[{"data":1,"prerenderedAt":373},["ShallowReactive",2],{"subject-kui-long":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6292,"kui-long","夔龙","夔龙画高清赏析","精选中国历代夔龙题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf327f710f40a6c351a95085d3c9d508.jpg",0,34,[14,34,47,62,74,91,101,112,126,136,143,152,164,172,179,190,199,208,218,229,239,247,256,265,280,290,299,307,317,328,337,348,355,366],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},263676,"qian-lv-se-di-lian-hua-kui-long-qiu-lu-wen-shuang-ceng-jin-yi-ming-263676","浅绿色地莲花夔龙球路纹双层锦","明","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》。",[23,24,25,7,26],"布料","织锦","莲花","球路纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a62e7a9b46a2657c20899adc1cc58a.jpg","未知","Xcm*Xcm","",[],6,"BDBDBD",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":44,"material":28,"size":29,"collection":30,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":33},266409,"xiang-se-kui-long-feng-wen-an-hua-chou-yang-pi-xing-fu-pao-yi-ming-266409","香色夔龙凤纹暗花绸羊皮行服袍","清","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[41,23,42,7,43],"衣帽","羊皮","凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9aa009de8780b55ecc0537aaab9238.jpg",[],4,{"id":48,"slug":49,"title":50,"dynasty":38,"author":19,"museum":20,"description":51,"tags":52,"thumbUrl":59,"material":28,"size":29,"collection":30,"collections":60,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":61},249138,"qia-si-fa-lang-kui-long-fu-shou-wen-hai-tang-shi-ping-yi-ming-249138","掐丝珐琅夔龙福寿纹海棠式瓶","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 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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[38,118,224,225,7,43,226,58],"月白釉","刻花","团纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a3ae2ca82e2efba71a20c3ff9e2460.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":38,"author":19,"museum":20,"description":233,"tags":234,"thumbUrl":237,"material":28,"size":29,"collection":30,"collections":238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},252087,"bi-yu-lou-diao-kui-long-huang-yi-ming-252087","碧玉镂雕夔龙璜","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。",[132,235,122,70,236,7],"镂雕","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f0ee9825fd8becfaf83dd85e3dce9d.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":38,"author":19,"museum":20,"description":233,"tags":243,"thumbUrl":245,"material":28,"size":29,"collection":30,"collections":246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},251513,"bi-yu-kui-long-yun-wen-fang-he-yi-ming-251513","碧玉夔龙云纹方盒",[132,122,7,244,53,58],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9cff92dbbfba99d14e367e32753cfa9.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":38,"author":19,"museum":20,"description":233,"tags":251,"thumbUrl":254,"material":28,"size":29,"collection":30,"collections":255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},251174,"bi-yu-san-shi-pan-chi-kui-long-wen-chang-fang-he-yi-ming-251174","碧玉三事-蟠螭夔龙纹长方盒",[132,122,252,7,58,253],"蟠螭","长方盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f02ff2296c7a0c753a0aa3bcbd66e4b.jpg",[],{"id":257,"slug":258,"title":259,"dynasty":38,"author":19,"museum":20,"description":233,"tags":260,"thumbUrl":263,"material":28,"size":29,"collection":30,"collections":264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},251074,"qian-long-kuan-qing-yu-lou-diao-kui-feng-wen-zhang-yi-zi-sun-pai-yi-ming-251074","乾隆款青玉镂雕夔凤纹长宜子孙牌",[132,235,122,261,7,262,84],"凤","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe84f847ed8b5e9613804313287962c.jpg",[],{"id":266,"slug":267,"title":268,"dynasty":38,"author":19,"museum":20,"description":233,"tags":269,"thumbUrl":278,"material":28,"size":29,"collection":30,"collections":279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},250969,"qing-yu-fu-diao-bian-fu-kui-long-bian-rong-jing-yi-ming-250969","青玉浮雕蝙蝠夔龙边容镜",[132,270,98,271,272,273,274,275,276,277,7],"浮雕","山水","人物","树木","建筑","船只","河流","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bee0fa3c0c2e3f4a02d5bf8b93be53.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":38,"author":19,"museum":20,"description":284,"tags":285,"thumbUrl":288,"material":28,"size":29,"collection":30,"collections":289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},250171,"hua-fa-lang-gou-lian-kui-long-wen-mian-pen-yi-ming-250171","画珐琅勾莲夔龙纹面盆","此器以明丽湖蓝为底，铜色口沿圈束轮廓，雅致华贵。缠枝莲蔓柔婉舒展，勾连灵动夔龙，刚柔相映成趣。宝相花团匀落其间，填色饱满鲜亮，诸色交相辉映，珐琅釉面莹润亮泽，掐丝走线匀净流畅。\n\n宽浅器型周正端庄，纹饰繁密却层次分明，匠作细致入微，将富丽典雅的装饰意趣尽数铺展，是传统金属珐琅工艺的精巧之作，尽显庄重灵动的古典韵致。",[53,286,56,7,287],"画珐琅","勾莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6596d1b95b1f3ad1f64d5f47cb86702a.jpg",[],{"id":291,"slug":292,"title":293,"dynasty":38,"author":19,"museum":20,"description":51,"tags":294,"thumbUrl":297,"material":28,"size":29,"collection":30,"collections":298,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},249630,"qia-si-fa-lang-kui-long-hua-hui-wen-gua-shi-gai-guan-yi-ming-249630","掐丝珐琅夔龙花卉纹瓜式盖罐",[38,54,56,58,70,295,7,296],"花卉","盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a62ad8544d2493fabba1ff1d773957.jpg",[],{"id":300,"slug":301,"title":302,"dynasty":18,"author":19,"museum":20,"description":303,"tags":304,"thumbUrl":305,"material":28,"size":29,"collection":30,"collections":306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},249619,"qia-si-fa-lang-kui-long-peng-shou-wen-ru-yi-yi-ming-249619","掐丝珐琅夔龙捧寿纹如意","此器身形婉转修长，以掐丝珐琅工艺精心打造。宝蓝色地釉匀净莹润，朱红、娇黄、粉蓝珐琅釉料填饰其间，色彩古雅鲜亮。主体纹饰为夔龙捧寿，夔龙身姿灵动舒展，环绕团寿纹样，寄寓福寿绵长的美好祈愿，间以缠枝宝相花点缀铺陈，层次饱满华贵。铜胎厚重温润，掐丝走线流畅利落，釉色与铜边相映，尽显沉稳典雅的古意气度，将装饰美感与吉祥寓意融于一体，是工艺美学与传统礼俗意蕴结合的精妙之作。",[54,58,56,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1afe9557113cbe52e5fad7d58b33b3.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":38,"author":19,"museum":20,"description":311,"tags":312,"thumbUrl":315,"material":28,"size":29,"collection":30,"collections":316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},249069,"qian-long-kuan-qia-si-fa-lang-kui-long-jiao-ye-wen-chu-ji-hua-gu-yi-ming-249069","乾隆款掐丝珐琅夔龙蕉叶纹出戟花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[38,54,56,58,7,313,314],"蕉叶","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e063f155a49bf423a3f6db10d4140bf.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":38,"author":19,"museum":20,"description":321,"tags":322,"thumbUrl":326,"material":28,"size":29,"collection":30,"collectio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