[{"data":1,"prerenderedAt":185},["ShallowReactive",2],{"subject-jue":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6082,"jue","爵","爵画高清赏析","精选中国历代爵题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a806a0940a75373dd5bdd5c25ddc56.jpg",0,18,[14,37,52,66,75,81,87,93,102,108,114,120,127,133,139,145,153,163],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},229061,"du-jin-fan-lian-jue-tuo-zu-yi-ming-229061","镀金番莲爵托组","清","佚名","藏地不详","此器仿商周铜爵形制，通体鎏金熠熠生辉。爵身满錾缠枝番莲，嵌饰宝石，金辉与宝光相映成趣，勾勒出富丽典雅的纹样。立柱与三足遍饰细密花饰，托盘同样铺陈繁复莲纹，盘底瑞兽承托，尽显沉稳华贵。它将古礼器的庄重意蕴，与清代重工鎏金累丝工艺相融，仿古而不泥古，以极致繁缛的工巧诠释盛世审美，尽显雍容富丽的华贵气质。",[23,24,25,26,7,27,28,29,30],"清代","镀金","雕刻","金器","托","番莲","饮酒器","器","未知","Xcm*Xcm","",[],7,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":47,"material":31,"size":32,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},261585,"long-quan-yao-qing-you-tu-hua-jue-yi-ming-261585","龙泉窑青釉凸花爵","明","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[44,29,45,46,7],"陶瓷","青釉","凸花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3835bfedf8ea6b34eb5b11633e7704e9.jpg","瓷器精选",[48],1,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":56,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":63,"material":31,"size":32,"collection":33,"collections":64,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":65},243698,"shou-mian-wen-jue-yi-ming-243698","兽面纹爵","商","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。",[59,7,60,61,62],"青铜器","酒器","礼器","兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3e086a0a45d2fbacee4fbfe5e368a.jpg",[],"37474F",{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":73,"material":31,"size":32,"collection":33,"collections":74,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275242,"qian-long-kuan-ji-lan-you-jue-yi-ming-275242","乾隆款霁蓝釉爵","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。",[44,29,7,72],"霁蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd25407c5894ee41760f8c92f37ab16f.jpg",[],{"id":76,"slug":77,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":78,"thumbUrl":79,"material":31,"size":32,"collection":33,"collections":80,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275241,"qian-long-kuan-ji-lan-you-jue-yi-ming-275241",[44,29,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a93ffe53b01305b38a5567b8b6d78a.jpg",[],{"id":82,"slug":83,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":84,"thumbUrl":85,"material":31,"size":32,"collection":33,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275240,"qian-long-kuan-ji-lan-you-jue-yi-ming-275240",[44,29,61,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d454747cfb8b1bdd37375375ec926f.jpg",[],{"id":88,"slug":89,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":90,"thumbUrl":91,"material":31,"size":32,"collection":33,"collections":92,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275239,"qian-long-kuan-ji-lan-you-jue-yi-ming-275239",[44,29,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d8300b710507765e8a9401fe1547f0.jpg",[],{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":20,"description":97,"tags":98,"thumbUrl":100,"material":31,"size":32,"collection":33,"collections":101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275233,"qian-long-kuan-huang-you-tu-jin-jue-yi-ming-275233","乾隆款黄釉涂金爵","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。",[44,29,61,99,7],"涂金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76152b34a057378346b34e1af0dd807b.jpg",[],{"id":103,"slug":104,"title":96,"dynasty":18,"author":19,"museum":20,"description":97,"tags":105,"thumbUrl":106,"material":31,"size":32,"collection":33,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275226,"qian-long-kuan-huang-you-tu-jin-jue-yi-ming-275226",[44,26,29,61,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96483548e895c0e47c754bc7d318c566.jpg",[],{"id":109,"slug":110,"title":96,"dynasty":18,"author":19,"museum":20,"description":97,"tags":111,"thumbUrl":112,"material":31,"size":32,"collection":33,"collections":113,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},275223,"qian-long-kuan-huang-you-tu-jin-jue-yi-ming-275223",[44,26,29,61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