[{"data":1,"prerenderedAt":253},["ShallowReactive",2],{"subject-qian-song-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6374,"qian-song-shi","嵌松石","嵌松石画高清赏析","精选中国历代嵌松石题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251c8744943ea5f01bafecba50cc1840.jpg",0,22,[14,32,49,59,69,76,86,94,101,115,128,141,152,163,171,184,194,205,213,222,232,242],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":27,"collection":28,"collections":29,"showCount":30,"zanCount":11,"manualWeight":11,"mainColor":31},244097,"qian-song-shi-jian-yi-ming-244097","嵌松石剑","周","佚名","藏地不详","剑身狭长厚重，铜绿如苍苔覆于刃脊，勾勒出冷硬棱线，暗蕴上古杀伐之气。剑格饰灵动卷云纹，虽松石已佚，仍能窥见往昔错彩镂金的精工巧思。\n\n剑茎分段凸起，搭配圆盘剑首，握持趁手，尽显实用与美学的相融。它褪去了饮血利器的锋芒，斑驳铜锈凝着先秦尚武魂脉，静静诉说千年前金戈铁马的过往，将时代风骨与工艺匠心熔铸为一体。",[23,24,7,25],"青铜器","兵器","周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf5e0a33735c52a3a7ee04d6df49195.jpg","","青铜器精选",[28],19,"BDBDBD",{"id":33,"slug":34,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":43,"material":44,"size":45,"collection":27,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},243470,"qian-song-shi-gong-xing-qi-yi-ming-243470","嵌松石弓形器","商","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[39,23,7,40,41,42],"商代","铜制","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f0dd0d8d1ebcbb9756f635d27a6baa.jpg","未知","Xcm*Xcm",[],5,"F48FB1",{"id":50,"slug":51,"title":52,"dynasty":36,"author":19,"museum":20,"description":37,"tags":53,"thumbUrl":55,"material":44,"size":45,"collection":27,"collections":56,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":58},243783,"qian-song-shi-mu-wen-ge-yi-ming-243783","嵌松石目纹戈",[23,24,7,39,54],"纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd763b76b5ca85e76e5a1725e3d891109.jpg",[],4,"795548",{"id":60,"slug":61,"title":62,"dynasty":36,"author":19,"museum":20,"description":37,"tags":63,"thumbUrl":66,"material":44,"size":45,"collection":27,"collections":67,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":68},243424,"qian-song-shi-ma-shi-yi-ming-243424","嵌松石马饰",[36,23,7,41,64,65,40],"兽面纹","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd99f22cef66d0fb53da2f4fbde3cc7.jpg",[],"37474F",{"id":70,"slug":71,"title":17,"dynasty":18,"author":19,"museum":20,"description":37,"tags":72,"thumbUrl":73,"material":44,"size":45,"collection":27,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":31},244695,"qian-song-shi-jian-yi-ming-244695",[23,24,7,40,41,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9ce15cf279def56a2dc9487f90409f.jpg",[],2,{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":37,"tags":80,"thumbUrl":83,"material":44,"size":45,"collection":27,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":31},244314,"cuo-jin-qian-song-shi-dai-gou-yi-ming-244314","错金嵌松石带钩",[81,7,23,82,65,40],"错金","带钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd617bf745afdf138a1a7964937c5eedb.jpg",[],1,{"id":87,"slug":88,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":89,"thumbUrl":92,"material":44,"size":45,"collection":27,"collections":93,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":58},243857,"qian-song-shi-gong-xing-qi-yi-ming-243857",[39,23,7,40,90,91],"嵌饰","弓形器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c3a7cb2479dbe7172106caed032699.jpg",[],{"id":95,"slug":96,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":97,"thumbUrl":99,"material":44,"size":45,"collection":27,"collections":100,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":31},243791,"qian-song-shi-gong-xing-qi-yi-ming-243791",[39,23,40,7,98,41],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef30d0075bc0449e3a231d0081dfcc5b.jpg",[],{"id":102,"slug":103,"title":104,"dynasty":105,"author":19,"museum":20,"description":106,"tags":107,"thumbUrl":113,"material":44,"size":45,"collection":27,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":31},275687,"yin-pan-si-qian-song-shi-shan-hu-bing-yin-qiao-yao-dao-yi-ming-275687","银盘丝嵌松石珊瑚柄银鞘腰刀","清","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[24,108,109,110,7,111,112,65],"银器","腰刀","银鞘","嵌珊瑚","盘丝工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720c110f8dab1d7f8c9898a57091dcd7.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":105,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":126,"material":44,"size":45,"collection":27,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":31},274996,"qian-long-kuan-tong-du-jin-qian-song-shi-ta-yi-ming-274996","乾隆款铜镀金嵌松石塔","此塔通体鎏金，金辉璀璨华贵。周身錾刻缠枝卷草纹饰，间嵌松石，翠色与金泽交相辉映，宝气盎然。塔身佛龛内置坐佛，法相端严沉静，慈悲尽显。\n\n塔刹高耸，日月宝珠顶戴其上，下悬璎珞流苏，两侧龙形耳饰遒劲灵动，兼具威仪与精巧。台座层叠而起，饰以莲瓣纹样，松石点缀其间，沉稳厚重的底座承托起塔身的华丽精巧，刚柔并济。\n\n整器集铸造、錾刻、镶嵌工艺于一体，工法极致精妙，尽显不凡匠心，是藏传佛塔工艺之上佳代表，肃穆华贵间承载着清净庄严的宗教意涵。",[121,40,41,122,123,7,124,125],"金器","宗教","佛塔","佛像","工艺器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093c5c0362705cdcab3a8f36635fa08c.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":105,"author":19,"museum":20,"description":132,"tags":133,"thumbUrl":139,"material":44,"size":45,"collection":27,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},274837,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-guan-yi-ming-274837","铜镀金嵌松石云顶八宝-罐","铜鎏金为底骨，松石为缀饰，层层莲台承托主体。拱卫的金环托举松石宝罐，石质清莹温润，鎏金明丽华贵，二者相映成趣。周身錾刻缠枝莲纹，瓣叶舒展灵动，细节处一丝不苟，将花丝镶嵌与玉雕工艺精妙结合。整体造型庄严雅致，吉祥意涵融于形制之中，静穆间尽显华贵雍容的宗教质感，把祈福纳祥的美好愿景凝注在方寸器物之上，是清代匠心独到的工艺佳制。",[134,42,135,7,41,136,137,138,65],"佛教","铜镀金","莲花","宝瓶","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f616d08133c4f7cd6ed43a9735be69.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":105,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":150,"material":44,"size":45,"collection":27,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},274834,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-san-yi-ming-274834","铜镀金嵌松石云顶八宝-伞","这件法器以镀金铜为骨，苍润松石为饰，华贵雅致。饱满莲台稳稳承托主体，松石的清润冷色中和了鎏金的明黄张扬，二者交相辉映。伞身造型凝练，被嵌满松石的鎏金圆拱环拱卫，细节精巧华贵。\n\n上下莲瓣莹润饱满，鎏金缠枝纹舒展灵动，将松石构件妥帖衔接，藏地法器的沉静质感与宫廷精工融为一体，在寸尺之间尽显庄重华贵的宗教美学，是雪域信仰与皇家工艺的完美契合，静穆端方尽显清供重器的不凡格调。",[122,147,148,135,7,41,149,65],"佛教八宝","伞","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2669196f99922bb8a5b345364b682279.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":105,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":161,"material":44,"size":45,"collection":27,"collections":162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},274833,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-luo-yi-ming-274833","铜镀金嵌松石云顶八宝-螺","鎏金铜胎为骨，通体嵌饰松石，浅淡莹润的石色与烁烁金辉相映，雅致又不失华贵。法螺居于金环中央，环身饰钉珠点缀，螺身庄严肃穆又灵动鲜活，仿佛隐隐传来梵音。下承双层仰莲台，莲瓣饱满立体，舒展的火焰纹缠绕莲茎，线条流畅飞扬，勾勒出盎然生机。\n\n整器层次分明，藏地造像的庄严意蕴与宫廷制器的细腻工艺相融，每一处纹饰都尽显匠师巧思，静穆雅致间饱含宗教虔诚，是工艺与审美意趣凝结的上乘之作。",[158,121,40,41,7,136,159,160,98],"佛教法器","法螺","绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334f94e1754c0e28930415afcbd49a20.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":105,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":169,"material":44,"size":45,"collection":27,"collections":170,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},274825,"tong-du-jin-qian-song-shi-hua-gu-yi-ming-274825","铜镀金嵌松石花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[40,121,7,41,138,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40e6c2d00126d07588760c774a75f8ac.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":105,"author":19,"museum":20,"description":106,"tags":175,"thumbUrl":182,"material":44,"size":45,"collection":27,"collections":183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},273199,"hei-qi-jin-qian-wen-qian-song-shi-niu-jiao-bing-qiao-dao-yi-ming-273199","黑漆金钱纹嵌松石牛角柄鞘刀",[24,176,177,178,7,179,180,181],"鞘刀","牛角柄","金钱纹","黑漆","铁器","金属鞘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987254a6d4cb3a1c447c56e31768a964.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":105,"author":19,"museum":20,"description":106,"tags":188,"thumbUrl":192,"material":44,"size":45,"collection":27,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},273198,"wu-yin-qian-song-shi-niu-jiao-bing-qiao-dao-yi-ming-273198","乌银嵌松石牛角柄鞘刀",[24,189,108,190,7,191],"刀","牛角","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98174f6bbdc34c0b8998d8f4d694c0cf.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":105,"author":19,"museum":20,"description":198,"tags":199,"thumbUrl":203,"material":44,"size":45,"collection":27,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},245564,"jin-lei-si-qian-song-shi-zhai-jie-pai-yi-ming-245564","金累丝嵌松石斋戒牌","斋戒牌，中国古代行斋戒礼时所置示警牌。明洪武五年（1372）令诸衙门各制作木斋戒牌，刻文于上，文为“国有常定，神有鉴焉”。\n凡行祭祀则设置。清沿明制，凡大祀、中祀皇帝致祭，事前应斋戒，由太常寺进斋戒牌。斋戒牌为木质，饰以黄纸，以清汉文书写斋戒日期。圜丘、祈谷、常雩，皇帝宿内廷斋宫，于乾清门设斋戒牌二日，置于黄案。坛所斋宫设斋戒牌一日。皇后亲蚕，亦进斋戒牌，由太常寺进递到乾清门交给内监，置于交泰殿。各衙门官员斋戒，大祀斋于公署，于大堂正中设案置斋戒红牌；中祀斋于私署。行祀之日各佩斋戒牌，不理刑名，不宴会，不作乐，不入内寝，不问疾吊丧，而有疾有服者不与戒",[200,201,7,65,121,202],"清代","金累丝","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb6a749128138e6c60518ce9476b704c.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":105,"author":19,"museum":20,"description":209,"tags":210,"thumbUrl":211,"material":44,"size":45,"collection":27,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},245547,"jin-lei-si-qian-song-shi-pan-yi-ming-245547","金累丝嵌松石盘","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。",[121,201,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9a7a118db6a3b9a0220754809cde4a.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":105,"author":19,"museum":20,"description":217,"tags":218,"thumbUrl":220,"material":44,"size":45,"collection":27,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},245365,"jin-gai-tuo-xiang-yin-li-qian-song-shi-ga-ba-la-wan-yi-ming-245365","金盖托镶银里嵌松石嘎巴拉碗","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。",[122,121,108,219,7,42],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe03a7aabeb59d14bf95d442412feff2.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":226,"author":19,"museum":20,"description":227,"tags":228,"thumbUrl":230,"material":44,"size":45,"collection":27,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},243122,"qian-song-shi-lei-wen-bu-yi-ming-243122","嵌松石雷纹瓿","宋","敛口鼓腹，形制沉稳古朴，带着上古礼器的肃穆厚重感。通体雷纹织就底地，网格肌理规整严谨，颗颗松石嵌于纹格交点处，历经岁月仍莹润鲜亮，与暗沉青铜底色相映成趣，冷绿古铜交织出明暗层次，将几何纹饰衬得灵动雅致。整器在古朴厚重之中，借镶嵌工艺晕出华贵细节，尽显复古匠心与审美意趣。",[226,23,40,41,7,229,138],"雷纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc396ddde45137e28a63c6a7a15907aa3.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":226,"author":19,"museum":20,"description":236,"tags":237,"thumbUrl":10,"material":44,"size":45,"collection":27,"collections":241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},243120,"cuo-jin-yin-qian-song-shi-hui-wen-lei-yi-ming-243120","错金银嵌松石回纹罍","敞口束颈，鼓腹圆浑，器形沉稳敦朴，自带古雅厚重之感。器身以错金银勾勒出回纹网格，格内密嵌松石，翠色点点于深褐铜色间错落，历经时光洗练依旧鲜亮动人，明暗相映，古韵悠然。\n回纹循环往复，带着规整的秩序之美，嵌饰工艺精细入微，将匠心藏于分毫之间。素净颈腹与满工纹饰形成视觉对比，张弛有度，把庄重雅致融于一身，复刻出古青铜的肃穆气韵，尽显造器的审美意趣，沉静中尽显雅致古意。",[23,40,238,7,41,239,138,240],"错金银","回纹","盛酒器",[],{"id":243,"slug":244,"title":245,"dynasty":105,"author":19,"museum":20,"description":246,"tags":247,"thumbUrl":251,"material":44,"size":45,"collection":27,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},229640,"qian-song-shi-xiang-jin-long-yin-hu-yi-ming-229640","嵌松石镶金龙银壶","此壶以银为胎，黑地衬金，华贵雍容。盖顶金珠圆莹，盖面嵌松石熠熠生辉，为素雅器身点染亮色。壶身饱满端庄，开光内錾刻游龙矫然灵动，周身缠枝纹婉转萦回，刚柔并济。\n\n壶流与执柄皆以金龙塑型，龙首威严肃穆，鎏金厚重明丽，与银地形成强烈视觉反差，气场威严。足底缠枝纹繁密铺陈，层次分明不显冗杂。整体融藏式审美与中原重工技法为一体，将瑞龙意象与金镶宝工艺完美结合，尽显匠心巧思与华贵气派，是清代金属细作工艺中的佼佼之作。",[200,248,249,7,250,42,191],"银制","镶金","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517001e255c32c75fec264c71a956b0d.jpg",[],1777535719487]