[{"data":1,"prerenderedAt":150},["ShallowReactive",2],{"subject-min-jian-gong-yi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5698,"min-jian-gong-yi","民间工艺","民间工艺画高清赏析","精选中国历代民间工艺题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148d0b38109424c46925328f6f0ebe3e.jpg",0,10,[14,37,52,65,74,89,97,112,122,139],{"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},256699,"ci-zhou-yao-bai-di-hei-hua-ren-wu-wen-zhen-yi-ming-256699","磁州窑白地黑花人物纹枕","宋","佚名","藏地不详","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[23,24,25,7,26,27,28,29],"磁州窑","白地黑花","陶瓷","黑彩","人物","竹子","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718db865aa4f1a60650713315c309fa8.jpg","未知","Xcm*Xcm","瓷器精选",[33],9,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":10,"material":31,"size":32,"collection":49,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":36},252792,"ni-ren-zhang-su-cai-hui-lu-xing-xiang-yi-ming-252792","泥人张塑彩绘禄星像","清","此作塑工精湛，禄星面容方正威严，虬髯垂胸自带威仪。宝冠嵌饰精巧，朱红袍身遍绘墨色游龙，纹饰灵动流畅，宝带束腰更衬身姿端方挺拔。\n施彩古雅厚重，红褐底色沉稳大气，衣褶晕染写实自然，垂坠感十足，将天官显贵雍容气度凝练于泥塑之上。既不失民俗造像的朴拙生动，又尽显匠人精妙功底，把福禄吉庆的美好意涵融于每一处细节，尽显传统彩塑的匠心神采，是民俗手工艺的上乘之作。",[44,45,46,27,47,48,7],"泥塑","彩绘","设色","神仙","龙","",[],7,{"id":53,"slug":54,"title":55,"dynasty":41,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":61,"material":31,"size":32,"collection":49,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},252791,"ni-ren-zhang-su-cai-hui-fu-xing-xiang-yi-ming-252791","泥人张塑彩绘福星像","此作以泥塑施彩，将神祇化作儒雅文官模样，面庞方正虬髯飘然，神色端凝却暗含温慈。幼童攀附肩头，咧嘴憨笑，鲜活灵动的稚气消解了神祗的肃穆，揉入俗世温情。\n衣褶流转自然，晕染沉雅端庄，青蓝主调衬出庄重仪范，衣摆纹饰繁丽精巧，暗合祥瑞之意。作品兼顾神性威仪与人间烟火气，将护佑苍生的祈愿藏进鲜活情态，形神兼备，尽显民间工艺的匠心独到。",[58,44,45,27,59,60,7],"清代","福星","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec91ca72caa7f3b0fbae0032e6e104c.jpg",[],6,"37474F",{"id":66,"slug":67,"title":68,"dynasty":41,"author":19,"museum":20,"description":69,"tags":70,"thumbUrl":71,"material":31,"size":32,"collection":49,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":36},252796,"ni-ren-zhang-su-cai-hui-fu-xing-shi-tong-xiang-yi-ming-252796","泥人张塑彩绘福星侍童像","这对侍童泥塑将稚童嬉游的瞬间定格，蹲坐孩童腰背敦实，憨笑眉眼弯起，稳稳将伙伴托在肩头，满是可靠的憨厚稚气。骑坐童子双臂舒展上扬，脸蛋带着娇憨笑意，仿佛正迎着风欢呼叫嚷。\n\n衣袍晕染柔和自然，暗纹花饰细腻雅致，衣褶纹路随肢体姿态自然垂坠，将布料的绵软质感尽数呈现。整体塑作灵动鲜活，把孩童间亲昵嬉闹的鲜活朝气揉进泥胎里，让市井巷陌的稚朴童趣跃然而出，藏着俗世里温暖质朴的烟火意趣，尽显民间工艺的精妙生机。",[58,44,45,46,27,60,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb569659cbf5f6138012565f564fcc1b.jpg",[],5,{"id":75,"slug":76,"title":77,"dynasty":41,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":86,"material":31,"size":32,"collection":49,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":64},252834,"ni-ren-zhang-su-ba-xian-zhang-guo-lao-xiang-yi-ming-252834","泥人张塑八仙张果老像","这件泥塑将张果老的仙者气韵尽显。老者额间圆光自带出尘之感，面容慈和，皱纹顺着肌理舒展，长髯如银丝垂落，根根分明写实传神。\n\n宽袍褶皱层叠自然，灰旧衣身镶边晕出岁月质感，衣料垂坠的重量感被拿捏入微。他手持简牍，姿态恭谨又带着闲散仙气，皮肤松弛的肌理细节逼真，仿若俗世中悠然隐世的长者，却又自带着仙灵清隽气质。\n\n写实技法揉合神话意趣，将泥料化作有温度的仙翁形象，清代泥塑的精湛匠心凝于寸尺泥胎，让神话人物走下传说，仿若可缓步而来。",[58,44,27,80,7,81,82,83,84,85],"八仙","写实","长袍","胡须","道帽","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363dba17b126f0b5166959a60da48c76.jpg",[],2,{"id":90,"slug":91,"title":92,"dynasty":41,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":95,"material":31,"size":32,"collection":49,"collections":96,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":64},252793,"ni-ren-zhang-su-cai-hui-shou-xing-xiang-yi-ming-252793","泥人张塑彩绘寿星像","这尊造像跳脱了寿星惯有的仙逸古雅模样，以市井老者的样貌呈现。光头瘪颅，眼角眉梢挤着淳朴憨直的笑意，满脸褶皱里漫着浓浓的烟火气。\n衣袍晕染出旧绸缎的沉哑色泽，卷草暗纹随衣褶舒展自然，下摆露出的织锦纹饰细腻入微，还原出老粗布的朴实质感。手中禅杖枯瘦斑驳，仿佛已伴主人走过悠悠岁月。\n它未用神化光晕修饰寿星，将其拉回寻常巷陌，成了邻里间可亲的耄耋老翁，把福寿祈愿藏在憨态里，塑出最鲜活温热的世俗期许。",[44,45,27,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205832f8090b0208c4879e2695185c9e.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":101,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":109,"material":31,"size":32,"collection":49,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":64},256132,"mu-diao-nv-guan-zuo-xiang-yi-ming-256132","木雕女官坐像","明","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[104,105,106,107,7,108],"木雕","木质","雕刻","人物坐像","精细木工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ec420edfbb4433225a1682c3fcb48f.jpg",[],1,{"id":113,"slug":114,"title":115,"dynasty":41,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":120,"material":31,"size":32,"collection":49,"collections":121,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":36},252825,"ni-ren-zhang-su-cai-hui-nv-zuo-xiang-yi-ming-252825","泥人张塑彩绘女坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[44,45,46,27,118,58,7,119],"女性","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f116aef291887ea75fb6466a8976287.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":126,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":136,"material":31,"size":32,"collection":49,"collections":137,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":138},227275,"cu-ci-he-yi-ming-227275","粗瓷盒","五代十国","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[126,25,129,130,131,132,133,134,135,7],"粗瓷","日常用器","圆形","素面","实用器","无纹饰","单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c7e094defa0459a9f897b1f0003530.jpg",[],"BDBDBD",{"id":140,"slug":141,"title":142,"dynasty":101,"author":19,"museum":20,"description":102,"tags":143,"thumbUrl":148,"material":31,"size":32,"collection":49,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255425,"mu-diao-hong-qi-fu-zuo-xiang-yi-ming-255425","木雕红漆佛坐像",[104,106,105,144,145,146,147,7],"红漆","佛像","宗教","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb984d28745c42648990f0f7dfcc0509.jpg",[],1777535734548]