[{"data":1,"prerenderedAt":131},["ShallowReactive",2],{"subject-lu-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6028,"lu-wen","鹿纹","鹿纹画高清赏析","精选中国历代鹿纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4049bf091cb00c6709970e85448da16.jpg",0,9,[14,39,58,73,83,90,96,103,118],{"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},228667,"fang-ge-yao-hui-qing-ge-shi-lu-zhi-fu-jian-yi-ming-228667","仿哥窑 灰青鬲式炉之附件","明","佚名","藏地不详","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[23,24,25,26,27,28,29,7,30,31],"明代","仿哥窑风格","玉石雕刻","透雕","木雕","浮雕","陶瓷附件","仿古工艺","明代工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380bfd14228e4dbbb7a90be52dd9e33f.jpg","未知","Xcm*Xcm","瓷器精选",[35],18,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":53,"material":33,"size":34,"collection":54,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":57},267478,"hu-se-duan-xiu-zhe-zhi-hua-yun-fu-jin-lu-wen-er-bian-nan-pei-yi-ming-267478","湖色缎绣折枝花云蝠金鹿纹二变男帔","清","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[46,47,48,49,50,7,51,52],"衣帽","布料","刺绣","折枝花","云蝠","缎面","男帔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa697b3e908fe5b87892fb489eb288299.jpg","",[],2,"BDBDBD",{"id":59,"slug":60,"title":61,"dynasty":62,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":70,"material":33,"size":34,"collection":54,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":38},280015,"wang-lu-wen-liang-mian-tong-yin-yi-ming-280015","“王□”鹿纹两面铜印","汉","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[65,66,67,68,7,69],"印章","铜制","篆刻","篆书","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb572e306ea8bc5536bc777c1594e64e9.jpg",[],1,{"id":74,"slug":75,"title":76,"dynasty":62,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":81,"material":33,"size":34,"collection":54,"collections":82,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},281161,"lu-wen-bi-niu-qing-yu-yin-yi-ming-281161","鹿纹鼻钮青玉印","中国古代印章材料，以铜为主，兼用金、银、玉、石等材料。铜质印章因其质具有延展性，以铜铸印，其文古朴雄浑；以铜镌印，其文劲健有神。金、玉因其材贵重，所传甚少而弥足珍贵。取金制印，价值贵重。但纯金印少见，常有鎏金印，皆官印。银质腻刀，则印文柔媚，常见小型银印，玲珑可喜，多为私印。玉温润有光泽，质细密而硬脆。玉印所传甚少，今可见者百余方而已。\n战国古玺无论官玺、私玺,质地大都是铜质,间有银和玉,印材选用并无定制。而到了秦代就有了严格规定，只有帝王印自称“玺”，以玉作印材。臣民用印称“印”，不能用玉。汉代规制尚“俭”皇族偶有用玉的，如“皇后之玺”和“淮阳王玺”。私印中用玉的则屡见不鲜。两汉玉印在古印中是十分珍责稀少的一类。一般玉印制作精良、章法严谨、笔势圆转，粗看笔划平方正直，却全无板滞之意。由于玉质坚硬，不易受刀，也就产生了特殊的篆刻技法，即所谓的“平刀直下”的“切刀法”。又由于玉质的不易腐蚀受损，使传世下印得以比较好地保留了它的本来面目。",[79,65,67,7,80],"玉石","鼻钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfbf017982fe654f245e14236678b0a.jpg",[],{"id":84,"slug":85,"title":86,"dynasty":62,"author":19,"museum":20,"description":63,"tags":87,"thumbUrl":88,"material":33,"size":34,"collection":54,"collections":89,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},280080,"lu-wen-bi-niu-tong-yin-yi-ming-280080","鹿纹鼻钮铜印",[65,66,67,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff359a7608d6763ce1b9477b928e3f201.jpg",[],{"id":91,"slug":92,"title":86,"dynasty":62,"author":19,"museum":20,"description":63,"tags":93,"thumbUrl":94,"material":33,"size":34,"collection":54,"collections":95,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},280075,"lu-wen-bi-niu-tong-yin-yi-ming-280075",[65,69,66,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720ab387e7bf06d879ccebd99e7d385d.jpg",[],{"id":97,"slug":98,"title":86,"dynasty":62,"author":19,"museum":20,"description":63,"tags":99,"thumbUrl":101,"material":33,"size":34,"collection":54,"collections":102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},279043,"lu-wen-bi-ni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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[124,125,126,7,127,128,129],"陶瓷","哥釉","青花","松纹","瓶","开片",[],1777535736695]