[{"data":1,"prerenderedAt":105},["ShallowReactive",2],{"subject-jiao-tai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10204,"jiao-tai","绞胎","绞胎画高清赏析","精选中国历代绞胎题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758b8d372650748d898d7830d14da39b.jpg",0,9,[14,35,46,55,64,72,79,87,97],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},260141,"huang-you-jiao-tai-bei-die-yi-ming-260141","黄釉绞胎杯碟","唐","佚名","藏地不详","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。",[23,7,24,25,26,27],"陶瓷","黄釉","饮酒器","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d240309351545bfa1389164c4ed845.jpg","未知","Xcm*Xcm","",[],1,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":43,"material":29,"size":30,"collection":31,"collections":44,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},262255,"lv-you-jiao-tai-hu-yi-ming-262255","绿釉绞胎壶","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。",[23,27,26,7,42],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa531a5e49423d213ea0f73ee44194e.jpg",[],"37474F",{"id":47,"slug":48,"title":49,"dynasty":18,"author":19,"museum":20,"description":50,"tags":51,"thumbUrl":53,"material":29,"size":30,"collection":31,"collections":54,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},262225,"jiao-tai-xiao-fang-zhen-yi-ming-262225","绞胎小方枕","它以褐黄瓷土揉捻相融，纹理似暮霭翻涌过山峦，又像墨痕淌入黄绢，蜿蜒舒展浑然天成，不见刻意斧凿的匠气，尽是随性舒展的意趣。\n\n质朴温润的胎体搭配利落方正的枕形，将实用与审美揉为一体。每一道纹路都是独一份的流淌印记，把瓷土糅合时的流动瞬间凝在方寸之间，带着手作温度，藏着盛唐民间造物的浪漫，把寻常的休憩日常也晕染出诗意。",[23,7,26,52],"枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51637d77fb6a19260b6cd2f3d77e485d.jpg",[],{"id":56,"slug":57,"title":58,"dynasty":59,"author":19,"museum":20,"description":60,"tags":61,"thumbUrl":62,"material":29,"size":30,"collection":31,"collections":63,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262193,"jiao-tai-gao-zu-wan-yi-ming-262193","绞胎高足碗","元","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。",[23,7,25,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef57378bb05d0ef38235e47c0e85b2ea.jpg",[],{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":70,"material":29,"size":30,"collection":31,"collections":71,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},261894,"jiao-tai-zhen-yi-ming-261894","绞胎枕","以绞胎之法揉合异色胎土，褐黄纹理如流云漫卷，似惊涛层叠，仿若天然生成的山野纹脉。枕体形制敦厚朴拙，边角柔化过渡，兼顾卧具实用功能与视觉美感。\n\n错落缠绕的纹路无拘无束，带着舒展肆意的意韵，将随性自然之美藏于日常器物里。没有刻意勾勒的纹样，全凭胎土绞糅的肌理展现古朴雅致的东方意趣，把工艺巧思隐于浑然天成的视觉效果中，尽显古拙灵动的器物美学。",[23,7,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9987a7420fc80b2c6d438e4a4fec44ea.jpg",[],{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":20,"description":21,"tags":76,"thumbUrl":77,"material":29,"size":30,"collection":31,"collections":78,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},261798,"huang-you-jiao-tai-zhen-yi-ming-261798","黄釉绞胎枕",[23,7,24,26,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf642ef894fd77869f1626d134d6410.jpg",[],{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":85,"material":29,"size":30,"collection":31,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},261492,"jiao-tai-bei-yi-ming-261492","绞胎杯","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。",[23,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b02d5f2e1df7a8b451575141f3351c7.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":39,"author":19,"museum":20,"description":40,"tags":91,"thumbUrl":93,"material":29,"size":30,"collection":94,"collections":95,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},260127,"xiu-wu-yao-jiao-tai-guan-yi-ming-260127","修武窑绞胎罐",[23,7,92,26,27],"罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc709bd0489479e54736d1348aa20859.jpg","瓷器精选",[94],"BDBDBD",{"id":98,"slug":99,"title":100,"dynasty":59,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":104,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},257052,"jiao-tai-pan-yi-ming-257052","绞胎盘","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。",[103,23,7,27],"元代",[],1777535738006]