[{"data":1,"prerenderedAt":126},["ShallowReactive",2],{"subject-miao-hong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5943,"miao-hong","描红","描红画高清赏析","精选中国历代描红题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c2612e3afb3007717680c858631c20.jpg",0,10,[14,37,50,60,71,80,89,101,110,117],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},228543,"qing-hua-miao-hong-hai-shou-bo-tao-wen-gao-zu-bei-yi-ming-228543","青花描红海兽波涛纹高足杯","明","佚名","藏地不详","青花瓷（blue 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。",[23,24,7,25,26,27,28,29],"陶瓷","青花","设色","兽","波涛","饮酒器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b02c6a7e097037f561cf013dae3c20d.jpg","未知","Xcm*Xcm","",[],7,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":46,"material":31,"size":32,"collection":33,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},229273,"kang-xi-bai-di-miao-hong-tuan-long-wen-zhong-1-yi-ming-229273","康熙 白地描红团龙纹盅-1","清","胎质莹白细腻，釉色匀净温润，宛如凝脂美玉。釉里红团龙为饰，龙躯盘绕成圆，龙鳞纤毫毕现，鬃须张扬矫健，尽显帝王威仪。红彩发色沉稳醇厚，浓淡相宜，素净白釉托衬出古雅红彩，二者相映成趣，既有釉里红的朴拙厚重，又不失白瓷的清隽雅致。\n\n器型玲珑秀巧，线条柔婉流畅，撇口弧腹下收，圈足利落规整，兼具观赏与实用之美。团龙错落排布，构图疏朗得当，静穆中暗藏磅礴气势，尽显制瓷工法的精妙与古典审美意趣。",[23,7,44,45,29],"白地","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d706cdeb25605c3c49e01d89903a6c6.jpg",[],4,"BDBDBD",{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":21,"tags":54,"thumbUrl":57,"material":31,"size":32,"collection":33,"collections":58,"showCount":48,"zanCount":59,"manualWeight":11,"mainColor":36},228660,"qing-hua-miao-hong-yun-long-wen-he-wan-yi-ming-228660","青花描红云龙纹合碗",[23,24,7,45,55,25,56],"云","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f3e1f9288613d640ed98be46487d5b.jpg",[],1,{"id":61,"slug":62,"title":63,"dynasty":41,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":68,"material":31,"size":32,"collection":33,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":36},229271,"kang-xi-bai-di-miao-hong-tuan-feng-wen-zhong-5-yi-ming-229271","康熙 白地描红团凤纹盅-5","莹白釉色匀净莹润，如凝脂美玉般温润雅致，釉里红团凤纹饰点缀其间，妍丽沉稳，艳而不俗。团凤轮廓圆融饱满，凤首昂扬有神，羽翼纤毫毕现，翎羽卷转灵动，将瑞鸟的雍容华贵藏于团纹之中，带着内敛的文人气韵。\n\n纹饰布局疏朗匀停，留白恰到好处，素净釉色与明艳红彩相映成趣，尽显古雅端庄的审美意趣。器型小巧秀挺，线条柔和流畅，胎质轻薄细腻，触感温润，尽显清隽雅致的东方美学意涵。",[66,23,44,7,67,29],"清代","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea3ad3c000f82a20ef0ccc32bc522ffd.jpg",[],3,{"id":72,"slug":73,"title":74,"dynasty":41,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":77,"material":31,"size":32,"collection":33,"collections":78,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":79},229275,"kang-xi-bai-di-miao-hong-tuan-long-wen-zhong-4-yi-ming-229275","康熙 白地描红团龙纹盅-4","此器胎质莹润似凝脂，素白釉面匀净清透，宛若初雪覆玉。釉里红团龙为点睛之笔，龙身蜷成饱满圆团，龙鳞细密灵动，鬃须张扬、利爪遒劲，将神兽威严融于团形的雅致之中，不见凌厉突兀。釉里红发色醇厚沉稳，晕染恰到好处，与素底相映，艳而不俗。\n\n器型秀巧端庄，撇口弧腹线条舒展柔和，圈足周正利落，兼具赏玩与实用价值，尽显制瓷技艺的炉火纯青，诠释了清代古典审美中的雅致与庄重。",[66,23,29,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb9c81f26cb0f2f7f8b06d28512bd42.jpg",[],"37474F",{"id":81,"slug":82,"title":83,"dynasty":41,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":87,"material":31,"size":32,"collection":33,"collections":88,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":36},229272,"kang-xi-bai-di-miao-hong-tuan-feng-wen-zhong-6-yi-ming-229272","康熙 白地描红团凤纹盅-6","莹润白釉似凝脂美玉，匀净柔和。釉里红团凤为饰，红彩沉稳厚重，发色匀净。团凤构图饱满紧凑，凤鸟身姿蜷曲回旋，翎羽刻画细腻灵动，将瑞鸟雍容之态尽显无遗，暗含祥瑞吉意。\n器型线条秀婉舒展，撇口敛腹下承规整圈足，雅致端庄。素净底釉与艳雅红彩相映成趣，将素雅底色与华美纹饰精妙融合，尽显清隽古雅的审美意趣，是彩瓷中精巧耐看的佳作。",[66,23,29,7,86],"凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f0cbc47f498fcd15985babdd1182749.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":99,"material":31,"size":32,"collection":33,"collections":100,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},261775,"jia-jing-kuan-qing-hua-huang-you-miao-hong-bei-yi-ming-261775","嘉靖款青花黄釉描红杯","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[23,28,95,24,96,7,97,98],"日用具","黄釉","回纹","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8226c48aea864bb6b2ac0ea7301c5628.jpg",[],{"id":102,"slug":103,"title":104,"dynasty":41,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":108,"material":31,"size":32,"collection":33,"collections":109,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},229274,"kang-xi-bai-di-miao-hong-tuan-long-wen-zhong-3-yi-ming-229274","康熙 白地描红团龙纹盅-3","此器釉色莹润素白，如凝脂美玉。釉里红发色沉稳古雅，团龙蜷曲成圆，龙爪张劲有力，鬃须灵动飘逸，将瑞龙的威严内敛于规整圆纹之中。纹饰排布匀停疏朗，红彩妍丽与白釉素净相映成趣，既带着制式器物的端庄规整，又藏有匠造的细腻生动。\n\n器型秀巧温婉，唇口微敞，圈足利落雅致，线条柔和流畅，陈设把玩皆相宜。以极简底色衬重工纹饰，把瑞兽威仪和釉色美学相融尽显清瓷典雅秀润的气韵，是釉里红工艺臻熟的代表之作。",[41,23,7,107,45,29,95],"团龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d23b175d546f7de7006ee2f5536b692.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":21,"tags":114,"thumbUrl":115,"material":31,"size":32,"collection":33,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},228676,"qing-hua-miao-hong-wu-long-wan-yi-ming-228676","青花描红五龙碗",[18,23,24,7,45,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e5d40700acea900f6292659c047aafd.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},228511,"miao-hong-a-la-bo-wen-bo-si-wen-pan-yi-ming-228511","描红阿拉伯文波斯文盘","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。",[56,23,7,123,124,29],"阿拉伯文","波斯文",[],1777535734617]