[{"data":1,"prerenderedAt":88},["ShallowReactive",2],{"subject-qin-lei":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3316,"qin-lei","禽类","禽类画高清赏析","精选中国历代禽类题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa920dcb117448210cb4372402005253a.jpg",0,3,[14,50,69],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":40,"material":41,"size":42,"collection":43,"collections":44,"showCount":47,"zanCount":48,"manualWeight":11,"mainColor":49},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","宋","赵昌","藏地不详","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,7],"高清","国画","名画","长卷","工笔","设色","花鸟","鹌鹑","竹","荷","鸟","溪流","花草","藤蔓","坡地","浆果","野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","绢本设色","横301.5cm纵32.5cm","宋画精选",[43,45,46],"花鸟画精选","设色画精选",79,1,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":10,"material":65,"size":66,"collection":45,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":49},219306,"lu-yan-tu-zhou-liu-zhao-219306","芦雁图轴","明","刘炤","台北故宫博物院","刘炤［明］字巢云，会稽（今浙江绍兴）人。善画翎毛、花卉，且喜吟咏、有自题芦雁图。巨幅精妙绝伦。《越画见闻》",[24,59,60,27,29,61,62,63,64,7],"立轴","水墨","芦雁","飞鸟","群雁","芦苇","绢本,设色","291x128.2cm",[45],28,{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":20,"description":75,"tags":76,"thumbUrl":82,"material":83,"size":84,"collection":85,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},254049,"tao-ya-yi-ming-254049","陶鸭","唐","佚名","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[73,77,78,79,80,7,81],"陶瓷","陶塑","鸭","动物","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0377fd81f4b58d4574dce2b3ec405cd1.jpg","未知","Xcm*Xcm","",[],"37474F",1777535767578]