","清","黎明","藏地不详","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,7],"高清","名画","国画","书画","长卷","宗教","工笔","设色","人物","佛","菩萨","罗汉","莲花","祥云","树木","宝盖","飞天","纸本,设色","",[],5,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":18,"author":49,"museum":20,"description":50,"tags":51,"thumbUrl":56,"material":57,"size":58,"collection":41,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":44},274722,"yin-du-jin-gong-qi-gao-zu-gong-pan-yi-ming-274722","银镀金供器-高足供盘","佚名","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。",[52,53,54,7,55],"银器","金器","礼器","高足盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf3cb304c02d7332b6dc732c994f1fa1.jpg","未知","Xcm*Xcm",[],2,{"id":62,"slug":63,"title":64,"dynasty":18,"author":49,"museum":20,"description":65,"tags":66,"thumbUrl":73,"material":57,"size":58,"collection":41,"collections":74,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":75},224046,"qing-yu-qi-fu-bao-lian-fu-gong-yi-ming-224046","青玉七佛宝莲佛供","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。",[18,67,68,28,69,70,71,72,7],"玉石","雕刻","佛供","青玉","七佛","宝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51cc6fb943af3a61af85788407aca684.jpg",[],"795548",{"id":77,"slug":78,"title":79,"dynasty":18,"author":49,"museum":20,"description":80,"tags":81,"thumbUrl":85,"material":57,"size":58,"collection":41,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":75},274885,"tong-xiang-yin-qi-zhen-nan-bao-yi-ming-274885","铜镶银七珍-男宝","整体以层叠莲台承托主体，桃形牌面錾刻骑狮神将，神将威凛肃穆，周身祥纹缠络，细节饱满灵动。铜镶银材质历经岁月，鎏金虽有褪去，却晕染出古雅沉静的质感，舒展饱满的莲瓣层次分明，卷草底座婉转灵动，工艺精湛入微。藏地佛造像的庄严厚重与装饰美学相融尽显，静述着藏地信仰世界的神圣意涵，尽显精妙匠心。",[82,52,68,28,83,84,7],"铜制","佛教造像","莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8e8dbb3345efc084de8449438840bc.jpg",[],1,{"id":89,"slug":90,"title":91,"dynasty":18,"author":49,"museum":20,"description":92,"tags":93,"thumbUrl":96,"material":57,"size":58,"collection":41,"collections":97,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":75},274854,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274854","银胎嵌珐琅供养","银骨凝霜，莲台承托宝龛，錾刻缠枝卷云缠绕柱身，舒展莲瓣肌理分明，冷硬金属晕开柔婉气韵。\n\n龛心珐琅晕染清润浅蓝，烟岚漫过石阶，明黄佛旗炽烈醒目，圣像安坐阶前，方寸间铺陈佛国胜境。釉色鲜亮与银质沉哑冷暖相济，掐丝走线匀净妥帖，将细巧工艺与礼佛虔心相融，静穆雅致间携着庄严的宗教意韵，尽显手工匠人的细腻匠心。",[52,94,28,68,95,7],"琺瑯器","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77af62adfacbdfa1670e1fd2ab01fed3.jpg",[],{"id":99,"slug":100,"title":91,"dynasty":18,"author":49,"museum":20,"description":101,"tags":102,"thumbUrl":105,"material":57,"size":58,"collection":41,"collections":106,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":75},274852,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274852","珐琅嵌片之上，白肤财神身姿灵动舒展，朱红纹饰缠裹躯体，明丽色彩衬于天蓝色地釉之上，神形鲜活饱满，尽显藏地护法的威仪神采。\n\n银质底座以莲台承托主件，下层錾刻缠枝卷草与瑞兽纹，线条辗转细腻，冷冽银料晕染出古朴厚重质感，与珐琅的鲜亮柔媚形成绝妙对照。藏地信仰的庄严内核，融于花丝珐琅与银作工艺之中，让宗教造像兼具神性肃穆与工艺巧思，静立间晕开旧时光里的信仰温度。",[52,103,28,104,68,35,7],"珐琅器","佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dfd977837b1829d32ec07f3692bf63.jpg",[],{"id":108,"slug":109,"title":48,"dynasty":18,"author":49,"museum":20,"description":50,"tags":110,"thumbUrl":112,"material":57,"size":58,"collection":41,"collections":113,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":44},274723,"yin-du-jin-gong-qi-gao-zu-gong-pan-yi-ming-274723",[52,53,7,54,111,55],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0fa7384a76e2aef8bf8f4c57a2b3a.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":18,"author":49,"museum":20,"description":118,"tags":119,"thumbUrl":122,"material":57,"size":58,"collection":41,"collections":123,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":124},249298,"qia-si-fa-lang-gou-lian-wen-gao-zu-gong-bei-yi-ming-249298","掐丝珐琅勾莲纹高足供杯","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 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