[{"data":1,"prerenderedAt":108},["ShallowReactive",2],{"subject-lan-ting-xiu-xi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},12095,"lan-ting-xiu-xi","兰亭修禊","兰亭修禊画高清赏析","精选中国历代兰亭修禊题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01cb1d6005768a423e8d690e2756a99c.jpg",0,7,[14,44,58,71,80,87,99],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷","宋","李公麟","藏地不详","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35],"高清","国画","长卷","名画","设色","人物","山水","林木","山石","文人雅集","篆书","行书","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg","未知","Xcm*Xcm","",[],45,1,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":48,"museum":20,"description":49,"tags":50,"thumbUrl":54,"material":37,"size":38,"collection":39,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":57},272486,"lan-ting-xiu-xi-tu-shi-yan-yi-ming-272486","兰亭修禊图石砚","佚名","以温润石材为载体，将永和雅集的风雅凝于周身。砚面素净堂池为中心，边角镂刻茂林修竹、流觞曲水，文人雅士或临流衔觞、或援笔赋诗，衣袂翩然，神态悠然尽显魏晋旷达。四围通身遍刻兰亭胜景，山环水绕间亭台错落，将千载雅集盛景镌刻得鲜活生动。\n\n刀工细腻遒劲，线条婉转流畅，将文人间的清谈雅会尽数铺陈。它既是研墨实用的文房重器，亦是可赏可藏的艺文珍品，挥毫研墨时，仿佛能循着刀痕触碰那场流芳千古的文人盛会，让翰墨间晕开兰亭的清逸风流。",[51,52,28,29,53,7],"砚","雕刻","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbe04a961a54a5bf84745bc1480b16a.jpg",[],3,"BDBDBD",{"id":59,"slug":60,"title":61,"dynasty":62,"author":48,"museum":20,"description":63,"tags":64,"thumbUrl":69,"material":37,"size":38,"collection":39,"collections":70,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":43},270748,"lan-ting-xiu-xi-lv-yu-mo-yi-ming-270748","兰亭修禊绿御墨","清","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[65,66,67,35,68,7],"墨","御墨","绿色","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe043116734918ec9d73c4175125a7e.jpg",[],{"id":72,"slug":73,"title":74,"dynasty":62,"author":48,"museum":20,"description":63,"tags":75,"thumbUrl":78,"material":37,"size":38,"collection":39,"collections":79,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":57},270695,"lan-ting-xiu-xi-zhu-yu-mo-yi-ming-270695","兰亭修禊朱御墨",[65,76,77,35,7],"文房用具","朱墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771472ef9bbde281a4fc5d6072380cd4.jpg",[],{"id":81,"slug":82,"title":83,"dynasty":62,"author":48,"museum":20,"description":63,"tags":84,"thumbUrl":85,"material":37,"size":38,"collection":39,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},270709,"qian-long-kuan-lan-ting-xiu-xi-yu-mo-yi-ming-270709","乾隆款兰亭修禊御墨",[65,76,35,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc168368dca7e6a52044e3feec521e0c.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":62,"author":48,"museum":20,"description":91,"tags":92,"thumbUrl":96,"material":37,"size":38,"collection":39,"collections":97,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},269912,"qiao-lin-kuan-zhu-gen-diao-lan-ting-xiu-xi-tu-bi-tong-yi-ming-269912","乔林款竹根雕兰亭修禊图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[93,52,94,28,29,53,95,7,76],"竹制","笔筒","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1cd4f7150aa251b047e8aa905aad4db.jpg",[],"37474F",{"id":100,"slug":101,"title":102,"dynasty":62,"author":48,"museum":20,"description":103,"tags":104,"thumbUrl":10,"material":37,"size":38,"collection":39,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},269543,"xi-jiao-diao-lan-ting-xiu-xi-tu-bei-yi-ming-269543","犀角雕兰亭修禊图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[105,52,106,7,28,53],"饮酒器","犀角器",[],1777535743247]