[{"data":1,"prerenderedAt":570},["ShallowReactive",2],{"subject-ju-hua-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8269,"ju-hua-wen","菊花纹","菊花纹画高清赏析","精选中国历代菊花纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b4f1f0a049bdcb16b309fe40bfed4e.jpg",0,63,[14,33,42,59,72,84,96,105,113,123,139,154,164,177,190,197,203,211,220,231,242,248,254,260,266,272,282,291,302,313,321,329,338,345,352,359,369,380,392,404,414,423,431,438,444,450,456,463,469,476,482,489,495,501,507,514,520,526,532,538,545,554,560],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},264017,"hui-se-di-ju-hua-wen-zhi-jin-jin-yi-ming-264017","灰色地菊花纹织金锦","清","佚名","藏地不详","《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》。",[23,24,7,25],"布料","织锦","织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d338c9e1470454ff7265832b0a6e09c.jpg","未知","Xcm*Xcm","",[],5,"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":18,"author":19,"museum":20,"description":21,"tags":37,"thumbUrl":40,"material":27,"size":28,"collection":29,"collections":41,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},263953,"lan-se-di-pan-tao-shou-zi-ju-hua-wen-zhi-jin-jin-yi-ming-263953","蓝色地盘绦寿字菊花纹织金锦",[24,23,38,39,7],"织金工艺","寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05969b8f7b89410020a0cbecfbe45411.jpg",[],{"id":43,"slug":44,"title":45,"dynasty":18,"author":19,"museum":20,"description":46,"tags":47,"thumbUrl":56,"material":27,"size":28,"collection":29,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":32},268586,"dian-cui-xiang-liao-zhu-ju-hua-pan-chang-fu-shou-wen-tou-hua-yi-ming-268586","点翠镶料珠菊花盘肠福寿纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[48,49,50,51,52,7,53,54,55],"饰品","头饰","头花","点翠","镶嵌","盘肠纹","福寿纹","料珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F172562236721dc2761720e8e1d239081.jpg",[],4,{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":70,"material":27,"size":28,"collection":29,"collections":71,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":32},267152,"shi-qing-se-duan-kou-man-na-ju-hua-shuang-xi-xiao-yang-wen-yao-yuan-he-bao-yi-ming-267152","石青色缎口满纳菊花双喜小羊纹腰圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[48,65,23,66,67,7,68,69],"日用具","荷包","刺绣","双喜纹","小羊纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca6e6a7ec230de99a73855f730b9052.jpg",[],{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":20,"description":63,"tags":76,"thumbUrl":80,"material":27,"size":28,"collection":29,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":32},267136,"shi-qing-se-duan-kou-man-na-ju-hua-pan-chang-wen-tuo-yuan-h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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。",[18,145,146,147,132,148,7,149,150,151],"漆器","剔红","雕刻","佛手","果盘","底座","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db7ba71a7fd49ce6304192da3fe8da6.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":158,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":162,"material":27,"size":28,"collection":29,"collections":163,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":95},246310,"qian-long-kuan-ti-hong-shuang-mian-ju-hua-wen-yuan-he-yi-ming-246310","乾隆款剔红双面菊花纹圆盒","明","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.",[145,146,147,7,161,158],"圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08dc2dac5b6b7dd10213285462644e9.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":18,"author":19,"museum":20,"description":168,"tags":169,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":176,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":95},241987,"yin-du-jin-ju-hua-wen-jie-zi-yi-ming-241987","银镀金菊花纹结子","是一种戴套在手指上做纪念或装饰用的小环，用金属、玉石等制成。\n戒指在中国古代多称为“指环”，而“戒指”之名的出现，则是元代的事情。",[170,171,172,173,174,7,175,48],"清代","银镀金","珐琅工艺","嵌宝石","金属雕刻","珍珠",[],{"id":178,"slug":179,"title":180,"dynasty":18,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":188,"material":27,"size":28,"collection":29,"collections":189,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":32},268286,"pin-yue-se-duan-xiu-ju-hua-wen-ding-liao-zhu-yuan-bao-di-nv-jia-xie-yi-ming-268286","品月色缎绣菊花纹钉料珠元宝底女夹鞋","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[183,184,185,67,7,186,90,187,23],"女夹鞋","元宝底","缎面","钉料珠","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c16fde0d87b50723e457d44e58b9609.jpg",[],{"id":191,"slug":192,"title":75,"dynasty":18,"author":19,"museum":20,"description":63,"tags":193,"thumbUrl":195,"material":27,"size":28,"collection":29,"collections":196,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":32},267123,"shi-qing-se-duan-kou-man-na-ju-hua-pan-chang-wen-tuo-yuan-he-bao-yi-ming-267123",[48,65,66,67,7,53,23,194,79],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0854ba94168afee185c411941c6c53.jpg",[],{"id":198,"slug":199,"title":75,"dynasty":18,"author":19,"museum":20,"description":63,"tags":200,"thumbUrl":201,"material":27,"size":28,"collection":29,"collections":202,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":32},267121,"shi-qing-se-duan-kou-man-na-ju-hua-pan-chang-wen-tuo-yuan-he-bao-yi-ming-267121",[48,65,23,67,7,53,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32058e96c85d1b5aec9bda45f0321c85.jpg",[],{"id":204,"slug":205,"title":206,"dynasty":18,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":209,"material":27,"size":28,"collection":29,"collections":210,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":95},264016,"xiang-huang-se-di-xiao-ju-hua-wen-zhi-jin-mian-yi-ming-264016","香黄色地小菊花纹织金绵","香黄色底如秋日暖阳，晕开融融暖意。小菊花纹借织金技法铺陈往复，暗金花影于黄底之上若隐若现，规整排布里暗藏灵动生机。\n织纹细密紧实，历经岁月仍可见光泽流转，纹样匀净齐整，尽显织造工艺的精妙考究。将清雅菊花融入织物，兼顾装饰性与实用性，带着旧时器物的温婉意趣，静静诉说着往昔的审美风尚，尽显传统织锦的雅致格调。",[23,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2adba17318031074788a00cdbadc8f.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":18,"author":19,"museum":20,"description":215,"tags":216,"thumbUrl":218,"material":27,"size":28,"collection":29,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},269694,"pao-zhi-ju-hua-wen-yuan-he-yi-ming-269694","匏制菊花纹圆盒","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",[135,147,7,217,65],"匏制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4af4e3cfe3bf37152dbf4cf22f629f.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":18,"author":19,"museum":20,"description":224,"tags":225,"thumbUrl":229,"material":27,"size":28,"collection":29,"collections":230,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},269479,"ying-mu-qian-bai-yu-diao-ju-hua-wen-san-xiang-ru-yi-yi-ming-269479","硬木嵌白玉雕菊花纹三镶如意","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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