[{"data":1,"prerenderedAt":212},["ShallowReactive",2],{"subject-kui-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},612,"kui-hua","葵花","葵花画高清赏析","精选中国历代葵花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F798ecb0aa2deee2604af7e915635c30f.jpg",0,16,[14,40,61,77,94,110,121,132,140,149,157,167,174,183,195,202],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},233836,"wo-you-tu-ce-kui-hua-shen-zhou-233836","卧游图册－葵花","明","沈周","北京故宫博物院","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[23,24,25,26,27,28,29,7,30,31,32],"国画","名画","书画","册","设色","水墨","花鸟","枝叶","花卉","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf48238765c284f9c5dd2053777823.jpg","纸本，设色","纵27.8厘米，横37.3厘米","",[],30,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":18,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":55,"material":56,"size":57,"collection":36,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},289794,"liu-kui-shou-ji-tu-lv-ji-289794","榴葵绶鸡图","吕纪","藏地不详","深秋时分，石榴树上硕果累累，引得各色禽鸟双双对对地聚于其前。绶带鸟停落在树枝上欢快地鸣叫。树下，丛生的秋葵与菊花五彩杂陈，雄鸡昂首前视，雌鸡匍匐于花间。\n整幅画表现出“院体”画工整富丽的特点，又稍加写意画的随意洒脱。鸡采用钩写结合的画法，先以极淡的墨线勾勒外部轮廓，再用各种淡色平涂晕染，雄鸡的尾羽以含水饱满的墨笔加淡汁绿写出，极具质感，爪子则用蛤白勾点，细致入微，甚为写实。画面构图繁复而不拥塞，在着色上尤为讲究，湖石、花叶上的淡绿与雄鸡身上的暗赭红色隐约可见，互为衬托，使得全画的色彩不仅丰富而且和谐统一。整体风格兼工带写，设色艳丽而不媚俗，既保持了华贵的皇家风范，亦兼具了纵逸的笔墨意趣。\n绶带鸟与公鸡相结合的题材，又赋予了此画吉祥富贵的涵义，是对位授三公、加官进爵的美好祝福。",[23,24,48,27,29,49,50,51,52,53,7,54],"工笔","公鸡","飞鸟","竹","菊","榴花","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401404af7f723495f6895547298d6cc.jpg","未知","Xcm*Xcm",[],28,"795548",{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":20,"description":67,"tags":68,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":60},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","元","赵孟頫","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[24,23,25,69,29,7,27,32],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纸本设色","纵31厘米,横23.8厘米","花鸟画精选",[73,75],"设色画精选",23,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":45,"description":83,"tags":84,"thumbUrl":91,"material":56,"size":57,"collection":36,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":60},241986,"yin-du-jin-qian-shi-kui-hua-wen-jie-zi-yi-ming-241986","银镀金嵌石葵花纹结子","清","佚名","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。",[85,86,87,88,7,89,90],"清代","饰品","银镀金","嵌石","玉石","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb750b509a8619d302ded22fa2fd7eff5.jpg",[],5,{"id":95,"slug":96,"title":97,"dynasty":81,"author":82,"museum":45,"description":98,"tags":99,"thumbUrl":107,"material":56,"size":57,"collection":36,"collections":108,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":109},274327,"tong-du-jin-kui-hua-shi-biao-yi-ming-274327","铜镀金葵花式表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[100,101,102,103,7,104,105,106],"器","铜制","金器","雕刻","蛇","钟表","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe21cfe783045f651a25d982d7cfefda4.jpg",[],"37474F",{"id":111,"slug":112,"title":113,"dynasty":81,"author":82,"museum":45,"description":114,"tags":115,"thumbUrl":119,"material":56,"size":57,"collection":36,"collections":120,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},267862,"pin-yue-se-duan-di-zhi-jin-shui-mo-qian-cai-kui-hua-wen-tao-yi-ming-267862","品月色缎地织金水墨浅彩葵花纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[116,86,117,28,27,7,118],"布料","织金","绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ced707956d94b5d1fd739b627716df.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":81,"author":82,"museum":45,"description":125,"tags":126,"thumbUrl":130,"material":56,"size":57,"collection":36,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},251145,"bi-yu-qian-fu-diao-kui-hua-shi-pan-yi-ming-251145","碧玉浅浮雕葵花式盘","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器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[85,89,127,128,7,129],"碧玉","浅浮雕","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e224ab7220b85eb0f5ee69bc029408d.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":81,"author":82,"museum":45,"description":125,"tags":136,"thumbUrl":138,"material":56,"size":57,"collection":36,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},250968,"qing-yu-lou-diao-ju-hua-bei-kui-hua-fang-rong-jing-yi-ming-250968","青玉镂雕菊花背葵花方容镜",[89,137,52,7,100],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40d0e9f2639d2dfc4d69f1dfac651a6.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":82,"museum":45,"description":125,"tags":144,"thumbUrl":147,"material":56,"size":57,"collection":36,"collections":148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},250915,"qing-yu-lou-diao-pan-zhi-kui-hua-bei-yi-ming-250915","青玉镂雕蟠枝葵花杯",[89,137,145,7,100,146],"蟠枝","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a512f7c8286a43c44caeae3d3d0c1f.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":18,"author":82,"museum":45,"description":125,"tags":153,"thumbUrl":155,"material":56,"size":57,"collection":36,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},250888,"qing-yu-kui-hua-shi-he-yi-ming-250888","青玉葵花式盒",[154,89,103,7,100],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5d2bfa93329ea06d2453512d9ca8ef.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":81,"author":82,"museum":45,"description":161,"tags":162,"thumbUrl":165,"material":56,"size":57,"collection":36,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},250388,"hen-dou-si-tan-bai-yu-kui-hua-shi-zha-dou-yi-ming-250388","痕都斯坦白玉葵花式渣斗","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器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[89,103,163,7,164],"痕都斯坦风格","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe444fc07e8dc8a0942182aa84e1f6482.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":81,"author":82,"museum":45,"description":125,"tags":171,"thumbUrl":172,"material":56,"size":57,"collection":36,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},250366,"hen-dou-si-tan-bi-yu-kui-hua-shi-pan-yi-ming-250366","痕都斯坦碧玉葵花式盘",[89,103,163,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7eea5213e42401ecc46da658831958.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":81,"author":82,"museum":45,"description":125,"tags":178,"thumbUrl":181,"material":56,"size":57,"collection":36,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},250353,"qing-yu-kui-hua-shi-pan-yi-ming-250353","青玉葵花式盘",[89,179,103,7,100,85,180],"青玉","葵花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5986fd97f4e1809d47a2ddd71d2ab954.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":81,"author":82,"museum":45,"description":187,"tags":188,"thumbUrl":192,"material":56,"size":57,"collection":36,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},247047,"qian-long-kuan-ti-hong-kui-hua-wen-bian-yuan-he-yi-ming-247047","乾隆款剔红葵花纹扁圆盒","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",[81,189,103,190,7,191],"漆器","剔红","扁圆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cbeb47f980197bd468addaed0a9065.jpg",[],"F48FB1",{"id":196,"slug":197,"title":198,"dynasty":81,"author":82,"museum":45,"description":161,"tags":199,"thumbUrl":200,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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。",[154,208,209,7,100],"陶瓷","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a40fe84e286c20e1fce3cd8ec4cf07.jpg",[],1777535724154]