[{"data":1,"prerenderedAt":46},["ShallowReactive",2],{"subject-mo-yin-tie-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10664,"mo-yin-tie-hua","模印贴花","模印贴花画高清赏析","精选中国历代模印贴花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7d8ba3f26e4d2d0850e1aa52357f0c.jpg",0,2,[14,34],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},260193,"san-cai-mo-yin-tie-hua-san-zu-lu-yi-ming-260193","三彩模印贴花三足炉","唐","佚名","藏地不详","圆腹丰腴饱满，兽足沉稳敦实，翻口内敛自带古朴拙稚的气度。黄绿褐三色釉彩肆意流淌交融，似流云漫过山峦，如野火燎过春原，将素胎晕染出热烈奔放的盛唐底色。\n\n模印贴花隐在釉色之间，浅浮雕的纹样带着内敛的装饰意趣，为器物添了几分灵动鲜活。米白胎质与浓艳釉色形成柔和反差，粗粝胎骨与柔润釉面碰撞，将大唐兼容并包的审美藏在釉色的每一处晕染里，是千年前盛世烟火与匠心的缩影，携带着旧时光的温度，诉说着盛唐的浪漫厚重。",[23,24,7,25,26,27],"陶瓷","三彩","三足炉","饪食器","器","未知","Xcm*Xcm","",[],1,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":44,"material":28,"size":29,"collection":30,"collections":45,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},260811,"qing-you-mo-yin-tie-hua-wu-kong-ping-yi-ming-260811","青釉模印贴花五孔瓶","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[23,41,7,42,43],"青釉","五孔瓶","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7dff84933ba3cfcea9821506d009e65.jpg",[],1777535800453]