[{"data":1,"prerenderedAt":516},["ShallowReactive",2],{"subject-hua-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2984,"hua-wen","花纹","花纹画高清赏析","精选中国历代花纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefdce542c0b9a38b0d52e0593c6b968.jpg",0,43,[14,37,60,71,95,107,116,127,139,151,164,176,188,205,214,226,241,253,265,278,301,309,321,334,344,357,368,378,386,392,401,410,422,432,439,447,456,462,469,479,488,500,509],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},226221,"ku-yong-dao-nan-pi-yi-ming-226221","窟甬道南披","唐","佚名","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,24,25,26,27,7,28,29],"壁画","设色","宗教","垂幔","宝相花","璎珞","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f12c198df8e645b413e5f0b8a85545d.jpg","未知","Xcm*Xcm","",[],76,"F48FB1",{"id":38,"slug":39,"title":40,"dynasty":41,"author":42,"museum":43,"description":44,"tags":45,"thumbUrl":57,"material":31,"size":32,"collection":33,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":36},231699,"ren-wu-hua-ge-chuan-feng-guo-231699","人物画","不详","歌川丰国","藏地不详","此作以柔婉线条勾勒仕女情态，蓝花簪发的她肩挑朱绳吊桶，将市井营生晕染出雅致和风。吊桶海浪纹样灵动写意，和服层叠晕染出水色衣袂，裙摆织锦纹样细腻华美，将面料肌理晕染的层次分明。画师把世俗挑水劳作，揉入古典美人绘的温婉气质，静穆身姿暗蕴市井烟火的鲜活气，让日常营生化为诗意绘卷，尽显柔美雅致的浮世风韵。",[46,47,48,49,24,50,51,52,53,54,7,55,56],"高清","名画","浮世绘","木刻","版画","人物","美人","服饰","桶","波浪纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4c997f224f293aa736b5d2fca1cb24.jpg",[],54,{"id":61,"slug":62,"title":63,"dynasty":41,"author":19,"museum":43,"description":64,"tags":65,"thumbUrl":67,"material":31,"size":32,"collection":33,"collections":68,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":70},225516,"fu-shi-hui-274-yi-ming-225516","浮世绘274","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[48,49,24,51,52,53,66,7],"纹身","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6765a3037e212cac1b313250ba47d17.jpg",[],18,"BDBDBD",{"id":72,"slug":73,"title":74,"dynasty":41,"author":19,"museum":43,"description":75,"tags":76,"thumbUrl":91,"material":33,"size":33,"collection":33,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":94},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 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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。",[120,157,24,158,159,7,160,161],"五彩","龙","凤","陶瓷","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cb1ecb5d2897d1141ca240e62c67d79.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":120,"author":19,"museum":43,"description":168,"tags":169,"thumbUrl":174,"material":31,"size":32,"collection":33,"collections":175,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":94},256646,"song-shi-lv-you-lou-kong-hua-lan-yi-ming-256646","松石绿釉镂空花篮","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。",[170,160,171,172,161,29,173,7],"清代","松石绿釉","镂空","链条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1daec52439925538e672816c247e3c1.jpg",[],{"id":177,"slug":178,"title":179,"dynasty":180,"author":19,"museum":43,"description":181,"tags":182,"thumbUrl":186,"material":31,"size":32,"collection":33,"collections":187,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":36},246067,"ti-hong-long-chuan-hua-wen-shuang-er-bian-ping-yi-ming-246067","剔红龙穿花纹双耳扁瓶","明","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。",[180,183,184,185,158,7,161],"漆器","剔红","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73259f3f210589ff41c7edf5c15ab25b.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":41,"author":192,"museum":43,"description":193,"tags":194,"thumbUrl":203,"material":31,"size":32,"collection":33,"collections":204,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":94},231250,"su-miao-504-xi-fang-231250","素描504","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[195,196,197,51,198,199,200,201,202,112,7],"素描","写实","局部设色","人体","女性","短发","手","脚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffda7a20b0fe5e736383d65a6360e97b.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":120,"author":19,"museum":43,"description":143,"tags":209,"thumbUrl":211,"material":31,"size":32,"collection":33,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":94},264042,"xiang-se-di-feng-huang-xiao-hua-wen-jin-yi-ming-264042","香色地凤凰小花纹锦",[112,145,210,7],"凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69e405ecbf667d287a51a14f5a1a352.jpg",[],1,{"id":215,"slug":216,"title":217,"dynasty":120,"author":19,"museum":43,"description":218,"tags":219,"thumbUrl":224,"material":31,"size":32,"collection":33,"collections":225,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":94},258862,"ti-he-dian-kuan-huang-you-an-ke-zhe-zhi-ju-lan-hua-wen-hua-pen-yi-ming-258862","体和殿款黄釉暗刻折枝菊兰花纹花盆","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。",[120,160,220,221,222,223,7],"黄釉","暗刻","折枝菊","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84e602e92a33513446996e9e0579b088.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":120,"author":19,"museum":43,"description":230,"tags":231,"thumbUrl":239,"material":31,"size":32,"collection":33,"collections":240,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":94},245426,"yin-lei-si-shao-lan-hua-shi-he-yi-ming-245426","银累丝烧蓝花式盒","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",[170,232,233,234,90,7,235,236,237,238],"银器","银累丝","烧蓝","金属工艺","装饰纹样","累丝技法","烧蓝技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42555183b9be945d5d7bb25d223c7c99.jpg",[],{"id":242,"slug":243,"title":244,"dynasty":18,"author":19,"museum":43,"description":245,"tags":246,"thumbUrl":251,"material":31,"size":32,"collection":33,"collections":252,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":70},244703,"lou-diao-hua-wen-deng-yi-ming-244703","镂雕花纹灯","此灯取花枝为形，灯盏托作绽放花容，将烛火托于花心之上。长柄伏着灵龟香盒，龟甲纹理写实生动，憨态宛然，将照明与添香融于一体，把日常器物化为雅趣造物。通体镂雕缠枝纹饰，线条细密柔婉，晕染出丰沛华丽的气质。斑驳铜绿覆身，是千年岁月浸蚀的痕迹，凝缩着古雅生活的诗意，将实用与审美精妙结合，尽显古人巧思与雅致的生活意趣。",[247,248,249,7,250],"唐代","青铜器","镂雕","灯具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb140bf516cc794bf4a6804ef27659bb5.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":257,"author":19,"museum":43,"description":258,"tags":259,"thumbUrl":262,"material":31,"size":32,"collection":33,"collections":263,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":264},244373,"cha-hua-wen-dun-yi-ming-244373","茶花纹敦","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。",[248,260,185,261,161,7],"铜制","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1389ba6b007bb56bb793a2641085a0bf.jpg",[],"37474F",{"id":266,"slug":267,"title":268,"dynasty":41,"author":269,"museum":43,"description":270,"tags":271,"thumbUrl":276,"material":31,"size":32,"collection":33,"collections":277,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":70},232548,"mi-lai-si-92-yue-han-ai-fu-li-te-mi-lai-si-232548","米莱斯92","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[195,272,273,51,52,274,275,53,7],"速写","线条勾勒","女性肖像","耳环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca227a8ca9941dd63e13e40c566e9e28.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":41,"author":282,"museum":43,"description":283,"tags":284,"thumbUrl":299,"material":31,"size":32,"collection":33,"collections":300,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":94},232143,"hortense-valpin-on-minneapolis-institute-of-arts-usa-de-jia-232143","Hortense Valpinзon - - - Minneapolis Institute of Arts (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[285,286,51,287,288,289,290,291,292,293,294,196,295,296,297,7,298],"油画","印象派","帽子","连衣裙","桌布","织物","室内","静物","色彩","光影","笔触","衣物","家具","背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2594aacd912cb97a9800bb8053940b.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":41,"author":192,"museum":43,"description":193,"tags":305,"thumbUrl":307,"material":31,"size":32,"collection":33,"collections":308,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":70},231141,"su-miao-395-xi-fang-231141","素描395",[195,196,51,199,112,7,198,306,290],"躺姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d0954e396bb0aab2fddbdc3e36f9b4.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":313,"author":19,"museum":43,"description":314,"tags":315,"thumbUrl":319,"material":31,"size":32,"collection":33,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},279380,"yin-bu-hua-wen-liang-mian-tong-yin-yi-ming-279380","“尹部”花纹两面铜印","汉","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[316,260,248,317,318,7],"印章","篆刻","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a6ea25fe1e23d8b46da1da514a3d04.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":120,"author":19,"museum":43,"description":325,"tags":326,"thumbUrl":332,"material":31,"size":32,"collection":33,"collections":333,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},275679,"mu-jin-qi-hua-wen-ma-an-yi-ming-275679","木金漆花纹马鞍","此鞍木胎髹金，纹饰辗转灵动，似将草木云纹揉入周身，金漆在时光里晕出温润柔光。马镫造型饱满流畅，与鞍身构件严丝合缝，皮革包浆凝着旧年摩挲的温度，兼具骑乘实用与陈设雅韵。\n匠者将游牧骑猎的英武底色，融于精致工法，每一处线条都打磨得从容舒展，华贵却不张扬，静静承载着旧时鞍马之风的雍容气度，把实用器具淬成了一件带着岁月温度的美学造物。",[327,328,329,330,183,331,185,7],"马鞍","马具","日用具","木质","金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971883c009e029e8a9895fed0e0ac4af.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":120,"author":19,"museum":43,"description":338,"tags":339,"thumbUrl":341,"material":31,"size":32,"collection":33,"collections":342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":343},272821,"hua-li-mu-diao-hua-wen-yuan-wu-yi-ming-272821","花梨木雕花纹圆杌","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[330,185,297,7,340],"圆杌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5a6f3d5f825f53b103158849ff2fe.jpg",[],"FFFFFF",{"id":345,"slug":346,"title":347,"dynasty":120,"author":19,"museum":43,"description":348,"tags":349,"thumbUrl":355,"material":31,"size":32,"collection":33,"collections":356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":264},266487,"lan-se-da-yang-hua-wen-tai-xi-duan-bao-pi-pi-pa-jin-ma-gua-yi-ming-266487","蓝色大洋花纹泰西缎豹皮琵琶襟马褂","马褂是一种穿于袍服外的短衣，衣长至脐，袖仅遮肘，满语叫“鄂多赫”，因着之便于骑马而得名，亦称 “短褂” 或 “马墩子”，流行于清代及民国时期\n清代初期，马褂为一般士兵穿着，至康熙时期富贵之家也有穿者。雍正后，马褂已甚为流行 。并发展成单、夹、纱、皮、棉等服装，成为男式便衣，士庶都可穿着。之后更逐渐演变为一种礼仪性的服装，不论身份，都以马褂套在长袍之外，显得文雅大方 。民国年间曾被列为礼服之一。新中国成立后，马褂逐步被摈弃，后经改良又以“唐装”的名称重新回到人们的视野中 。",[350,351,352,353,354,7,112,53],"马褂","衣帽","琵琶襟","缎面","豹皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb282ab6d703b676b6271f463c83e3818.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":120,"author":19,"museum":43,"description":361,"tags":362,"thumbUrl":365,"material":31,"size":32,"collection":33,"collections":366,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":367},265657,"pin-lan-se-duan-di-zhi-mei-hua-wen-tao-yi-ming-265657","品蓝色缎地枝梅花纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[112,363,364,290,7],"梅","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79df975ff68137dd57f45c29f2342567.jpg",[],"2A56C6",{"id":369,"slug":370,"title":371,"dynasty":120,"author":19,"museum":43,"description":361,"tags":372,"thumbUrl":376,"material":31,"size":32,"collection":33,"collections":377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},264660,"jin-di-san-lan-jiu-hua-wen-tao-yi-ming-264660","金地三蓝九花纹绦",[112,373,374,375,7],"饰品","刺绣","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c5546d49b07a3fcf4a8252853c2e4a.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":120,"author":19,"museum":43,"description":155,"tags":382,"thumbUrl":384,"material":31,"size":32,"collection":33,"collections":385,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},258346,"cheng-hua-kuan-dou-cai-shuang-feng-chuan-hua-wen-gai-wan-yi-ming-258346","成化款斗彩双凤穿花纹盖碗",[120,160,383,159,101,7,161],"斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e8e7700b73deac45e869710f6e3026.jpg",[],{"id":387,"slug":388,"title":154,"dynasty":120,"author":19,"museum":43,"description":155,"tags":389,"thumbUrl":390,"material":31,"size":32,"collection":33,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},258013,"kang-xi-kuan-wu-cai-long-feng-chuan-hua-wen-wan-yi-ming-258013",[170,160,157,24,79,158,159,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcefd244adb769c565b69679f69bbfcad.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":180,"author":19,"museum":43,"description":396,"tags":397,"thumbUrl":399,"material":31,"size":32,"collection":33,"collections":400,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},257215,"zheng-de-kuan-qing-hua-long-chuan-hua-wen-zha-dou-yi-ming-257215","正德款青花龙穿花纹渣斗","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。",[160,398,158,7],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2429147c43803074fccf81092e22e262.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":180,"author":19,"museum":43,"description":181,"tags":405,"thumbUrl":408,"material":31,"size":32,"collection":33,"collections":409,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},256506,"wu-cai-chan-zhi-hua-wen-mei-ping-yi-ming-256506","五彩缠枝花纹梅瓶",[406,160,157,24,407,7,161],"明代","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d029d28df4db8e557dd328869ede0ba.jpg",[],{"id":411,"slug":412,"title":413,"dynasty":180,"author":19,"museum":43,"description":414,"tags":415,"thumbUrl":420,"material":31,"size":32,"collection":33,"collections":421,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":264},251984,"qing-yu-tou-diao-pan-long-chuan-hua-wen-qian-jian-yi-ming-251984","青玉透雕蟠龙穿花纹嵌件","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。",[180,416,417,418,158,7,419],"玉石","青玉","透雕","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d3c3c309f9fa903307accd9987dcecd.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":120,"author":19,"museum":43,"description":426,"tags":427,"thumbUrl":430,"material":31,"size":32,"collection":33,"collections":431,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},250391,"he-tian-bai-yu-cuo-jin-qian-bao-shi-wan-yi-ming-250391","和阗白玉错金嵌宝石碗","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[120,416,428,429,185,161,7],"错金","嵌宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c60ae749e9af6ae3adde3a6e502c5ff.jpg",[],{"id":433,"slug":434,"title":435,"dynasty":120,"author":19,"museum":43,"description":230,"tags":436,"thumbUrl":437,"material":31,"size":32,"collection":33,"collections":438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},248760,"ti-hong-feng-chuan-hua-wen-fang-he-yi-ming-248760","剔红凤穿花纹方盒",[120,183,184,185,159,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827826e6912047ee4b1783f81318dec1.jpg",[],{"id":440,"slug":441,"title":442,"dynasty":120,"author":19,"museum":43,"description":230,"tags":443,"thumbUrl":445,"material":31,"size":32,"collection":33,"collections":446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},247656,"ti-hong-hua-wen-he-yi-ming-247656","剔红花纹盒",[170,183,184,185,444,7,161],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe676b8fd0168ba0021b4295137d7356c.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":120,"author":19,"museum":43,"description":230,"tags":451,"thumbUrl":454,"material":31,"size":32,"collection":33,"collections":455,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},247654,"ti-hong-lun-wen-he-yi-ming-247654","剔红轮纹盒",[183,184,185,161,452,453,7],"轮纹","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1072ce514416d28dd5b5fdbe12eeb7.jpg",[],{"id":457,"slug":458,"title":442,"dynasty":120,"author":19,"museum":43,"description":230,"tags":459,"thumbUrl":460,"material":31,"size":32,"collection":33,"collections":461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},247641,"ti-hong-hua-wen-he-yi-ming-247641",[170,183,184,185,444,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7460e074ce3a35382b6facf64ff700f0.jpg",[],{"id":463,"slug":464,"title":465,"dynasty":120,"author":19,"museum":43,"description":230,"tags":466,"thumbUrl":467,"material":31,"size":32,"collection":33,"collections":468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},247632,"ti-hong-hua-wen-tong-li-yuan-he-yi-ming-247632","剔红花纹铜里圆盒",[120,184,185,183,260,7,444,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445a4e994859aa182dab847992533c49.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":180,"author":19,"museum":43,"description":473,"tags":474,"thumbUrl":477,"material":31,"size":32,"collection":33,"collections":478,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},246283,"ti-hong-shuang-feng-chuan-hua-wen-yuan-he-yi-ming-246283","剔红双凤穿花纹圆盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[183,184,185,475,7,476],"双凤","圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf9bf5a6b80ecdc9cb3855c9d0523a6c.jpg",[],{"id":480,"slug":481,"title":482,"dynasty":180,"author":19,"museum":4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[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。",[180,183,485,185,158,7,161],"剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8af7294dfe1547c29189de583132813.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":492,"author":19,"museum":43,"description":181,"tags":493,"thumbUrl":498,"material":31,"size":32,"collection":33,"collections":499,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},231475,"hua-wen-shui-di-wan-yi-ming-231475","花纹水滴碗","宋",[494,160,495,496,7,497],"宋代","文房","水滴","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4483b2c34dfacd3644297a5e0c3464ee.jpg",[],{"id":501,"slug":502,"title":503,"dynasty":492,"author":19,"museum":43,"description":483,"tags":504,"thumbUrl":507,"material":31,"size":32,"collection":33,"collections":508,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},227921,"hua-wen-tuo-pan-yi-ming-227921","花纹托盘",[494,183,185,7,505,506],"日用器","花瓣边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e66f5e880eb7b2a1e9027154a9a590b.jpg",[],{"id":510,"slug":511,"title":512,"dynasty":492,"author":19,"museum":43,"description":181,"tags":513,"thumbUrl":514,"material":31,"size":32,"collection":33,"collections":515,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},227667,"hua-wen-wan-yi-ming-227667","花纹碗",[492,160,161,505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758fb53f6394024869f478ceceba445c.jpg",[],1777535710958]