[{"data":1,"prerenderedAt":68},["ShallowReactive",2],{"subject-kang-xi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9226,"kang-xi","康熙","康熙画高清赏析","精选中国历代康熙题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61916c7beebefcbd6eedeae7fb7df182.jpg",0,3,[14,36,54],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},258954,"kang-xi-kuan-dou-cai-hua-die-wen-hai-tang-shi-hua-pen-yi-ming-258954","康熙款斗彩花蝶纹海棠式花盆","清","佚名","藏地不详","此器取海棠花式造型，轮廓柔婉灵动，台座随形延展，线条雅致精巧。口沿饰以细密边纹，器身以留白烘托数幅花蝶小景，釉下青花勾绘物象筋骨，釉上施彩晕染鲜活形态。粉花翠叶间蛱蝶翩跹，湖石草叶相映成趣，色彩妍丽调和，青花幽蓝与彩料鲜妍交织出层次之美。工笔细致写实，构图疏密相宜，将庭院春景的灵动雅致凝于瓷上，尽显制瓷工艺之精妙，藏着中式花鸟小品的悠然意趣。",[23,7,24,25,26,27,28],"清代","斗彩","陶瓷","花盆","花蝶纹","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ede01802788b41592edce3a8c6227c2.jpg","未知","Xcm*Xcm","",[],2,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":51,"material":30,"size":31,"collection":32,"collections":52,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":53},258917,"kang-xi-kuan-qing-hua-ba-xian-tu-hai-tang-shi-hua-pen-yi-ming-258917","康熙款青花八仙图海棠式花盆","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[25,42,23,7,43,44,45,28,26,46,47,48,49,50],"青花","八仙","人物","云纹","图纹","蓝白","器物","海浪纹","人物纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16a074d9e7c87353d071a648d87f3fb.jpg",[],"F48FB1",{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":66,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},248984,"kang-xi-kuan-hua-fa-lang-gou-lian-wen-ling-hua-shi-pan-yi-ming-248984","康熙款画珐琅勾莲纹菱花式盘","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。",[23,7,60,61,62,63,64,65],"画珐琅","设色","勾莲纹","菱花式","珐琅器","器",[],"795548",1777535775430]