[{"data":1,"prerenderedAt":316},["ShallowReactive",2],{"subject-pu-tao-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4286,"pu-tao-wen","葡萄纹","葡萄纹画高清赏析","精选中国历代葡萄纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fcecf1fa7dfa26a064879035422051.jpg",0,28,[14,33,48,59,76,91,101,112,120,132,141,154,165,177,189,197,205,216,225,232,246,256,262,272,280,289,298,309],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},223840,"hai-shou-pu-tao-wen-fang-jing-yi-ming-223840","海兽葡萄纹方镜","唐","佚名","藏地不详","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[18,23,24,25,7,26],"铜制","雕刻","海兽","器","未知","Xcm*Xcm","",[],7,"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":43,"material":27,"size":28,"collection":44,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},256532,"long-quan-yao-qing-you-ke-hua-pu-tao-wen-da-pan-yi-ming-256532","龙泉窑青釉刻花葡萄纹大盘","明","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[37,40,41,42,7,26],"陶瓷","青釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654d78bf63e6f4c19db58744453b010b.jpg","瓷器精选",[44],3,"795548",{"id":49,"slug":50,"title":51,"dynasty":37,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":57,"material":27,"size":28,"collection":29,"collections":58,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},249048,"qia-si-fa-lang-pu-tao-wen-chao-tian-er-ru-zu-lu-yi-ming-249048","掐丝珐琅葡萄纹朝天耳乳足炉","此炉造型雅致规整，朝天双耳利落挺拔，三枚乳足稳稳承托，尽显古朴端庄的气度。宝蓝色珐琅为底，金彩掐丝勾勒葡萄枝蔓，缠卷蜿蜒间，紫黑葡萄垂坠饱满，枝叶与小花点缀其间，红绿彩料鲜亮浓郁。掐丝走线匀净流畅，填色饱满厚实，繁丽纹饰衬着沉郁底色，华贵又不失雅致，将古朴浑厚的工艺质感尽显无余，枝蔓缠连间带着鲜活生机，是兼具装饰性与实用性的匠心之作。",[54,55,23,7,26,56],"明代","掐丝珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fbcf0c2b7c6543827ef4cb6b1fb15f0.jpg",[],{"id":60,"slug":61,"title":62,"dynasty":63,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":73,"material":27,"size":28,"collection":29,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},266845,"xue-hui-se-duan-xiu-pu-tao-wen-qian-liao-zhu-hua-pen-di-nv-jia-xie-yi-ming-266845","雪灰色缎绣葡萄纹嵌料珠花盆底女夹鞋","清","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[66,67,68,69,70,7,71,72],"衣帽","女鞋","花盆底鞋","刺绣","布料","蝴蝶纹","珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7546157b63b2ac3a1e7ada3b5fc5fe26.jpg",[],2,{"id":77,"slug":78,"title":79,"dynasty":37,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":88,"material":27,"size":28,"collection":29,"collections":89,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":90},256456,"cheng-hua-kuan-dou-cai-pu-tao-wen-gao-zu-bei-yi-ming-256456","成化款斗彩葡萄纹高足杯","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。",[54,40,82,7,83,84,85,86,87],"斗彩","高足杯","饮酒器",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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[66,70,69,7,97],"绛色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5e1e8341ac212934f92a2877c75818.jpg",[],1,{"id":102,"slug":103,"title":104,"dynasty":63,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":110,"material":27,"size":28,"collection":29,"collections":111,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":47},262004,"qing-hua-pu-tao-wen-xiao-die-yi-ming-262004","青花葡萄纹小碟","青花瓷（blue and white 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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[54,55,56,7,138],"壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff068c52b56a472457ad7a3e00692c7f9.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":37,"author":19,"museum":20,"description":136,"tags":145,"thumbUrl":152,"material":27,"size":28,"collection":29,"collections":153,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":47},228557,"qia-si-fa-lang-pu-tao-wen-hu-yi-ming-228557","掐丝珐瑯葡萄纹壶",[54,55,146,7,147,148,85,149,150,151],"铜胎","花卉纹","缠枝纹","珐瑯器","器物","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86286da72d77c9a0c883acf9c951bd59.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":19,"museum":20,"description":158,"tags":159,"thumbUrl":163,"material":27,"size":28,"collection":29,"collections":164,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":47},227115,"hai-shou-pu-tao-wen-jing-9-yi-ming-227115","海兽葡萄纹镜-9","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[160,23,24,161,25,86,162,7,26],"唐代","铸造","兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9bb4940e789c9a89f7dfa75c657e408.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":63,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":175,"material":27,"size":28,"collection":29,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},281458,"yin-tie-hua-juan-kou-hua-cha-yi-ming-281458","银贴花卷口花插","卷口舒展如绽开花萼，柔婉灵动带着韵律之美。素银瓶身沉静内敛，贴金葡萄纹饰熠熠生辉，冷调银质与暖光鎏金相衬，明暗交错间尽显华贵张力。叶片脉络分明，葡萄垂坠饱满，将秋日山野的丰饶意趣凝于瓶身，鲜活生动。颈间、足上鎏金束饰呼应瓶身饰带，层次错落有致，于素雅底色中点染奢华，糅合东方雅致与西洋装饰美学，尽显精工细致，将陈设美感与插花实用相融，藏着往昔匠人的巧思，静静晕开雅致的旧日风情。",[171,172,173,7,24,174],"银器","花插","贴花","卷口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d4616300d05b75b1165a15cfa8e620.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":63,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":187,"material":27,"size":28,"collection":29,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},272202,"duan-shi-diao-tao-pu-chang-fang-yan-yi-ming-272202","端石雕萄葡长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[183,184,24,7,185,186],"砚","端石","文房用具","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcabb6133b952ae76e450519c0006b4e.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":63,"author":19,"museum":20,"description":181,"tags":193,"thumbUrl":195,"material":27,"size":28,"collection":29,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},271352,"wang-bao-sun-zhang-yi-zi-sun-kuan-zi-se-duan-shi-yan-yi-ming-271352","王苞孙长宜子孙款紫色端石砚",[183,184,194,24,7],"文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00516466ccaaa0fea40bcbd5f904d137.jpg",[],{"id":198,"slug":199,"title":200,"dynasty":63,"author":19,"museum":20,"description":181,"tags":201,"thumbUrl":203,"material":27,"size":28,"collection":29,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},270913,"jin-xing-she-shi-pu-tao-wen-zao-he-shi-yan-yi-ming-270913","金星歙石葡萄纹枣核式砚",[183,202,7,24,194],"歙石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d18d039596b783452d234a69cc3a62.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":63,"author":19,"museum":20,"description":64,"tags":209,"thumbUrl":214,"material":27,"size":28,"collection":29,"collections":215,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},266849,"xue-hui-se-duan-xiu-pu-tao-wen-hua-pen-di-nv-jia-xie-yi-ming-266849","雪灰色缎绣葡萄纹花盆底女夹鞋",[210,211,69,7,70,212,66,213],"女夹鞋","花盆底","缎面","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc077f028a87e111914e6dd55be07b959.jpg",[],{"id":217,"slug":218,"title":219,"dynasty":63,"author":19,"museum":20,"description":64,"tags":220,"thumbUrl":223,"material":27,"size":28,"collection":29,"collections":224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},266844,"jiang-se-duan-xiu-pu-tao-wen-hua-pen-di-nv-jia-xie-yi-ming-266844","绛色缎绣葡萄纹花盆底女夹鞋",[67,211,221,222,7,66,70,69,213],"夹鞋","缎绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd774e2e9f4e10dda1f163b6a7cca5bac.jpg",[],{"id":226,"slug":227,"title":228,"dynasty":63,"author":19,"museum":20,"description":80,"tags":229,"thumbUrl":230,"material":27,"size":28,"collection":29,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},261148,"cheng-hua-kuan-dou-cai-pu-tao-wen-bei-yi-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