[{"data":1,"prerenderedAt":105},["ShallowReactive",2],{"subject-lou-kong-diao-ke":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10673,"lou-kong-diao-ke","镂空雕刻","镂空雕刻画高清赏析","精选中国历代镂空雕刻题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51fa335b3e7ec45e2f5a6a2983e30c0.jpg",0,6,[14,34,50,62,79,88],{"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},274849,"tong-zi-lou-kong-guo-tai-min-an-rong-qiu-hua-yi-ming-274849","铜字镂空国泰民安绒球花","清","佚名","藏地不详","此件以铜为基底，镂空錾刻出方正字纹，描填金彩，自带沉敛雅致的金属质感。三朵绒球舒展娉婷，朱红浓艳、胭粉柔婉、湖蓝清灵，蓬松绒毛似将春日柔花定格，暖意融融。\n\n铜骨端凝持重，绒球娇俏生动，刚柔相映，把祈福心意藏于妆饰间。它绾住发丝，亦绾住旧时人间的美满期许，将匠人的玲珑巧思与世俗烟火里的温软祈愿融于一体，雅致鲜活，藏着旧时光里的脉脉温情。",[23,24,7,25,26],"饰品","铜制","绒球","吉祥纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef587b8e203d57b2d71c729674ed1e9b.jpg","未知","Xcm*Xcm","",[],2,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":47,"material":28,"size":29,"collection":30,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":33},273188,"tie-wan-jin-lou-kong-hua-niu-jiao-bing-qiao-dao-yi-ming-273188","铁鋄金镂空花牛角柄鞘刀","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[40,41,42,43,7,44,45,46],"兵器","铁器","金器","牛角","鋄金","鞘刀","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b21c05dfaa24ad5773216f6594df2e.jpg",[],1,{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":10,"material":28,"size":29,"collection":60,"collections":61,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":33},260243,"de-hua-yao-bai-you-bi-tong-yi-ming-260243","德化窑白釉笔筒","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[56,57,58,7,59],"陶瓷","笔筒","白釉","荷花","瓷器精选",[60],{"id":63,"slug":64,"title":65,"dynasty":66,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":77,"material":28,"size":29,"collection":30,"collections":78,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},274697,"tie-du-jin-liu-fang-chu-xing-la-qian-yi-ming-274697","铁镀金六方杵形蜡扦","明","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。",[69,41,70,71,72,7,73,74,75,76],"金属器","镀金","蜡扦","烛具","六方造型","杵形","雕刻","宗教器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd603aacefafca555e88d238bd09b1db3.jpg",[],{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":38,"tags":83,"thumbUrl":86,"material":28,"size":29,"collection":30,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},273208,"niu-jiao-qian-yin-lou-kong-hua-qiao-dao-yi-ming-273208","牛角嵌银镂空花鞘刀",[40,84,43,7,85],"银器","刀具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06417dabc67f4c58bacb2a22e9b63c08.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":102,"material":28,"size":29,"collection":30,"collections":103,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},270904,"duan-shi-lou-kong-fang-sheng-wen-tong-he-nuan-yan-yi-ming-270904","端石镂空方胜纹铜盒暖砚","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。",[94,95,96,97,24,7,98,99,100,101,75],"暖砚","砚","文房用具","端石","方胜纹","楷书","书法","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d19ede26aa9058e926a8eb471c6c8b.jpg",[],"37474F",1777535749321]