[{"data":1,"prerenderedAt":2366},["ShallowReactive",2],{"subject-hua-fa-lang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4357,"hua-fa-lang","画珐琅","画珐琅画高清赏析","精选中国历代画珐琅题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa970486278123b1687ad8d71ebb83d.jpg",0,279,[14,36,53,67,79,90,100,111,121,129,137,146,156,165,177,186,195,207,216,227,236,245,252,264,273,282,294,303,315,326,335,347,357,366,377,387,398,411,419,428,438,444,451,459,467,474,482,490,497,507,514,522,532,542,553,568,577,589,596,604,612,619,628,635,648,656,663,671,679,686,694,704,711,721,733,739,748,754,765,775,784,793,800,809,818,826,834,843,852,863,871,878,886,894,901,908,915,922,932,939,946,954,962,972,980,988,995,1003,1011,1020,1028,1037,1044,1051,1061,1069,1078,1087,1094,1101,1109,1116,1125,1134,1145,1152,1161,1169,1179,1186,1195,1204,1211,1219,1227,1234,1240,1250,1260,1267,1274,1280,1286,1292,1299,1305,1313,1321,1329,1336,1344,1351,1358,1366,1375,1383,1391,1399,1406,1413,1420,1427,1436,1444,1453,1460,1466,1474,1482,1488,1497,1507,1516,1524,1531,1538,1546,1555,1564,1573,1582,1589,1598,1606,1614,1623,1631,1640,1648,1655,1664,1671,1678,1685,1693,1700,1708,1717,1724,1732,1739,1747,1755,1764,1772,1780,1787,1796,1805,1812,1819,1826,1835,1842,1850,1858,1868,1875,1883,1891,1900,1908,1918,1926,1934,1942,1949,1957,1966,1974,1982,1990,1996,2005,2012,2019,2029,2037,2044,2053,2061,2068,2075,2083,2091,2098,2106,2113,2121,2129,2136,2147,2154,2163,2171,2178,2186,2194,2201,2209,2216,2223,2232,2240,2249,2259,2267,2276,2284,2291,2298,2306,2314,2322,2329,2336,2344,2351,2358],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},249175,"qian-long-kuan-hua-fa-lang-shi-nv-tu-bi-yan-hu-yi-ming-249175","乾隆款画珐琅仕女图鼻烟壶","清","佚名","藏地不详","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[18,23,7,24,25,26,27,28],"乾隆","设色","仕女","孩童","人物","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f6c77778a489e7af1575050a8801ee.jpg","未知","Xcm*Xcm","",[],63,"F48FB1",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":49,"material":30,"size":31,"collection":32,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},249531,"hua-fa-lang-cai-yun-ba-bao-lian-hua-wen-deng-yi-ming-249531","画珐琅彩云八宝莲花纹灯","此器以莲为盏，瓣色粉润柔婉，描金勾边衬出清雅娇姿。明黄为地釉色莹亮，缠枝纹蜿蜒舒展，八宝纹饰错落其间，宝相端严又含灵动生机。底座朱红双喜醒目鲜亮，于彩云中托举祥瑞之意。整器画工细腻入微，珐琅填色饱满匀净，配色明丽和谐，走线流畅利落，尽显工艺的精湛造诣，将礼佛的静穆意蕴与美满祈愿融于一体，是陈设与审美价值兼具的精妙之作。",[42,7,43,44,45,46,47,24,48],"清代","珐琅器","彩云","八宝","莲花纹","灯","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b31a05abeb5a3c25a113511384bef2.jpg",[],27,"BDBDBD",{"id":54,"slug":55,"title":56,"dynasty":18,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":63,"material":30,"size":31,"collection":32,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},229263,"hua-fa-lang-sui-chao-tu-ping-yi-ming-229263","画珐瑯岁朝图瓶","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。",[42,43,7,24,59,60,61,62],"梅","花","枝","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg",[],26,"795548",{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":75,"material":30,"size":31,"collection":32,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},249508,"hua-fa-lang-ba-bao-hua-hui-wen-ba-ban-jiu-zi-he-yi-ming-249508","画珐琅八宝花卉纹八瓣九子盒","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",[7,43,45,73,74,62],"花卉纹","八瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d02d66be7b211097fbb9f752b21094b.jpg",[],20,"2A56C6",{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":87,"material":30,"size":31,"collection":32,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":52},250240,"hua-fa-lang-mu-dan-hua-hai-tang-shi-hua-lan-yi-ming-250240","画珐琅牡丹花海棠式花篮","此器取海棠花口造型，柔婉别致，黄铜提梁线条圆融流畅，包边勾勒出利落精致的轮廓。器内施匀净湖蓝珐琅，素雅沉静，衬得外壁明黄地色愈发鲜亮华贵。\n缠枝牡丹错落盛放，粉、紫、湖蓝各色花瓣晕染自然，层次饱满，枝叶舒展灵动，釉色莹润饱满，色阶过渡柔和细腻。重工彩饰繁而不俗，将宫廷雍容雅致的审美融于日常器用，尽显工艺精巧工细，花叶缠绵间晕开富丽温婉的气韵。",[42,7,28,24,85,86],"牡丹","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6030dca69ed412a4c1f0f82a54f570be.jpg",[],18,{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":94,"tags":95,"thumbUrl":97,"material":30,"size":31,"collection":32,"collections":98,"showCount":89,"zanCount":99,"manualWeight":11,"mainColor":66},249555,"qian-long-kuan-hua-fa-lang-bao-xiang-hua-wen-pan-yi-ming-249555","乾隆款画珐琅宝相花纹盘","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。",[18,43,7,96,24],"宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1885a22d9317862381d21a78f1a44e.jpg",[],1,{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":108,"material":30,"size":31,"collection":32,"collections":109,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":110},248980,"hua-fa-lang-hua-die-wen-hu-lu-shi-ping-yi-ming-248980","画珐琅花蝶纹葫芦式瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[7,43,106,60,107,24],"葫芦式器","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b09106efe6ba5a8fca8eb60eead073.jpg",[],"37474F",{"id":112,"slug":113,"title":114,"dynasty":18,"author":19,"museum":20,"description":104,"tags":115,"thumbUrl":117,"material":30,"size":31,"collection":32,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":110},249515,"qian-long-kuan-hua-fa-lang-tuan-hua-wen-liu-fang-ping-yi-ming-249515","乾隆款画珐琅团花纹六方瓶",[42,7,116,62,43,24],"团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda4ecc000f51041fdc5450d10d66500.jpg",[],17,2,{"id":122,"slug":123,"title":124,"dynasty":18,"author":19,"museum":20,"description":71,"tags":125,"thumbUrl":126,"material":30,"size":31,"collection":32,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":110},249511,"kang-xi-kuan-hua-fa-lang-mei-hua-wen-yuan-he-yi-ming-249511","康熙款画珐琅梅花纹圆盒",[7,43,59,24,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16d0b43b5e04cd8748956305efe2707.jpg",[],13,{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":21,"tags":133,"thumbUrl":135,"material":30,"size":31,"collection":32,"collections":136,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":35},249182,"qian-long-kuan-hua-fa-lang-shi-nv-ying-xi-tu-bi-yan-hu-yi-ming-249182","乾隆款画珐琅仕女婴戏图鼻烟壶",[42,7,24,27,25,134,43],"婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3a686cdfbaf80cb10b66ed46aa1ef1.jpg",[],{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":143,"material":30,"size":31,"collection":32,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":78},249541,"hua-fa-lang-bing-mei-wen-gai-bei-yi-ming-249541","画珐琅冰梅纹盖杯","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。",[7,28,59,24,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d5103b16abfb0a7522cba272479aaa.jpg",[],12,{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":20,"description":104,"tags":150,"thumbUrl":153,"material":30,"size":31,"collection":32,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":110},249579,"hua-fa-lang-zhe-zhi-hua-hui-wen-bi-ping-yi-ming-249579","画珐琅折枝花卉纹壁瓶",[42,7,43,24,151,152],"折枝花卉","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bee7aa3fdf643aee79ee8151b802a55.jpg",[],9,{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":163,"material":30,"size":31,"collection":32,"collections":164,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":66},249571,"yong-zheng-kuan-hua-fa-lang-gou-lian-hua-hui-wen-dai-gai-tuo-yuan-shui-cheng-yi-ming-249571","雍正款画珐琅勾莲花卉纹带盖椭圆水丞","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。",[42,43,7,24,85,152,162,62],"勾莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23af82c6d6a85b710daf3fa0e4619f0.jpg",[],{"id":166,"s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