[{"data":1,"prerenderedAt":81},["ShallowReactive",2],{"subject-liu-fang-zao-xing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8665,"liu-fang-zao-xing","六方造型","六方造型画高清赏析","精选中国历代六方造型题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb8a8131af3b3955f16611f1e3d0128.jpg",0,4,[14,38,53,67],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274697,"tie-du-jin-liu-fang-chu-xing-la-qian-yi-ming-274697","铁镀金六方杵形蜡扦","明","佚名","藏地不详","此器层层递进，形制庄重典雅。顶尖烛针承托浅盘，兽首衔饰勾连起双层灯盘，巧思尽显。柱身以双葫芦为主体，通体透雕缠枝卷草与莲纹，虚实相映，繁而不乱。六角基座以回纹饰边，开光内满饰镂刻纹样，细节处尽显匠心。\n\n鎏金虽历经岁月，金泽稍褪，却更添古朴厚重之感，既为礼佛燃灯之实用器，亦是陈设赏玩之佳物，尽显明代金属细作的精湛水准与审美意趣。",[23,24,25,26,27,28,7,29,30,31],"金属器","铁器","镀金","蜡扦","烛具","镂空雕刻","杵形","雕刻","宗教器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd603aacefafca555e88d238bd09b1db3.jpg","未知","Xcm*Xcm","",[],"795548",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":51,"material":33,"size":34,"collection":35,"collections":52,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},249930,"qian-long-kuan-qia-si-fa-lang-guan-er-liu-fang-ping-yi-ming-249930","乾隆款掐丝珐琅贯耳六方瓶","清","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”。",[45,46,7,47,48,49,50],"掐丝珐琅","珐琅器","贯耳","花卉纹饰","设色","铜胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2acdabd079544027fa869e9916db77.jpg",[],{"id":54,"slug":55,"title":56,"dynasty":42,"author":19,"museum":20,"description":43,"tags":57,"thumbUrl":65,"material":33,"size":34,"collection":35,"collections":66,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},249761,"qia-si-fa-lang-wu-gong-gou-lian-wen-liu-fang-shuang-er-san-zu-gai-lu-yi-ming-249761","掐丝珐琅五供-勾莲纹六方双耳三足盖炉",[58,45,50,59,7,60,61,62,63,64,46,23,30],"清代","珐琅工艺","双耳","三足","兽足","勾莲纹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899fff872387b0a47ab2561ac104e8d6.jpg",[],{"id":68,"slug":69,"title":70,"dynasty":71,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":80,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},245461,"yin-liu-jin-zan-ke-liu-fang-bei-yi-ming-245461","银鎏金錾刻六方杯","元","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。",[74,75,76,77,7,78,79,30],"元代","银鎏金","錾刻","饮酒器","纹饰","金属工艺",[],1777535765062]