[{"data":1,"prerenderedAt":186},["ShallowReactive",2],{"subject-luo-dian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5719,"luo-dian","螺钿","螺钿画高清赏析","精选中国历代螺钿题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6c7932c3eb5eb981b7f6ddef7cb426.jpg",0,15,[14,34,52,67,77,88,103,112,122,131,142,154,161,168,177],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":11,"mainColor":33},227332,"xi-que-deng-zhi-qi-pan-yi-ming-227332","喜鹊登枝漆盘","宋","佚名","藏地不详","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[23,7,24,25,26],"漆器","花鸟","梅","飞鸟","未知","Xcm*Xcm","",[],31,1,"BDBDBD",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":48,"material":27,"size":28,"collection":29,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},270028,"hong-mu-qian-luo-dian-song-he-wen-yuan-ti-he-yi-ming-270028","红木嵌螺钿松鹤纹圆提盒","清","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",[41,23,42,43,44,7,45,46,47],"木质","提盒","日用具","雕刻","松","鹤","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bcb9e2516a54d47093ae8edb2b9006.jpg",[],8,"795548",{"id":53,"slug":54,"title":55,"dynasty":38,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":63,"material":27,"size":28,"collection":29,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},281456,"yin-zhu-ye-xiang-luo-dian-hu-die-hai-luo-zhu-tai-yi-ming-281456","银竹叶镶螺钿蝴蝶海螺烛台","银铸竹茎清挺疏朗，竹叶纤秀灵动，自带林下风雅之姿。蝶身以银料塑就，肌理写实如生，双翼裁取螺钿制成，凝着珍珠母贝的柔润珠光，随光影流转晕开细碎虹彩，仿佛振翅欲飞。顶端海螺自然蜷成烛盏，天然肌理带着海畔朴拙意韵。匠师巧夺天工，将金属的冷冽、螺贝的莹润与海错的朴拙融为一体，把书斋清供的含蓄意趣藏进每一处细节，静立之间，恍若能见旧日深夜，烛火明灭里，银辉与珠光交织的幽柔景致。",[58,44,7,59,60,61,62,43],"银器","蝴蝶","海螺","竹","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a855ee93e4ae7417e489aea4f2cae5a.jpg",[],7,"37474F",{"id":68,"slug":69,"title":70,"dynasty":38,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":75,"material":27,"size":28,"collection":29,"collections":76,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":51},270001,"zi-tan-qian-luo-dian-mei-zhu-tu-bi-tong-yi-ming-270001","紫檀嵌螺钿梅竹图笔筒","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。",[41,44,73,7,25,61,74],"镶嵌","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f106966ee84928dab4cd6e18fe8e26.jpg",[],{"id":78,"slug":79,"title":80,"dynasty":38,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":86,"material":27,"size":28,"collection":29,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},274564,"hong-mu-qian-luo-dian-kui-hua-lou-you-shou-xing-ren-zhong-yi-ming-274564","红木嵌螺钿葵花楼有寿星人钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[41,7,83,84,43,85],"珐琅器","钟表","寿星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe089b6531ee5c28ae18941e1a32ece11.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":38,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":101,"material":27,"size":28,"collection":29,"collections":102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},273224,"mu-qian-luo-dian-ran-ya-bao-jin-zhi-yu-bing-qiao-dao-yi-ming-273224","木嵌螺钿染牙包金纸玉柄鞘刀","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[94,95,96,41,97,98,7,99,100],"兵器","金器","玉石","铁器","象牙","刀具","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db2694ded2960cc80fbc44890bece61.jpg",[],{"id":104,"slug":105,"title":106,"dynasty":38,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":110,"material":27,"size":28,"collection":29,"collections":111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},273220,"niu-jiao-qian-luo-dian-ya-gu-niu-jiao-bing-qiao-dao-yi-ming-273220","牛角嵌螺钿牙骨牛角柄鞘刀","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。”",[94,99,109,98,7,44,97],"牛角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac48bd8c3626eec078bda1537839ff9.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":38,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":120,"material":27,"size":28,"collection":29,"collections":121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},272819,"hong-mu-qian-luo-dian-yuan-wu-yi-ming-272819","红木嵌螺钿圆杌","此杌以随形云石为面，天然晕染的纹理自带水墨意趣，红木框架重工雕琢。牙板透雕游龙，身姿灵动缠绕，辅以螺钿饰作圆花，明暗相映熠熠生辉。\n\n四足以兽首起饰，自上而下浮雕瑞兽纹饰，收束为兽足落地，沉稳撑抬器身，枨木相连兼顾美观与结构稳固。整体融汇透雕、浮雕与螺钿镶嵌工艺，尽显晚清繁复华丽的造物审美，既是日常坐具，亦是木雕与镶嵌技艺合璧的雅致佳品，古朴间尽显华贵精巧。",[41,118,43,44,7,119],"家具","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22eaa9a3fcabd418bb79c661a0fcaf25.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":38,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":129,"material":27,"size":28,"collection":29,"collections":130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},272815,"hei-qi-sa-luo-dian-fa-lang-mian-shuang-long-xi-zhu-wen-yuan-deng-yi-ming-272815","黑漆撒螺钿珐琅面双龙戏珠纹圆凳","此圆凳造型典雅秀逸，鼓腿彭牙搭配托泥圈足，线条婉转柔润，尽显温婉端庄的中式意韵。面心珐琅作双龙戏珠，彩釉妍丽鲜亮，龙形矫健灵动，祥云环簇间尽显祥瑞威严。周身黑漆地撒螺钿，星点莹光若隐若现，与珐琅彩面相映成趣，将重工装饰与家具形制精妙融合。漆艺与珐琅工艺碰撞交织，华贵质感与雅致气韵相融，藏着清代匠人的精巧匠心，是传统工艺审美集大成的精巧之作。",[23,83,119,7,43,41,128],"圆凳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5c3e66620848b232d19c21bc363274.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":38,"author":19,"museum":20,"description":135,"tags":136,"thumbUrl":140,"material":27,"size":28,"collection":29,"collections":141,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},272558,"she-shi-he-ye-shi-yan-yi-ming-272558","歙石荷叶式砚","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。",[137,138,23,119,7,139],"砚","文房用具","荷叶式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef824929f5f091040d4fbe73b3c4138.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":38,"author":19,"museum":20,"description":92,"tags":146,"thumbUrl":152,"material":27,"size":28,"collection":29,"collections":153,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},269824,"zi-tan-qian-yu-luo-dian-hu-lu-shi-he-yi-ming-269824","紫檀嵌玉螺钿葫芦式盒",[41,44,73,147,7,148,149,150,151],"玉","葫芦","盒","工艺品","木器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b8cc65ff1a70f9600403fc42d8048c.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":38,"author":19,"museum":20,"description":39,"tags":158,"thumbUrl":159,"material":27,"size":28,"collection":29,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},269783,"zi-tan-qian-luo-dian-chang-fang-he-yi-ming-269783","紫檀嵌螺钿长方盒",[41,44,73,7,47,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F867f747398cf693641d83f3ada8dc348.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":38,"author":19,"museum":20,"description":39,"tags":165,"thumbUrl":166,"material":27,"size":28,"collection":29,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},269766,"zi-tan-qian-luo-dian-yun-long-wen-y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