[{"data":1,"prerenderedAt":103},["ShallowReactive",2],{"subject-lou-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8458,"lou-hua","镂花","镂花画高清赏析","精选中国历代镂花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11bc3be5d5cf006cac6baf33dd75152.jpg",0,6,[14,39,50,61,73,88],{"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":37,"zanCount":11,"manualWeight":11,"mainColor":38},245567,"jin-lou-hua-qian-song-shi-bi-xi-chang-fang-he-yi-ming-245567","金镂花嵌松石碧玺长方盒","清","佚名","藏地不详","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",[23,24,7,25,26,27,28,29,30,31],"清代","金器","雕刻","镶嵌","松石","碧玺","长方","金属工艺","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2845e82a34fa74ad824774950f88b6.jpg","未知","Xcm*Xcm","",[],5,"795548",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":47,"material":33,"size":34,"collection":35,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":38},245563,"jin-lou-hua-qian-shan-hu-song-shi-zhai-jie-pai-yi-ming-245563","金镂花嵌珊瑚松石斋戒牌","斋戒牌，中国古代行斋戒礼时所置示警牌。明洪武五年（1372）令诸衙门各制作木斋戒牌，刻文于上，文为“国有常定，神有鉴焉”。\n凡行祭祀则设置。清沿明制，凡大祀、中祀皇帝致祭，事前应斋戒，由太常寺进斋戒牌。斋戒牌为木质，饰以黄纸，以清汉文书写斋戒日期。圜丘、祈谷、常雩，皇帝宿内廷斋宫，于乾清门设斋戒牌二日，置于黄案。坛所斋宫设斋戒牌一日。皇后亲蚕，亦进斋戒牌，由太常寺进递到乾清门交给内监，置于交泰殿。各衙门官员斋戒，大祀斋于公署，于大堂正中设案置斋戒红牌；中祀斋于私署。行祀之日各佩斋戒牌，不理刑名，不宴会，不作乐，不入内寝，不问疾吊丧，而有疾有服者不与戒",[23,24,45,7,26,46,27],"饰品","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72d2c2e71ad5526eaa448c0afbdb167.jpg",[],3,{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":58,"material":33,"size":34,"collection":35,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":38},245566,"jin-lou-hua-qian-song-shi-cui-pian-xiang-nang-yi-ming-245566","金镂花嵌松石翠片香囊","以累丝技法织就金地，柔金丝缕缠出细密温婉的肌理，如意形轮廓圆润雅致。囊面錾刻折枝花卉，松石与翠片错落镶嵌晕染花叶层次，莹润珊瑚珠点缀串绳，金辉与石色冷暖相映，贵而不奢。\n它既是贮香随身的雅器，又是腰间点缀的饰物，将金细工艺的灵秀与雅致审美相融，静静诉说着旧时精巧的随身意趣，尽显传统细金工艺的匠心造诣。",[23,24,7,26,27,56,57,45],"翠片","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38313b5653ef28f5d42aacd53064fa.jpg",[],1,{"id":62,"slug":63,"title":64,"dynasty":65,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":71,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":72},243443,"lou-hua-chi-wen-pai-shi-yi-ming-243443","镂花螭纹牌饰","周","青铜器（Bronze 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。",[68,7,69,45,25,70],"青铜器","螭纹","周代",[],"37474F",{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":85,"material":33,"size":34,"collection":35,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},275736,"mu-xiang-tong-du-jin-lou-hua-wen-ma-an-yi-ming-275736","木镶铜镀金镂花纹马鞍","木胎为骨，铜镀金饰件錾刻缠枝镂空纹样，繁丽精巧，尽显匠心。朱红绒面铺陈鞍座，虽经岁月磨损绒面微残，却晕开古旧厚重的时光质感。素净马镫沉稳内敛，与华丽饰件相映平衡。它承袭骑乘器具的实用形制，又以鎏金镂花妆点，将游牧生活的实用需求与雅致审美融于一身，凝缩着旧时工艺与审美，静静诉说着鞍马文化的考究精致。",[79,80,81,25,7,82,83,84],"马鞍","木质","铜制","布料","马具","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528afb5f6bddd46c411b527038ce3f8a.jpg",[],"FFFFFF",{"id":89,"slug":90,"title":91,"dynasty":92,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":101,"material":33,"size":34,"collection":35,"collections":102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},260428,"qing-bai-you-su-tai-lou-hua-chang-fang-zhen-yi-ming-260428","青白釉素胎镂花长方枕","元","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。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。",[95,96,25,7,97,98,99,100],"陶瓷","日用具","荷花","素胎","青白釉","瓷枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6992af50cafabb7216e3bd2c76cab52.jpg",[],1777535748484]