[{"data":1,"prerenderedAt":186},["ShallowReactive",2],{"subject-jiang-se-11029":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},11029,"jiang-se-11029","绛色","绛色画高清赏析","精选中国历代绛色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff268bf919f0bd169d9a0606c513d0b4c.jpg",0,14,[14,34,52,63,75,87,98,107,117,126,138,152,163,176],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},264035,"jiang-se-xiao-yang-hua-wen-zhi-jin-duan-yi-ming-264035","绛色小洋花纹织金缎","清","佚名","藏地不详","这款织选温柔绛色为底，如揉碎暮霞晕染出的柔紫柔光，自带丝缎细腻莹润的质感。浅金纹样舒展于其上，枝蔓柔婉舒展，细碎小花星罗棋布，似将春日野趣轻缀面料之中。金彩与绛色相映，不见堆砌张扬，尽显内敛雅致。\n\n经纬之间藏着匠人之巧，织金随光线流转漾出细碎光泽，静穆里带着灵动生机，既有中式织绣的规整精致，又暗含西洋纹样的柔美舒展，是东西美学交融的精巧之作，触手温凉顺滑，目之所及皆是温婉华贵的东方意韵。",[7,23,24,25,26],"布料","织金","洋花纹","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4723095b8107feb16b0377d25afdaa.jpg","未知","Xcm*Xcm","",[],3,"FFFFFF",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":48,"material":28,"size":29,"collection":30,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},268176,"jiang-se-tuan-shou-hui-wen-an-hua-duan-xiang-diao-pi-bian-dui-jin-jia-ma-gua-yi-ming-268176","绛色团寿回纹暗花缎镶貂皮边对襟夹马褂","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 。",[40,41,7,42,43,44,45,46,47],"衣帽","对襟马褂","暗花","貂皮","团寿纹","回纹","镶边","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8cc679c11a876921af6844b5cb8d20.jpg",[],2,"37474F",{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":60,"material":28,"size":29,"collection":30,"collections":61,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":62},264115,"jiang-se-di-xiao-hua-wen-jin-yi-ming-264115","绛色地小花纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[23,58,7,59],"织锦","小花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad8a4109aa761f9fe0c69469f4a78586.jpg",[],"795548",{"id":64,"slug":65,"title":66,"dynasty":18,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":74,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},263845,"jiang-se-gou-lian-chi-hu-wen-an-hua-duan-yi-ming-263845","绛色勾莲螭虎纹暗花缎","绛色沉穆古雅，缎面光泽柔润内敛。其上暗花层次分明，上部团窠饱满圆融，勾莲缠枝萦回簇拥螭虎，瑞兽隐于花蔓，纹样在光影里若隐若现，暗合中式含蓄审美。下半部小团纹对称排布，疏朗匀净，承接上半段的繁复，节奏张弛有度。\n此作以暗花织就，工巧细腻，将螭虎镇祟、莲枝喻洁的吉祥意涵融于丝缕，全凭纱线肌理晕出纹样意蕴，尽显织绣工艺的内敛华贵，是传统丝织美学的绝佳体现。",[23,69,7,70,71,72,73],"暗花缎","勾莲纹","螭虎纹","兽纹","花卉纹",[],{"id":76,"slug":77,"title":78,"dynasty":18,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":84,"material":28,"size":29,"collection":30,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":62},267760,"jiang-se-yin-xian-ya-hua-sha-yi-ming-267760","绛色银线轧花纱","沉静雅致的绛色为底，银线轧就的缠枝宝相花纹样隐于纱身。纹样饱满繁复，以对称排布铺陈开雍容气度，缠枝舒展回环，将花叶柔婉与宝相花的端庄融于一处。\n\n纱地自带肌理，轧花工艺令纹样如浅浮雕般浮于面料之上，光线流转时，银线暗纹晕开细碎光泽，在柔透纱质衬映下，将华贵藏于含蓄雅致之中。织作精妙尽显旧时造物匠心，将东方古典的对称美学与柔婉韵致，凝于这一方纱料之上，低调间尽是雅致矜贵的旧时审美意趣。",[23,81,7,82,83],"轧花工艺","银线","花卉纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b66dd9b5aa31a830f78a5ea44f7467.jpg",[],1,{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":95,"material":28,"size":29,"collection":30,"collections":96,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":97},264432,"jiang-se-chou-xiu-ben-se-pu-tao-wen-pao-liao-yi-ming-264432","绛色绸绣本色葡萄纹袍料","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[40,23,93,94,7],"刺绣","葡萄纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5e1e8341ac212934f92a2877c75818.jpg",[],"BDBDBD",{"id":99,"slug":100,"title":101,"dynasty":18,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":105,"material":28,"size":29,"collection":30,"collections":106,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},267813,"jiang-se-shi-zi-tuan-hua-wen-pu-lu-yi-ming-267813","绛色十字团花纹氆氇","绛红底色沉郁浓烈，十字团花错落铺陈。蓝黑勾勒花型轮廓，浅黄、米白填色点缀，撞色鲜活却不显杂乱，间以细蓝排线规整区块，让纹样兼具秩序感与生动意趣。\n手工织造的经纬里藏着细腻匠心，历经时光晕染，色彩褪去鲜亮却更显厚重温润。两端流苏带着岁月摩挲出的柔和毛边，沉淀着民族生活的烟火气息，将日常织物化作审美与实用相融的载体，静静诉说着往昔的织造美学。",[23,104,7,40],"十字团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef35e577c9aba1d590070f28e1c9ace.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":18,"author":19,"museum":20,"description":111,"tags":112,"thumbUrl":115,"material":28,"size":29,"collection":30,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},267811,"jiang-se-shi-zi-wen-pu-lu-yi-ming-267811","绛色十字纹氆氇","绛红底色沉实厚重，带着羊毛织物特有的温润肌理。错落排布的十字纹形制多变，米白衬墨色、赭黄配深色，明快色彩打破底色厚重，更添灵动生机。间杂的圆形留白纹饰，似星芒落于红毡之上，质朴又带着拙趣。手工织造的细微毛边藏着旧时光的温度，纹样排布松紧相宜，既有规整秩序，又带着手工创作的随性烂漫，将日常织物的实用与审美融为一体，尽显古朴厚重的民族审美意趣，带着岁月沉淀下来的温柔质感。",[113,23,114,7,40],"毛织品","十字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22be1922e9cb92b07ff8a094b74c8b40.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":56,"tags":121,"thumbUrl":124,"material":28,"size":29,"collection":30,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},267746,"jiang-se-di-tian-hua-zhi-jin-jin-yi-ming-267746","绛色地天华织金锦",[58,23,24,122,7,123],"几何纹","天华纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc64ba444918e7b8cf6dcc42b1c05e66b.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":18,"author":19,"museum":20,"description":130,"tags":131,"thumbUrl":136,"material":28,"size":29,"collection":30,"collections":137,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},266449,"jiang-se-ke-si-jin-tuan-xi-zi-wen-shang-yang-pi-xia-hui-shu-pi-bian-pao-yi-ming-266449","绛色缂丝金团喜字纹上羊皮下灰鼠皮便袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[40,7,23,132,133,134,135],"缂丝","团喜字纹","便袍","皮草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d6eb2c517e8dd8ad6dba60b5597cac0.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":150,"material":28,"size":29,"collection":30,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},264271,"jiang-se-san-qiu-die-tuan-shou-zi-wen-zhuang-hua-duan-pao-liao-yi-ming-264271","绛色三秋蝶团寿字纹妆花缎袍料","绛红底料沉敛华贵，冰梅地团寿纹对称铺陈，暗喻福寿绵长。妆花织就的三秋蝶与折枝群芳最为灵动，粉紫橙蓝诸色晕染出牡丹、秋菊、海棠的娇妍，蛱蝶振翼流连其间，将清秋时节的鲜活意趣凝于绸缎之上。\n\n妆花缎工艺精妙，彩线起落间层次分明，配色明丽却与底色和谐相融，将雅致秋景与吉祥祈愿交织，是织绣工艺里兼具审美意趣与美好寓意的上乘之作。",[40,23,144,145,44,146,147,148,7,149],"袍料","妆花缎","蝴蝶","花卉","设色","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6731b9a245cfca4a8aea177b2f91fb8e.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":161,"material":28,"size":29,"collection":30,"collections":162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},264256,"jiang-se-san-duo-xi-xiang-feng-wen-zhi-jin-duan-pao-liao-yi-ming-264256","绛色三多喜相逢纹织金缎袍料","绛色浓丽沉穆，织金纹样于其上熠熠生辉。团窠之内禽鸟相向和鸣，正是喜相逢，间杂多子多福多寿的三多瑞果，缠枝花卉蜿蜒环绕。构图饱满匀净，动静相宜，织金走线细密光润，将精工尽显无遗。\n整幅袍料以吉庆纹样承载美满期许，把装饰美学与吉祥寓意相融。华贵光泽与柔丽底色相映，尽显雍容气度，藏着旧时对圆满福寿的诚挚祈愿，是传统织绣匠心与东方浪漫意趣的绝佳体现。",[23,40,24,158,159,160,7],"三多纹","喜相逢纹","缎料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dcecfc86144c56cce316d1a553773.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":174,"material":28,"size":29,"collection":30,"collections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