[{"data":1,"prerenderedAt":347},["ShallowReactive",2],{"subject-ma-ju":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6748,"ma-ju","马具","马具画高清赏析","精选中国历代马具题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160a8b7cb6778846e557aa30ff40934e.jpg",0,31,[14,38,51,61,83,96,106,117,129,140,150,160,170,178,189,200,210,220,231,241,251,262,274,284,292,300,309,319,328,335,341],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},243357,"ma-ling-yi-ming-243357","马铃","汉","佚名","藏地不详","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[23,24,25,26,27,28,29,7,30],"汉代","青铜器","铜制","雕刻","纹饰","圆点纹","环形纹","器物","未知","Xcm*Xcm","",[],3,1,"795548",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":48,"material":31,"size":32,"collection":33,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":37},275675,"yang-jin-lian-hua-wen-an-chan-yi-ming-275675","洋锦莲花纹鞍韂","清","此件鞍饰以米黄为底，蓝线缂织缠枝莲花，左右对称排布，卷草萦回间莲朵饱满舒展，清丽雅致，晕染出温婉沉静的东方意趣。\n\n黑绒包边虽带着岁月磨蚀的痕迹，却更添古拙厚重的质感，衬得蓝花愈发莹润柔和。整器将织锦工艺的精巧细腻融于实用鞍具，缠枝纹连绵不绝，暗合吉祥绵长的祈愿，把清雅的莲之灵秀藏于鞍马饰件，尽展织绣装饰的匠心巧思，静诉旧日工艺的雅致情致。",[45,46,7,47],"布料","荷花","鞍韂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0965e14d5c34e904a78e8295e87e80.jpg",[],2,{"id":52,"slug":53,"title":54,"dynasty":55,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":59,"material":31,"size":32,"collection":33,"collections":60,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":37},245009,"ma-jue-yi-ming-245009","马嚼","唐","它以昂首禽鸟为形，尖喙勾首带着振翅欲飞的灵动，修长弧身顺着兽颈般的线条延展而下。铜身覆着深浅交织的绿锈与红褐铜沁，是岁月摩挲出的厚重肌理。镂空与扣带结构利落规整，将束马的实用筋骨，揉进苍劲古朴的审美意趣中。粗粝的铜色里藏着塞上鞍马纵横的余韵，把寻常骑具淬炼成带着游牧野性的古雅造物。",[58,24,25,26,7,30],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b54af2ae47854e223c6deefa31f035.jpg",[],{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":20,"description":67,"tags":68,"thumbUrl":81,"material":31,"size":32,"collection":33,"collections":82,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},231234,"su-miao-488-xi-fang-231234","素描488","不详","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[69,70,71,72,73,74,75,76,77,78,79,80,7],"素描","写实","马","动物","头部特写","黑白","线条","明暗","光影","西画技法","肖像","毛发刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b594d6d080e46ac4d02625766faa76b.jpg",[],{"id":84,"slug":85,"title":86,"dynasty":42,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":93,"material":31,"size":32,"collection":33,"collections":94,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},275743,"mu-zong-huang-qi-wu-bei-yuan-ma-an-yi-ming-275743","木棕黄漆武备院马鞍","木胎髹漆早已斑驳，棕黄底色隐现于磨损露胎的边角，靛蓝棉鞍垫裹着鞍身，残旧红布补丁嵌在垫面，铜饰蒙着经年包浆。\n\n它曾伴人驰骋塞上，弧度妥帖的鞍桥贴合马背轮廓，承托过戍边将士的戎马倥偬，也载过牧人逐水草的漫漫长路。旧棉絮褶皱里藏着朔风蹄声，磨秃的漆皮刻满奔波年月，带着风沙与烟火的厚重质感，将马背民族的骁勇日常揉进方寸旧物，静静诉说着远去的征途旧事。",[89,45,90,7,91,92],"木质","漆器","武备","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2e6a00ae893d5fa75801f3dded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