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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。",[43,44,45,46,47,7,48,49,50],"青铜器","礼器","铸造","雕刻","兽面纹","兽首","商代风格","圈足",[],19,{"id":54,"slug":55,"title":56,"dynasty":40,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":64,"material":32,"size":32,"collection":65,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},242751,"gui-mu-ding-yi-ming-242751","癸母鼎","立耳敞腹，柱足沉稳，古拙厚重尽显礼器肃穆威仪。腹部上栏以回首夔龙纹环绕，间饰铭文，线条蜷曲灵动，狞厉中带着精巧意趣；下栏衬以三角垂叶纹，层叠排布，如青铜礼衣垂缀的威仪饰件，晕开上古祀典的庄重氛围感。青绿铜锈漫覆器身，是岁月晕染的斑驳痕迹，将三千年前的祀典余温封存在金属肌理中。礼器的庄严与古铜的锈色交融，静静诉说着上古青铜工艺的卓越，凝住礼制的厚重底蕴。",[43,44,59,60,61,7,62,63],"饪食器","铜制","鼎","三角垂叶纹","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb24016a4bc35e5b0fbf4c924d0475b.jpg","青铜器精选",[65],14,"37474F",{"id":70,"slug":71,"title":72,"dynasty":73,"author":19,"museum":20,"description":74,"tags":75,"thumbUrl":84,"material":32,"size":32,"collection":85,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":88},246891,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246891","剔红夔龙蕉叶纹带座方胜式四层花插","清","此方胜式花插形制别致，两器相融，自带雅致意趣。剔红工艺精雕细琢，四层纹饰次第铺陈，夔龙蜿蜒灵动，蕉叶舒展柔婉，刀工圆润细腻，线条流转自如。朱漆历经时光浸润，晕出温润古拙的质感，纹饰间红线勾勒，让层次愈发分明，朴拙中见精巧心思。器型修长挺拔，轮廓错落雅致，将方胜的吉祥寓意与雕漆工艺相融，既是案头插花的清供雅器，亦凝缩着传统工艺的匠心造诣，尽显沉静内敛的古典美学韵味。",[76,77,78,46,7,79,80,81,82,83],"清代","漆器","剔红","蕉叶纹","方胜式","带座","花插","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0370b746ac8343d5859918b9756eda44.jpg","瓷器精选",[85],10,"BDBDBD",{"id":90,"slug":91,"title":92,"dynasty":73,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":102,"material":30,"size":31,"collection":32,"collections":103,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":88},269775,"zi-tan-qian-tan-xiang-ran-ya-juan-cao-kui-long-wen-xiang-yu-diao-gua-guo-wen-fang-he-yi-ming-269775","紫檀嵌檀香染牙卷草夔龙纹镶玉雕瓜果纹方盒","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",[83,95,96,97,46,98,99,100,7,101],"木质","玉石","象牙","镶嵌","日用具","瓜果纹","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F149a3c1225ced7e43d99fe8572f3b602.jpg",[],8,1,{"id":107,"slug":108,"title":109,"dynasty":73,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":121,"material":30,"size":31,"collection":32,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":35},270168,"na-sha-hua-die-tu-mian-gu-ran-diao-kui-long-wen-bing-tuan-shan-yi-ming-270168","纳纱花蝶图面骨染雕夔龙纹柄团扇","以灰蓝素纱为地，纳纱绣就花蝶景致。折枝花卉或绽或含，枝叶萦回舒展，自带柔婉生机，粉蝶翩跹于花丛间，晕开暮春清寂柔美的氛围。配色清雅柔和，与纱底质感相融，将娇而不艳的雅致藏在细密针脚里。\n\n扇骨走线规整精致，柄首錾刻如意花饰，柄身染雕夔龙纹饰，将刺绣的柔美与雕刻的古雅融为一体，兼具陈设雅趣与实用价值，尽显旧时器物的温婉隽秀，处处浸透着匠人的精巧用心，把东方雅致意趣凝缩在一方扇面之中。",[112,113,114,115,116,117,118,119,7,120],"扇面","团扇","纳纱","刺绣","染雕","花鸟","蝴蝶","花卉","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead5f22b2d0725c21156b50ce3a8e6be.jpg",[],4,{"id":125,"slug":126,"title":127,"dynasty":40,"author":19,"museum":20,"description":41,"tags":128,"thumbUrl":132,"material":30,"size":31,"collection":32,"collections":133,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":68},245184,"wang-sheng-nv-0551-fang-yi-yi-ming-245184","王生女『0551』方彝",[43,129,44,45,47,7,130,131],"商代","方形器","纹饰繁复","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dd6423f6cfc72b603104711d280293.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":73,"author":19,"museum":20,"description":93,"tags":138,"thumbUrl":141,"material":30,"size":31,"collection":32,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":35},269187,"wen-zhu-kui-long-wen-san-ceng-chang-fang-xiao-ti-he-yi-ming-269187","文竹夔龙纹三层长方小提盒",[139,46,7,140,99,83],"文竹器","提盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6a3d95050234eb7bf55e0be5077c0b.jpg",[],3,{"id":145,"slug":146,"title":147,"dynasty":73,"au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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。",[96,76,46,7,150,151,83,27],"转心式","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d03234505206f2b34767413e96581f1.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":40,"author":19,"museum":20,"description":41,"tags":158,"thumbUrl":170,"material":30,"size":31,"collection":32,"collections":171,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":35},242867,"wei-you-yi-ming-242867","囗卣",[43,44,159,160,161,47,7,162,163,164,165,166,167,168,169],"酒器","浮雕纹饰","线刻纹饰","带盖","提梁","双耳","铸造工艺","古铜锈迹","器物造型","青铜纹饰","商周风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2f84f2d85964fc1e534c638563dcd63.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":73,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":180,"material":30,"size":31,"collection":32,"collections":181,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":35},259894,"cheng-hua-kuan-dou-cai-kui-long-wen-wan-yi-ming-259894","成化款斗彩夔龙纹碗","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。",[178,179,27,7,99],"陶瓷","斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289bd856ee9d7df204eef9369e57f440.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":186,"author":19,"museum":20,"description":187,"tags":188,"thumbUrl":193,"material":30,"size":31,"collection":32,"collections":194,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":88},250526,"bai-yu-kui-long-pu-wen-bi-yi-ming-250526","白玉夔龙蒲纹璧","周","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。",[96,46,27,44,7,189,190,191,192],"蒲纹","周式","玉器纹饰","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8374b50ee1cf7dcca279acb4d6a6b982.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":73,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":204,"material":30,"size":31,"collection":32,"collections":205,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":68},249562,"hua-fa-lang-lou-kong-kui-long-wen-xiang-tong-yi-ming-249562","画珐琅镂空夔龙纹香筒","以沉邃宝蓝为地，镂空透雕缠枝夔龙，龙身盘桓往复、线条刚劲灵动，釉色匀净莹润，将上古神兽的狞厉威仪融于细巧形制间。盖顶立瑞兽钮，穹窿开盖可出烟，香气自镂隙缓缓漫溢，兼具陈设与实用之妙。铜胎与珐琅工艺交融，做工规整考究，静穆底色衬出龙纹的婉转张力，把上古图腾的厚重底蕴，化为案头清供的雅致细节，尽显清代金属细作与珐琅技艺的不俗水准。",[201,202,46,203,83,27,7],"画珐琅","镂空","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e66644a2e7caf2599ab0c61f46c63a9.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":73,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":213,"material":30,"size":31,"collection":32,"collections":214,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":68},249430,"qia-si-fa-lang-kui-long-jiao-ye-wen-shuang-er-fang-ping-yi-ming-249430","掐丝珐琅夔龙蕉叶纹双耳方瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[24,203,83,27,7,79,164,212],"方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb388c235761496c940be9d201588a0ca.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":73,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":225,"material":30,"size":31,"collection":32,"collections":226,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":88},248663,"hei-qi-qian-luo-dian-shou-zi-kui-long-wen-guan-jia-yi-ming-248663","黑漆嵌螺钿寿字夔龙纹冠架","此冠架韵致古雅，形制考究。鎏金炉身透雕缠枝夔龙，婉转灵动的纹饰虚实相生，烟气可自镂孔悠然漫出，陈设熏香两相宜。漆黑亮泽的灯座之上，朱红寿字醒目点缀，沉敛底色衬得吉纹愈发热烈鲜活。底座螺钿嵌饰晕彩莹润，与鎏金炉身冷暖相映，华贵雅致尽显。\n它融透雕、镶嵌、髹饰诸艺于一体，工法细致入微，尽显精巧工致，暗含福寿绵长的美好祈愿，是兼具实用价值与审美意趣的雅室佳器。",[76,77,221,222,223,7,83,224],"嵌螺钿","黑漆","寿字纹","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d36b55f393a00e92652d6c8b62e471b.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":186,"author":19,"museum":20,"description":41,"tags":231,"thumbUrl":237,"material":30,"size":31,"collection":32,"collections":238,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":35},243306,"kui-wen-fu-yi-ming-243306","夔纹簠",[43,60,44,46,232,233,234,235,7,236],"夔纹","纹饰","周代器物","青铜礼器","古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870173847c186d1b2a25addf714263bf.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":73,"author":19,"museum":20,"description":243,"tags":244,"thumbUrl":248,"material":30,"size":31,"collection":32,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":88},273577,"zi-tan-kui-long-wen-mei-gui-yi-yi-ming-273577","紫檀夔龙纹玫瑰椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[245,246,7,46,247],"玫瑰椅","紫檀","木质家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85489f77ad9bc5b80e72a24aa63db57d.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":18,"author":19,"museum":20,"description":254,"tags":255,"thumbUrl":258,"material":30,"size":31,"collection":32,"collections":259,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":88},272949,"zi-tan-mu-diao-kui-long-wen-tiao-zhuo-yi-ming-272949","紫檀木雕夔龙纹条桌","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[95,46,7,256,257],"条桌","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73facd21122396cc0a3bb9e711c018d1.jpg",[],{"id":261,"slug":262,"title":263,"dynasty":73,"author":19,"museum":20,"description":264,"tags":265,"thumbUrl":269,"material":30,"size":31,"collection":32,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},271975,"duan-shi-diao-kui-long-wen-chang-fang-yan-yi-ming-271975","端石雕夔龙纹长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[266,267,7,46,268],"砚","端石","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2415c16577854171ca6d392d31f6521.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":73,"author":19,"museum":20,"description":264,"tags":275,"thumbUrl":276,"material":30,"size":31,"collection":32,"collections":277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":88},271903,"duan-shi-kui-long-wen-chi-chang-fang-yan-yi-ming-271903","端石夔龙纹池长方砚",[266,267,7,46,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af0f8bae1ba140b0cd35ee6f41a4b80.jpg",[],{"id":279,"slug":280,"title":274,"dynasty":73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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。",[76,77,691,7,83],"描彩漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c799337f6488a50db13b1cd15a8357.jpg",[],{"id":695,"slug":696,"title":697,"dynasty":73,"author":19,"museum":20,"description":93,"tags":698,"thumbUrl":701,"material":30,"size":31,"collection":32,"collections":702,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},246143,"qiang-jin-cai-qi-kui-long-wen-gu-shi-cuan-he-yi-ming-246143","戗金彩漆夔龙纹鼓式攒盒",[77,699,7,700,83,27,46],"戗金彩漆","鼓式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fecd248805d91ba875648cbc3be9dba.jpg",[],{"id":704,"slug":705,"title":706,"dynasty":186,"author":19,"museum":20,"description":41,"tags":707,"thumbUrl":709,"material":30,"size":31,"collection":32,"collections":710,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},244377,"lu-shi-wei-fu-fu-gai-yi-ming-244377","鲁士囗父簠盖",[43,44,59,46,7,403,708],"周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458050dc41215a134237a0094059ac05.jpg",[],1777535706519]