[{"data":1,"prerenderedAt":44},["ShallowReactive",2],{"subject-hui-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5800,"hui-se","灰色","灰色画高清赏析","精选中国历代灰色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7da6dac9051e39bb320778e1ed8053.jpg",0,2,[14,32],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":26,"size":27,"collection":28,"collections":29,"showCount":30,"zanCount":11,"manualWeight":11,"mainColor":31},227656,"hui-se-cu-tao-ping-yi-ming-227656","灰色粗陶瓶","宋","佚名","藏地不详","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[18,23,24,25,7],"陶瓷","器","粗陶","未知","Xcm*Xcm","",[],1,"BDBDBD",{"id":33,"slug":34,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":41,"material":26,"size":27,"collection":28,"collections":42,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},267740,"hui-se-cheng-xiang-jian-chou-yi-ming-267740","灰色程乡茧绸","清","沉敛的灰褐底色晕开温润的哑光，经纬纱线细密交织，织就匀净平实的肌理，带着手工织造独有的拙朴温度。没有繁复纹饰缀饰，只以本真的织物质感传递内敛沉静的意趣。边角微卷的毛边带着时光摩挲的痕迹，仿佛还留存着旧日工坊里的手作余温，将日常织物的平实雅致娓娓道来，尽显传统织造工艺里沉淀下的质朴美学。",[39,7,40],"布料","茧绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428704e55737da34e20ba4c2994bea8c.jpg",[],"795548",1777535801950]