[{"data":1,"prerenderedAt":485},["ShallowReactive",2],{"subject-mo-cai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6077,"mo-cai","墨彩","墨彩画高清赏析","精选中国历代墨彩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237031711aba6f2b66df105297cf9b50.jpg",0,50,[14,39,51,67,82,94,105,115,125,136,147,157,167,175,185,197,204,216,227,234,241,249,257,263,271,279,286,295,302,308,315,322,329,339,346,355,364,374,381,394,406,416,425,433,441,448,454,461,470,478],{"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},258711,"mo-cai-geng-zhi-tu-ci-ban-shu-yi-ming-258711","墨彩《耕织图》瓷板书","清","佚名","藏地不详","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。",[23,24,7,25,26,27,28,29,30,31],"清代","陶瓷","工笔","人物","耕作","纺织","农具","田园","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922b0ca2a3c6d599a3b709ace3b5823.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":48,"material":33,"size":34,"collection":35,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":38},261897,"dan-huai-shi-kuan-mo-cai-bai-die-wen-shui-cheng-yi-ming-261897","澹怀室款墨彩百蝶纹水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[24,7,45,46,47],"蝴蝶","水丞","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e4a05c881d6b741089a72617c12e1f.jpg",[],4,{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":64,"material":33,"size":34,"collection":35,"collections":65,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":66},259524,"da-ya-zhai-kuan-lv-di-mo-cai-hua-niao-tu-gao-zu-pan-yi-ming-259524","大雅斋款绿地墨彩花鸟图高足盘","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。",[24,7,57,58,59,60,61,62,63],"设色","花鸟","菊","牡丹","印章","高足盘","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792289fae02b8181b6b0e0b09d70a6f9.jpg",[],"37474F",{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":79,"material":33,"size":34,"collection":35,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":66},259761,"tao-cheng-ju-shi-kuan-fang-guan-you-mo-cai-bi-tong-yi-ming-259761","陶成居士款仿官釉墨彩笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[24,73,74,7,75,76,77,78],"笔筒","文房用具","书法","楷书","仿官釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa5fa13ca0918c82c89109210ac5c850.jpg",[],2,{"id":83,"slug":84,"title":85,"dynasty":18,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":91,"material":33,"size":34,"collection":35,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":38},262127,"tui-si-tang-kuan-mo-cai-shi-wen-jiu-bei-yi-ming-262127","退思堂款墨彩诗文酒杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[24,88,7,75,76,89,90],"饮酒器","诗文","酒杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90165567dc78b71f350a9b3fc87e47.jpg",[],1,{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":103,"material":33,"size":34,"collection":35,"collections":104,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":38},261265,"qian-long-kuan-mo-cai-shan-shui-shi-ju-wen-bi-yan-hu-yi-ming-261265","乾隆款墨彩山水诗句纹鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[24,100,7,101,75,102,61,63],"鼻烟壶","山水","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47020498a502908becb9305bf2e1081.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":112,"material":33,"size":34,"collection":35,"collections":113,"showCount":93,"zanCount":93,"manualWeight":11,"mainColor":114},261129,"mo-cai-hua-hui-wen-wan-yi-ming-261129","墨彩花卉纹碗","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。",[24,63,111,60,7,57],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5990605d1d32ca8683b953320d118a7a.jpg",[],"BDBDBD",{"id":116,"slug":117,"title":118,"dynasty":18,"author":19,"museum":20,"description":86,"tags":119,"thumbUrl":122,"material":33,"size":34,"collection":35,"collections":123,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":124},260270,"mo-cai-ba-xian-tu-tao-bei-yi-ming-260270","墨彩八仙图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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[24,412,7,413,58,371,388,154],"白釉","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ac34640ad9ae3a5f480c1c040e4dac.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":18,"author":19,"museum":20,"description":420,"tags":421,"thumbUrl":423,"material":33,"size":34,"collection":35,"collections":424,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},258858,"ti-he-dian-kuan-huang-di-mo-cai-hua-hui-wen-zhang-hua-pen-yi-ming-258858","体和殿款黄地墨彩花卉纹长花盆","此方花盆形制规整雅致，口沿描金卷草纹勾勒出利落边饰，明黄地釉匀净莹润，娇妍华贵。盆身以墨彩绘牡丹花枝，苍劲枝桠舒展延伸，花瓣层叠饱满，叶片扶疏灵动。墨彩施绘极尽巧思，浓淡晕染自然，将花瓣明暗层次、枝节肌理细致铺陈，写实中带着水墨写意的清雅隽秀。\n\n明黄的富丽底色与素净墨色相映成趣，消解了皇家用瓷的厚重威仪，增添了文人水墨的恬淡意韵，将宫廷华贵与文人雅趣精妙融合，是晚清彩瓷中别具一格的佳作。",[23,24,154,292,7,57,111,422],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac076bcba41ccfecfeba68dfe7d2a7bf.jpg",[],{"id":426,"slug":427,"title":428,"dynasty":18,"author":19,"museum":20,"description":429,"tags":430,"thumbUrl":431,"material":33,"size":34,"collection":35,"collections":432,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},258857,"ti-he-dian-kuan-huang-di-mo-cai-hua-hui-wen-lian-yi-ming-258857","体和殿款黄地墨彩花卉纹奁","此器以娇妍黄釉为地，匀净柔润似鎏金凝脂。外壁墨彩绘就各色花卉，牡丹雍容、秋菊清隽，枝蔓舒展萦纡，叶片脉络分明，墨色浓淡晕染，将花叶的鲜活姿态尽显，自带水墨雅韵。口沿描金卷草纹缠绕勾勒，为明艳底色增添精致边界感，素白内底简洁素雅，与外壁形成视觉反差，更衬得黄地墨彩愈发悦目。矮足沉稳周正，整体形制秀巧端庄，华贵底色配清雅墨花，将宫廷华贵之气与文人水墨意趣相融，尽显制瓷工艺里雅俗共赏的精妙格调。",[23,24,292,7,422,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca547ea1684ee0b1442a4a81c5c25573.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":18,"author":19,"museum":20,"description":437,"tags":438,"thumbUrl":439,"material":33,"size":34,"collection":35,"collections":440,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},258856,"ti-he-dian-kuan-huang-di-mo-cai-hua-hui-wen-chang-fang-lian-yi-ming-258856","体和殿款黄地墨彩花卉纹长方奁","此器长方浅腹，矮足承托，形制规整秀雅。娇黄地釉色匀净莹润，如凝蜜初融，与内里天青釉色相互映衬，冷暖交融。外壁墨彩绘就折枝花卉，枝蔓舒展，花瓣晕染细腻，墨色浓淡层次分明，在暖黄底色衬映下，更显清雅脱俗。口沿以绿彩勾勒锯齿边饰，为整体增添几分精致细节。\n器物整体摒弃繁复堆砌，于简静中见精巧，将素雅墨彩与明丽地色相融，尽显清隽秀逸的宫廷审美意趣，是不俗的文房雅器。",[23,24,7,292,111,60,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c78f3a6b5d76c4eb1f406a1c3dfc9e.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":18,"author":19,"museum":20,"description":333,"tags":445,"thumbUrl":446,"material":33,"size":34,"collection":35,"collections":447,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},258855,"ti-he-dian-kuan-huang-di-mo-cai-hua-hui-wen-yuan-he-yi-ming-258855","体和殿款黄地墨彩花卉纹圆盒",[23,24,7,57,111,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6647989af47adea084eb0ac757444a.jpg",[],{"id":449,"slug":450,"title":252,"dynasty":18,"author":19,"museum":20,"description":129,"tags":451,"thumbUrl":452,"material":33,"size":34,"collection":35,"collections":453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},258538,"qian-long-kuan-mo-cai-shi-ju-bi-tong-yi-ming-258538",[24,7,75,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dce1e79881ec2ffc323e927b3bc8017.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":18,"author":19,"museum":20,"description":129,"tags":458,"thumbUrl":459,"material":33,"size":34,"collection":35,"collections":460,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},258537,"mo-cai-ti-shi-shan-shui-tu-ba-fang-bi-tong-yi-ming-258537","墨彩题诗山水图八方笔筒",[18,24,7,101,75,61,133,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d7c638a39efa796821d9766ac1200b.jpg",[],{"id":462,"slug":463,"title":464,"dynasty":18,"author":19,"museum":20,"description":129,"tags":465,"thumbUrl":468,"material":33,"size":34,"collection":35,"collections":469,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},256595,"mu-wen-mo-cai-shan-shui-tu-bi-tong-yi-ming-256595","木纹墨彩山水图笔筒",[23,24,7,466,101,133,224,132,467,73],"木纹","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3508b6e88693d6f299e0c9cfb1935069.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":18,"author":19,"museum":20,"description":474,"tags":475,"thumbUrl":476,"material":33,"size":34,"collection":35,"collections":477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},256565,"mo-cai-zhu-jie-shi-bi-ge-yi-ming-256565","墨彩竹节式臂搁","此作取竹节为形制，莹白瓷胎温润细腻，器身棱线起伏，缀以乳钉摹拟竹枝肌理，宛若截取一段青竹化身文房雅物。\n\n墨彩绘竹意趣盎然，老干苍劲挺拔，新枝舒展柔韧，叶片以浓淡墨色晕染，俯仰错落，尽显君子劲节清高的风骨。旁配书法题字笔致潇洒，与墨竹相映成趣，文气悠然。将制瓷工艺、水墨雅韵与文人意趣精妙融合，尽显旧时文人士大夫案头赏玩寄兴的雅致情致。",[24,7,153,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d847b0a0f2801af5e2e51aeb388bba.jpg",[],{"id":479,"slug":480,"title":481,"dynasty":18,"author":19,"museum":20,"description":482,"tags":483,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":484,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":114},229057,"mo-cai-chang-fang-shui-xian-pen-yi-ming-229057","墨彩长方水仙盆","此水仙盆器型规整秀雅，长方倭角下承四矮足。外壁以墨彩通绘景致，折枝瑞果虬曲饱满，花草蛱蝶灵动鲜活，运笔细腻写实，墨色晕染自然，浓淡间铺陈出雅致层次，尽显水墨淡彩的文人画意。内壁通施松石绿釉，釉色莹润柔和，与外壁素净墨彩相映成趣。口沿以回纹点缀一周，衬出端庄古雅的气韵。整体沉静素雅，将瓷绘工艺与文人审美精妙相融，是兼具陈设与实用价值的雅致小品。",[24,7,23,164,154,402],[],1777535709511]