[{"data":1,"prerenderedAt":662},["ShallowReactive",2],{"subject-hu-2039":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2039,"hu-2039","壶","壶画高清赏析","精选中国历代壶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31cd573bd04f18e0bab8ea9a773a64f.jpg",0,61,[14,53,79,101,116,127,136,144,152,162,173,185,194,210,224,237,260,274,284,297,309,317,327,334,343,351,360,366,374,382,391,402,410,417,424,433,440,447,453,460,467,473,480,490,498,506,513,521,530,538,546,554,565,573,583,593,604,612,626,636,645],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":50,"zanCount":51,"manualWeight":11,"mainColor":52},221914,"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","明","陈洪绶","天津博物馆","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7,41,42,43],"高清","国画","设色","工笔","线描","青绿","夏日","庭园","芭蕉","湖石","月季","人物","饮酒","漉酒","青铜器","琴","书","鼎","饮酒器","冷色调","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b97356d758cf77ecdb51664e87f38.jpg","绢本设色","纵156.2厘米，横107厘米","人物画精选",[47,49],"设色画精选",119,2,"795548",{"id":54,"slug":55,"title":56,"dynasty":57,"author":58,"museum":59,"description":60,"tags":61,"thumbUrl":72,"material":73,"size":74,"collection":75,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},237346,"jian-chun-zhou-lu-hui-237346","饯春轴","清","陆恢","台北故宫博物院","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,62,63,26,25,64,7,65,66,67,68,69,70,71],"书画","立轴","牡丹","篮","植物","果实","叶子","木桌","盆栽","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","纸本","151x39.5","花鸟画精选",[75,49],26,"BDBDBD",{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":93,"material":94,"size":95,"collection":96,"collections":97,"showCount":98,"zanCount":99,"manualWeight":11,"mainColor":100},257501,"jing-de-zhen-fang-shi-wan-yao-tian-lan-you-mei-hua-er-hu-yi-ming-257501","景德镇仿石湾窑天蓝釉梅花耳壶","佚名","藏地不详","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[87,88,89,90,91,7,92],"陶瓷","明代","仿石湾窑","天蓝釉","梅花耳","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4692c4ddae7af6f57c5b1fe1678e0ff2.jpg","未知","Xcm*Xcm","瓷器精选",[96],7,1,"37474F",{"id":102,"slug":103,"title":104,"dynasty":105,"author":83,"museum":84,"description":106,"tags":107,"thumbUrl":112,"material":94,"size":95,"collection":113,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":52},223876,"qing-ci-guan-er-hu-yi-ming-223876","青瓷贯耳壶","宋","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。",[108,87,109,110,111,7,71],"宋代","青瓷","开片","贯耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456a88eedd50ad463e62e05a28936c53.jpg","",[],3,{"id":117,"slug":118,"title":119,"dynasty":120,"author":83,"museum":84,"description":121,"tags":122,"thumbUrl":125,"material":94,"size":95,"collection":113,"collections":126,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},260106,"qing-you-si-xi-xi-kou-hu-yi-ming-260106","青釉四系洗口壶","唐","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。”",[87,123,124,7,71],"日用具","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3ff091836e1772e1a19a09537c300e.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":120,"author":83,"museum":84,"description":106,"tags":131,"thumbUrl":134,"material":94,"size":95,"collection":96,"collections":135,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},256791,"chang-sha-yao-qing-you-he-ban-hu-yi-ming-256791","长沙窑青釉褐斑壶",[132,87,124,133,71,7],"唐代","褐斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7a886a2f3c66025a1f6dddc9bddf4f.jpg",[96],{"id":137,"slug":138,"title":139,"dynasty":120,"author":83,"museum":84,"description":121,"tags":140,"thumbUrl":142,"material":94,"size":95,"collection":113,"collections":143,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":100},261464,"qing-you-hei-ban-hu-yi-ming-261464","青釉黑斑壶",[87,71,123,124,141,7],"黑斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828c510a16fef0dbf12e6ff79f156753.jpg",[],{"id":145,"slug":146,"title":147,"dynasty":120,"author":83,"museum":84,"description":106,"tags":148,"thumbUrl":150,"material":94,"size":95,"collection":96,"collections":151,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":100},260815,"gong-yi-yao-lv-you-xiao-hu-yi-ming-260815","巩义窑绿釉小壶",[87,123,149,7,71],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a2c0a696846ce26ddd375d40c6a577c.jpg",[96],{"id":153,"slug":154,"title":155,"dynasty":57,"author":83,"museum":84,"description":156,"tags":157,"thumbUrl":160,"material":94,"size":95,"collection":96,"collections":161,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},260071,"shi-de-tang-kuan-yi-xing-yao-zi-sha-bao-fu-shi-hu-yi-ming-260071","世德堂款宜兴窑紫砂包袱式壶","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"宜钧"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。",[87,158,123,7,159],"紫砂器","包袱造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce95234b498ba85c00155197d29dddc.jpg",[96],{"id":163,"slug":164,"title":165,"dynasty":166,"author":83,"museum":84,"description":167,"tags":168,"thumbUrl":171,"material":94,"size":95,"collection":96,"collections":172,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},259601,"yue-yao-qing-you-hu-yi-ming-259601","越窑青釉壶","晋","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[87,124,7,169,170],"日用器","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e1fb3d08ebf7c5a7977771d478bd93.jpg",[96],{"id":174,"slug":175,"title":176,"dynasty":18,"author":83,"museum":84,"description":177,"tags":178,"thumbUrl":183,"material":94,"size":95,"collection":96,"collections":184,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},257523,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-hu-yi-ming-257523","德化窑白釉凸雕蟠螭纹壶","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[88,87,179,180,181,182,7],"白釉","凸雕","蟠螭","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d01c6627e95d0abc3b39b8c396c79a.jpg",[96],{"id":186,"slug":187,"title":188,"dynasty":166,"author":83,"museum":84,"description":106,"tags":189,"thumbUrl":192,"material":94,"size":95,"collection":96,"collections":193,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":78},256766,"de-qing-yao-hei-you-ji-tou-hu-yi-ming-256766","德清窑黑釉鸡头壶",[87,190,191,7,71],"黑釉","鸡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39687f32ff2d7c28d85e6b3d7c86d62c.jpg",[96],{"id":195,"slug":196,"title":197,"dynasty":57,"author":83,"museum":84,"description":198,"tags":199,"thumbUrl":208,"material":94,"size":95,"collection":113,"collections":209,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},245904,"yin-bing-jiu-bei-yi-ming-245904","银柄酒杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[200,201,202,41,169,7,203,204,205,206,207],"清代","银器","金属器","杯","碟","柄","链","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58441fddc652cbdeb438066278ecd51a.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":214,"author":83,"museum":84,"description":215,"tags":216,"thumbUrl":222,"material":94,"size":95,"collection":113,"collections":223,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":100},244602,"shou-er-fang-hu-yi-ming-244602","兽耳方壶","周","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[37,217,218,219,7,220,221],"礼器","酒器","铜制","兽耳","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2f86ac2fdbf53418e6e9a96a4431d8.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":228,"author":83,"museum":84,"description":229,"tags":230,"thumbUrl":235,"material":94,"size":95,"collection":113,"collections":236,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":100},242889,"tang-guan-hu-yi-ming-242889","汤官壶","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[231,37,219,232,207,7,233,234,123],"汉代","铸造","环耳","弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4293269302f1a4033d789340eb2824da.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":241,"author":242,"museum":84,"description":243,"tags":244,"thumbUrl":258,"material":94,"size":95,"collection":113,"collections":259,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},232408,"he-er-bai-yin-67-he-er-bai-yin-232408","荷尔拜因67","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[245,25,246,34,92,247,248,249,250,251,252,253,254,255,7,256,257],"油画","宗教","狗","建筑装饰","柱子","桌案","服饰","光环","天使","烛台","盘子","杯子","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806c37df932bf58a8ba25d124557efaf.jpg",[],{"id":261,"slug":262,"title":263,"dynasty":57,"author":83,"museum":84,"description":264,"tags":265,"thumbUrl":272,"material":94,"size":95,"collection":113,"collections":273,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":100},229154,"nei-tian-fa-lang-xi-fang-shi-nv-kun-1-yi-ming-229154","内填珐瑯西方仕女壸-1","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[266,267,200,268,34,269,270,7,271,25],"内填珐琅","珐琅器","西方仕女","花卉","金饰","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4746bd1f2779deb2cad47844b03211d9.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":18,"author":83,"museum":84,"description":278,"tags":279,"thumbUrl":282,"material":94,"size":95,"collection":113,"collections":283,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},228558,"qia-si-fa-lang-pu-tao-wen-kun-yi-ming-228558","掐丝珐瑯葡萄纹壸","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”。",[88,280,267,281,7],"掐丝珐琅","葡萄纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff068c52b56a472457ad7a3e00692c7f9.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":214,"author":83,"museum":84,"description":215,"tags":288,"thumbUrl":295,"material":94,"size":95,"collection":113,"collections":296,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":52},226874,"zhan-guo-liu-jin-qian-yi-jin-shu-shou-huan-hu-yi-ming-226874","战国 鎏金嵌异金属兽环壶",[289,37,290,291,292,7,219,293,294],"战国","鎏金","嵌异金属","兽环","金属工艺","装饰器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90aa79c3bd8e63e3ec40469ab933aa59.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":105,"author":83,"museum":84,"description":106,"tags":301,"thumbUrl":307,"material":94,"size":95,"collection":113,"collections":308,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":78},226692,"qing-ci-you-mian-hu-yi-ming-226692","青瓷釉面壶",[108,109,302,110,87,7,169,303,304,305,306],"釉面","兽形装饰","冰裂纹","青瓷釉工艺","开片技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cb3810f97aea0eca70be9a42940d1.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":57,"author":83,"museum":84,"description":313,"tags":314,"thumbUrl":315,"material":94,"size":95,"collection":113,"collections":316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},273156,"yin-xiao-bei-hu-yi-ming-273156","银小背壶","扁圆壶身落于方座之上，圆融柔润里糅进规整沉稳的气度，束颈小口内敛雅致。两侧扭纹银链垂曳，原配小盖随链相依，带着旧时随身携行的烟火暖意。\n\n银面晕开深浅错落的包浆，银屑斑驳间藏着百年摩挲的痕迹，素净无饰的器身，以本真质感诠释内敛审美，将日常盛具淬成带着时光温度的雅致旧物，沉静耐看，藏着旧时日用里的质朴诗意。",[201,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed7f7426bcb8f482a3e0455b628c3e5.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":57,"author":83,"museum":84,"description":321,"tags":322,"thumbUrl":325,"material":94,"size":95,"collection":113,"collections":326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},270317,"xuan-de-kuan-tong-shou-mian-huo-huan-hu-yi-ming-270317","宣德款铜兽面活环壶","此器造型古雅舒展，撇口束颈，丰肩鼓腹下承圈足，线条婉转柔和，形制沉稳端庄。兽面衔活环为耳，狰狞兽面带着古朴威严，活环灵动自如，刚柔之间尽显意趣。铜色沉穆温润，周身包浆醇厚自然，带着岁月摩挲的厚重质感，古意盎然。整体不饰冗余纹饰，以素净器身凸显古铜器的端庄气韵，尽显仿古作器的精妙匠心，静静伫立间，便晕开旧时光的沉静厚重之美。",[219,37,323,324,7,207,123],"兽面","活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d701f624ae17900c0b2723bd4c7e24a.jpg",[],{"id":328,"slug":329,"title":320,"dynasty":57,"author":83,"museum":84,"description":330,"tags":331,"thumbUrl":332,"material":94,"size":95,"collection":113,"collections":333,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},270313,"xuan-de-kuan-tong-shou-mian-huo-huan-hu-yi-ming-270313","此壶造型敦厚朴拙，撇口束颈，丰肩鼓腹下接圈足，线条圆融沉稳，自带着沉静古雅的气度。兽面衔活环为耳，兽首轮廓威严凝练，活环垂坠灵动，为厚重器身添了几分轻巧意趣，刚柔相济。\n\n深褐包浆温润凝腻，周身隐现斑驳铜锈，是岁月浸淫留下的痕迹，将时光的厚重感凝于周身。整体形制规整大气，细节做工精巧，尽显铜作工艺的纯熟匠心，古韵悠悠，静穆雅致之间，尽显旧时造物的审美意趣。",[37,219,207,323,324,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bd4882139261326265afcba1c9fbd3.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":57,"author":83,"museum":84,"description":338,"tags":339,"thumbUrl":341,"material":94,"size":95,"collection":113,"collections":342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},269278,"zhu-gen-diao-gai-hu-yi-ming-269278","竹根雕盖壶","整器取整段竹根随形雕琢，造型敦厚朴拙，仿若古陶重器。盖面设系钮，器身环扣衔链，苍劲线条勾勒出精巧结构，兼具实用与装饰意趣。周身浅刻回纹连绵排布，纹理规整细腻，朴拙中见匠心。将竹根天然肌理的温润质感，与仿古青铜的厚重气韵相融，带着旧时光的沉静厚重。把竹材的朴素温润，化作兼具古意与雅致的文房清供，尽显手作的细腻心思，复古意趣藏于每一处细节之中，沉静雅致，韵味悠长。",[71,207,340,7],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85b900047aa517cb7c5ac98344cd045.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":347,"author":83,"museum":84,"description":121,"tags":348,"thumbUrl":349,"material":94,"size":95,"collection":113,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},262201,"qing-you-shuang-xi-hu-yi-ming-262201","青釉双系壶","隋",[87,71,124,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aed85a872a4e116b46f6cb3d606e098.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":166,"author":83,"museum":84,"description":121,"tags":355,"thumbUrl":358,"material":94,"size":95,"collection":113,"collections":359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261941,"qing-you-feng-shou-hu-yi-ming-261941","青釉凤首壶",[87,124,356,7,41,357],"凤首","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f907f50573b5fd6e240e4065727475f.jpg",[],{"id":361,"slug":362,"title":165,"dynasty":105,"author":83,"museum":84,"description":167,"tags":363,"thumbUrl":364,"material":94,"size":95,"collection":96,"collections":365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261827,"yue-yao-qing-you-hu-yi-ming-261827",[87,124,7,123,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872b10987ea370129eda3843d4ef25cf.jpg",[96],{"id":367,"slug":368,"title":369,"dynasty":120,"author":83,"museum":84,"description":370,"tags":371,"thumbUrl":372,"material":94,"size":95,"collection":96,"collections":373,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261812,"yue-zhou-yao-qing-you-xiao-hu-yi-ming-261812","岳州窑青釉小壶","岳州窑，古代瓷窑之一。位于湖南湘阴县城内。中国收藏家协会会员、湖南常德收藏家周新国先生《武陵藏珍》记载：“岳州窑”之名，始见于唐代陆羽《茶经·四之器》。唐代岳州窑在陆羽《茶经》中列宜茶青瓷名窑第4位。窑址位于湖南湘阴城关及县内其它地区，人称湘阴窑。我国窑名出自唐代，而湘阴唐时属岳州辖地，所以唐代称其为岳州窑。岳州窑始烧于东汉，中经西晋、南朝、隋，一直延续到唐代。",[87,124,7,123,41,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf9b02305dfe1ed5115f120c07ab5ccd.jpg",[96],{"id":375,"slug":376,"title":377,"dynasty":166,"author":83,"museum":84,"description":121,"tags":378,"thumbUrl":380,"material":94,"size":95,"collection":113,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261799,"qing-you-hua-hua-si-xi-hu-yi-ming-261799","青釉划花四系壶",[87,71,124,379,7,123],"划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe30ba61db3f4390c472d31aabc77040b.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":105,"author":83,"museum":84,"description":386,"tags":387,"thumbUrl":389,"material":94,"size":95,"collection":113,"collections":390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261751,"qing-bai-you-hu-yi-ming-261751","青白釉壶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[87,123,41,7,388],"青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25eb4b6aebc30a97a413d0a2d84e88d1.jpg",[],{"id":392,"slug":393,"title":394,"dynasty":120,"author":83,"museum":84,"description":395,"tags":396,"thumbUrl":400,"material":94,"size":95,"collection":113,"collections":401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261574,"huang-you-qu-bing-feng-shou-hu-yi-ming-261574","黄釉曲柄凤首壶","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[87,397,7,398,399,123,207],"凤","黄釉","曲柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6172bde4f8b92f28439bcc1531720ae.jpg",[],{"id":403,"slug":404,"title":405,"dynasty":57,"author":83,"museum":84,"description":177,"tags":406,"thumbUrl":408,"material":94,"size":95,"collection":96,"collections":409,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261440,"de-hua-yao-bai-you-hu-lu-shi-hu-yi-ming-261440","德化窑白釉葫芦式壶",[87,123,41,179,7,407],"葫芦形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703fed5f0409420597655144149d144c.jpg",[96],{"id":411,"slug":412,"title":413,"dynasty":105,"author":83,"museum":84,"description":395,"tags":414,"thumbUrl":415,"material":94,"size":95,"collection":113,"collections":416,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261319,"huang-you-hu-yi-ming-261319","黄釉壶",[87,71,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4968eed09a9bd76e80f8f9f8978e6378.jpg",[],{"id":418,"slug":419,"title":420,"dynasty":120,"author":83,"museum":84,"description":386,"tags":421,"thumbUrl":422,"material":94,"size":95,"collection":113,"collections":423,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261316,"bai-you-hu-yi-ming-261316","白釉壶",[87,123,7,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13645b57275c4e39a07924b224316440.jpg",[],{"id":425,"slug":426,"title":427,"dynasty":105,"author":83,"museum":84,"description":106,"tags":428,"thumbUrl":431,"material":94,"size":95,"collection":113,"collections":432,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},261293,"mi-se-you-tu-hua-hu-yi-ming-261293","米色釉凸花壶",[87,123,7,429,430],"凸花","釉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2a1556e320f8013ee498e645713dc14.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":166,"author":83,"museum":84,"description":121,"tags":437,"thumbUrl":438,"material":94,"size":95,"collection":113,"collections":439,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},260762,"qing-you-si-xi-hu-yi-ming-260762","青釉四系壶",[87,71,124,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F738a0ce3d70c56bdc8b415e3be6dac88.jpg",[],{"id":441,"slug":442,"title":436,"dynasty":166,"author":83,"museum":84,"description":121,"tags":443,"thumbUrl":445,"material":94,"size":95,"collection":113,"collections":446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260757,"qing-you-si-xi-hu-yi-ming-260757",[87,124,7,444,123,71],"四系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88d044b67067fdeee926be8979718a5.jpg",[],{"id":448,"slug":449,"title":346,"dynasty":166,"author":83,"museum":84,"description":121,"tags":450,"thumbUrl":451,"material":94,"size":95,"collection":113,"collections":452,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260749,"qing-you-shuang-xi-hu-yi-ming-260749",[87,71,124,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82fdc91eabc160f8f9f7c2dfaf260ab9.jpg",[],{"id":454,"slug":455,"title":346,"dynasty":166,"author":83,"museum":84,"description":121,"tags":456,"thumbUrl":458,"material":94,"size":95,"collection":113,"collections":459,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260720,"qing-you-shuang-xi-hu-yi-ming-260720",[87,123,124,7,457],"双系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199ac1514b0924829eb55dc4db926c7f.jpg",[],{"id":461,"slug":462,"title":463,"dynasty":57,"author":83,"museum":84,"description":177,"tags":464,"thumbUrl":465,"material":94,"size":95,"collection":96,"collections":466,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260587,"de-hua-yao-bai-you-hu-yi-ming-260587","德化窑白釉壶",[87,123,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32dedf4a3d89c48e8bfd0f25de2bb8b.jpg",[96],{"id":468,"slug":469,"title":436,"dynasty":166,"author":83,"museum":84,"description":121,"tags":470,"thumbUrl":471,"material":94,"size":95,"collection":113,"collections":472,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260540,"qing-you-si-xi-hu-yi-ming-260540",[87,124,7,71,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914cfbb76190f4e620c550f6c0340bb7.jpg",[],{"id":474,"slug":475,"title":476,"dynasty":166,"author":83,"museum":84,"description":121,"tags":477,"thumbUrl":478,"material":94,"size":95,"collection":113,"collections":479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260529,"qing-you-si-xi-xiao-hu-yi-ming-260529","青釉四系小壶",[87,124,7,123,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd504f5264693b2b6ee00cb11c3aeb70a.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":120,"author":83,"museum":84,"description":484,"tags":485,"thumbUrl":488,"material":94,"size":95,"collection":96,"collections":489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},260378,"qiong-yao-hui-lv-you-huang-tiao-cai-pie-kou-xiao-hu-yi-ming-260378","邛窑灰绿釉黄条彩撇口小壶","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[87,123,41,7,486,487],"灰绿釉","黄条彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7034276e4d19dad4a3fd94ad2b2c0079.jpg",[96],{"id":491,"slug":492,"title":493,"dynasty":120,"author":83,"museum":84,"description":494,"tags":495,"thumbUrl":496,"material":94,"size":95,"collection":96,"collections":497,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},260306,"liu-li-chang-yao-qing-you-he-ban-shuang-xi-hu-yi-ming-260306","琉璃厂窑青釉褐斑双系壶","琉璃厂窑又称华阳窑，在四川华阳县城以南胜利乡一村，是一家生产青釉、黄釉、褐釉、黑釉、白釉、绿釉等为主的制造厂。\n当地俗称琉璃厂，故叫“琉璃厂”或“琉璃厂窑”。瓷器烧制于唐、宋时代。\n器物的胎体多叶砖红色，宋代为繁荣时期，其中黄釉绿彩中比较突出的有大盆，盆里中心刻双鱼纹，两鱼逆水并游，辅以水草，线条自然流畅。褐釉器有鸭嘴流式壶、长流壶、碗、盘等，纹饰多绘花草纹，涂白粉。白釉器有碗、盘，釉色有白、黄两种，有的饰绿口及绿彩花草纹。",[87,169,124,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b34ff924ec6e2652bf0ec7b8a90067a.jpg",[96],{"id":499,"slug":500,"title":501,"dynasty":57,"author":83,"museum":84,"description":177,"tags":502,"thumbUrl":504,"material":94,"size":95,"collection":96,"collections":505,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260263,"de-hua-yao-bai-you-gua-leng-xiao-hu-yi-ming-260263","德化窑白釉瓜棱小壶",[87,123,179,503,7],"瓜棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ddc3f55ceae3e06e5c5f9a515dd6db.jpg",[96],{"id":507,"slug":508,"title":509,"dynasty":120,"author":83,"museum":84,"description":395,"tags":510,"thumbUrl":511,"material":94,"size":95,"collection":113,"collections":512,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},260144,"huang-you-xiao-hu-yi-ming-260144","黄釉小壶",[87,123,7,398,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8782c62e7c35af9d9c3bd251538a6f.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":120,"author":83,"museum":84,"description":386,"tags":517,"thumbUrl":519,"material":94,"size":95,"collection":113,"collections":520,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},260143,"bai-you-lv-cai-xiao-hu-yi-ming-260143","白釉绿彩小壶",[87,123,7,518,71],"白釉绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f17e831a06292c2343b961eac8b42.jpg",[],{"id":522,"slug":523,"title":524,"dynasty":166,"author":83,"museum":84,"description":121,"tags":525,"thumbUrl":528,"material":94,"size":95,"collection":113,"collections":529,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},259748,"qing-you-su-tie-pu-shou-hu-yi-ming-259748","青釉塑贴铺首壶",[87,71,124,526,527,7,123],"塑贴","铺首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e24523c2713bd146d36321154481b00.jpg",[],{"id":531,"slug":532,"title":533,"dynasty":166,"author":83,"museum":84,"description":121,"tags":534,"thumbUrl":536,"material":94,"size":95,"collection":113,"collections":537,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},259733,"qing-you-su-tie-ren-wu-shuang-xi-hu-yi-ming-259733","青釉塑贴人物双系壶",[87,124,535,7,169],"塑贴人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb26c0cfbecfe5b40745e65128b2a6d.jpg",[],{"id":539,"slug":540,"title":541,"dynasty":120,"author":83,"museum":84,"description":484,"tags":542,"thumbUrl":544,"material":94,"size":95,"collection":96,"collections":545,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},259708,"qiong-yao-qing-you-zhe-ban-hu-yi-ming-259708","邛窑青釉赭斑壶",[87,124,543,123,7],"赭斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e222b0c3af52f275a479e749ef052c8.jpg",[96],{"id":547,"slug":548,"title":549,"dynasty":166,"author":83,"museum":84,"description":167,"tags":550,"thumbUrl":552,"material":94,"size":95,"collection":96,"collections":553,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},259588,"yue-yao-qing-huang-you-hu-yi-ming-259588","越窑青黄釉壶",[87,551,7,169,170],"青黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af21d65c423227d115a4367be9d73e3.jpg",[96],{"id":555,"slug":556,"title":557,"dynasty":57,"author":83,"museum":84,"description":156,"tags":558,"thumbUrl":563,"material":94,"size":95,"collection":96,"collections":564,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},258993,"yang-xian-ming-zhi-kuan-yi-xing-yao-zi-sha-ke-hua-wen-bian-hu-yi-ming-258993","阳羡茗制款宜兴窑紫砂刻花纹扁壶",[559,87,560,561,562,71,7],"紫砂","刻花","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f6562cff2b96642aec859425ef0ae4.jpg",[96],{"id":566,"slug":567,"title":568,"dynasty":57,"author":83,"museum":84,"description":106,"tags":569,"thumbUrl":571,"material":94,"size":95,"collection":113,"collections":572,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},258842,"fang-ge-you-guan-er-hu-yi-ming-258842","仿哥釉贯耳壶",[87,570,110,111,7,71],"仿哥釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9c2b063c9179c0c961112a6e4f5c4.jpg",[],{"id":574,"slug":575,"title":576,"dynasty":57,"author":83,"museum":84,"description":577,"tags":578,"thumbUrl":581,"material":94,"size":95,"collection":113,"collections":582,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},258217,"yong-zheng-kuan-qing-hua-chan-zhi-hua-wen-ti-liang-hu-yi-ming-258217","雍正款青花缠枝花纹提梁壶","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。",[200,87,579,580,7,123],"青花","缠枝花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3edbd42bb5aad0a142e85e38b5ddb0d.jpg",[],{"id":584,"slug":585,"title":586,"dynasty":120,"author":83,"museum":84,"description":587,"tags":588,"thumbUrl":591,"material":94,"size":95,"collection":96,"collections":592,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},256959,"lu-shan-yao-hei-you-lan-ban-hu-yi-ming-256959","鲁山窑黑釉蓝斑壶","鲁山窑为古代陶瓷窑。在今河南鲁山段店村，故名。唐代以生产花瓷著名。宋、金、元时期烧制白瓷、白釉黑花瓷、黑瓷、青瓷和三彩陶器。\n北宋至金时窑场扩大，产品更加丰富。装饰上除直线纹曲线纹外，也有划花、印花纹等。到元代还烧制白地黑褐彩器和红绿彩碗等。唐、宋、元的器物均具有它本朝代的工艺特征风格。",[120,87,190,589,590,7,71],"蓝斑","窑变","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363aab5dba59747e755f79d743ab6746.jpg",[96],{"id":594,"slug":595,"title":596,"dynasty":597,"author":83,"museum":84,"description":598,"tags":599,"thumbUrl":602,"material":94,"size":95,"collection":96,"collections":603,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},256936,"ding-yao-bai-you-chuan-dai-gua-leng-hu-yi-ming-256936","定窑白釉穿带瓜棱壶","五代十国","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[597,87,179,503,600,7,601],"穿带","定窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ead4d97a66a21e57457145ad86039f8.jpg",[96],{"id":605,"slug":606,"title":607,"dynasty":105,"author":83,"museum":84,"description":386,"tags":608,"thumbUrl":610,"material":94,"size":95,"collection":113,"collections":611,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},256861,"bai-you-ke-hua-lian-ban-wen-hu-yi-ming-256861","白釉刻花莲瓣纹壶",[105,87,179,560,609,7,71],"莲瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4def3de50cf782bacddbb4b4d136fb1.jpg",[],{"id":613,"slug":614,"title":615,"dynasty":57,"author":83,"museum":84,"description":616,"tags":617,"thumbUrl":624,"material":94,"size":95,"collection":113,"collections":625,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},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。",[618,207,619,200,324,620,621,622,623,7,71],"玉石","仿古","出戟","衔环","纹","盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd944470a9cc1d34e8f0550de0df58061.jpg",[],{"id":627,"slug":628,"title":629,"dynasty":57,"author":83,"museum":84,"description":630,"tags":631,"thumbUrl":634,"material":94,"size":95,"collection":113,"collections":635,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":100},243233,"cuo-jin-yin-pan-hui-wen-fang-hu-yi-ming-243233","错金银蟠虺纹方壶","此壶形制端庄规整，双龙衔环耳古朴威严，线条苍劲有力。颈部错金银饰缠枝宝相花与蟠虺纹，金彩银辉在古铜底色之上熠熠生姿，工细富丽。壶身素面肌理斑驳苍古，隐饰兽面纹，沉穆厚重，暗合上古青铜的肃穆气象。\n\n整体将仿古意趣与精细工法相融，岁月剥蚀下铜色凝润厚重，错金银饰依旧流光婉转，把复古礼制之美与清代装饰之精巧妙结合，尽显庄重华贵的古韵风姿。",[57,37,632,633,7,207],"错金银","蟠虺纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32615c121e7086dff57e461ba126b32a.jpg",[],{"id":637,"slug":638,"title":639,"dynasty":18,"author":83,"museum":84,"description":640,"tags":641,"thumbUrl":643,"material":94,"size":95,"collection":113,"collections":644,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},243084,"cuo-jin-yin-shou-mian-wen-hu-yi-ming-243084","错金银兽面纹壶","此器方正端庄，束颈方腹下承方足，两侧兽首衔环，威严古雅，带着礼器特有的厚重静穆。错金纹饰是点睛之笔，腹部主纹对称回旋，似宝相华纹，又暗含青铜古器的肃穆肌理，金彩在青褐铜色的岁月斑驳里鲜亮醒目，线条婉转柔润，将庄重礼制与精巧工艺相融。周身纹饰排布匀整，颈腹呼应协调，错金走线流畅细腻，尽显仿古造物的匠心巧思，古意盎然又带着华贵雅致的质感。",[18,632,642,37,7],"兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb741ec0d356fc3ff166d0c0d087d209e.jpg",[],{"id":646,"slug":647,"title":648,"dynasty":57,"author":649,"museum":650,"description":651,"tags":652,"thumbUrl":659,"material":113,"size":113,"collection":113,"collections":660,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":661},202270,"ke-zhai-ji-gu-tu-juan-ren-xun-202270","愙斋集古图卷","任薰","上海博物馆","这幅图卷以精谨之笔摹绘历代古器物，鼎彝尊爵、壶卣觚觯罗列有序，形制各异。线条勾勒精准，纹饰细节毕现，墨色晕染层次分明，既还原青铜礼器的古朴厚重，又以绘画之韵赋予器物生动气息。画面间缀题跋印章，考据与艺术交融，尽显古雅之趣。整卷布局疏密得当，器物与文字相映成趣，是兼具文献价值与审美意趣的佳作。",[653,26,654,37,217,655,40,656,7,657,62,24,658,35],"长卷","白描","爵","尊","印章","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8a0fc57d240683d9bbce5932fe11f8.jpg",[],"908977",1777535707662]