[{"data":1,"prerenderedAt":314},["ShallowReactive",2],{"subject-quan-zu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4295,"quan-zu","圈足","圈足画高清赏析","精选中国历代圈足题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf7aff2de1ed06e58adfc4f84f20889.jpg",0,24,[14,38,53,71,87,105,119,136,149,159,169,181,192,200,210,219,230,241,253,263,274,283,292,304],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},223863,"mu-lei-wen-gui-yi-ming-223863","目雷纹簋","商","佚名","藏地不详","中作目形，目外形线引长作成∽形，四周填以雷纹。以目和雷纹组成，故名。通行于商和西周初期。",[23,24,25,26,27,28,29,30,7],"青铜器","商代","礼器","饪食器","青铜铸造","雕刻","目雷纹","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50724652e57d1322ee2c78f2020703d4.jpg","未知","Xcm*Xcm","",[],62,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":49,"material":32,"size":33,"collection":34,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},226743,"shi-zun-yi-ming-226743","史尊","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。",[23,25,44,28,45,46,47,48,7],"铸造","兽面纹","夔龙纹","兽首","商代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078b3edf0c1b788db95db83adbafbbc2.jpg",[],19,"795548",{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":68,"material":32,"size":33,"collection":34,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":52},257632,"qing-hua-ying-xi-tu-wan-yi-ming-257632","青花婴戏图碗","明","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[60,61,62,63,64,65,57,66,67,7],"陶瓷","青花","婴戏","山水","小桥","人物","设色","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2858e7696b3bb0007b0b8f1dac871c.jpg",[],10,{"id":72,"slug":73,"title":74,"dynasty":75,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":84,"material":32,"size":33,"collection":34,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":52},226975,"suan-tou-ping-yi-ming-226975","蒜头瓶","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[78,23,79,44,80,81,82,7,83],"汉代","铜制","蒜头口","长颈","鼓腹","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85af65b0ed744f39a0109dcde8fef98a.jpg",[],8,{"id":88,"slug":89,"title":90,"dynasty":75,"author":19,"museum":20,"description":76,"tags":91,"thumbUrl":101,"material":32,"size":33,"collection":34,"collections":102,"showCount":103,"zanCount":104,"manualWeight":11,"mainColor":37},227032,"suan-tou-hu-yi-ming-227032","蒜头壶",[78,23,79,80,81,82,7,92,93,94,95,96,97,98,99,100],"古铜色","器物","古董","传统器物","青铜","金属器","古代器物","铜器工艺","器物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fb481fa7270cdf947580ec3e503f45.jpg",[],7,1,{"id":106,"slug":107,"title":108,"dynasty":109,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":116,"material":32,"size":33,"collection":34,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":37},226684,"cha-wan-yi-ming-226684","茶碗","宋","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[112,60,113,114,115,7],"宋代","茶器","日用器","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339c88695cd93be841a08ad05adda13d.jpg",[],4,{"id":120,"slug":121,"title":122,"dynasty":75,"author":19,"museum":20,"description":76,"tags":123,"thumbUrl":134,"material":32,"size":33,"collection":34,"collections":135,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":52},243843,"xi-yi-ming-243843","洗",[78,23,79,124,125,126,7,127,97,128,129,130,131,132,133,67],"日用器具","铜锈","单柄","线纹","日常用品","汉代风格","铜器","锈蚀","带柄","底座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f8c4baf2e5cc6b4d289513f8b24721.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":140,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":147,"material":32,"size":33,"collection":34,"collections":148,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":52},243439,"lu-yi-ming-243439","炉","唐","它造型秀雅端庄，盖顶尖钮层层起势，灵动挺拔。覆钵炉盖镂空出烟窗，炉内燃香时，烟气便从中轻逸漫出，将焚香幽韵晕散在室中。周身铜绿锈色深浅错落，是时光晕染下的痕迹，凝着盛唐日常的松弛暖意，把古人焚香静思的雅趣定格其中。古拙质朴的器型里，藏着唐人对闲雅生活的执念，静静诉说着千年前的慢调时光，尽显古韵悠然。",[143,23,79,144,145,28,146,7],"唐代","器","镂空","盖钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b59f385327319d2cc1daafee6c2a046.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":75,"author":19,"museum":20,"description":76,"tags":153,"thumbUrl":156,"material":32,"size":33,"collection":34,"collections":157,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":158},242892,"zhong-shi-liu-jin-suan-tou-hu-yi-ming-242892","重十六斤蒜头壶",[78,23,79,144,83,154,125,155,81,82,7],"厚重","蒜头形口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914768e99f939ce1ca031dcc3f34d89e.jpg",[],"37474F",{"id":160,"slug":161,"title":162,"dynasty":57,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":167,"material":32,"size":33,"collection":34,"collections":168,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":37},231896,"jiu-bei-yi-ming-231896","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。",[165,60,166,115,67,7],"明代","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3ad403e5fcb24bdb66d5a93359879b4.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":109,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":179,"material":32,"size":33,"collection":34,"collections":180,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":37},227648,"si-er-guan-yi-ming-227648","四耳罐","圆口，短直颈，平肩，直筒形腹，平底。肩部有一道压印的凸沿纹，并置对称的四个桥形系。",[109,60,175,176,177,178,82,7],"青釉","开片","带盖","四系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c77c4816808c51f016ca5c4e527df3.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":140,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":190,"material":32,"size":33,"collection":34,"collections":191,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},272713,"shi-san-zhu-quan-zu-pi-yong-ci-yan-yi-ming-272713","十三柱圈足辟雍瓷砚","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。",[60,187,188,7,189],"砚","文房用具","多柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe970f5afaa85821e6b0f0a3b186b2bd2.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":140,"author":19,"museum":20,"description":185,"tags":196,"thumbUrl":198,"material":32,"size":33,"collection":34,"collections":199,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},272711,"shi-liu-shou-mian-zhu-quan-zu-pi-yong-bai-ci-yan-yi-ming-272711","十六兽面柱圈足辟雍白瓷砚",[60,187,197,188,7],"兽面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa0df723b06642877b62c631cc66aec.jpg",[],{"id":201,"slug":202,"title":203,"dynasty":204,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":208,"material":32,"size":33,"collection":34,"collections":209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":158},270461,"xuan-de-kuan-tong-hui-er-quan-zu-lu-yi-ming-270461","宣德款铜虺耳圈足炉","清","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[23,79,139,207,7],"虺耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b826e13961201cbe731e0eed84983.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":204,"author":19,"museum":20,"description":205,"tags":214,"thumbUrl":217,"material":32,"size":33,"collection":34,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},270452,"xuan-de-kuan-tong-yu-er-quan-zu-lu-yi-ming-270452","宣德款铜鱼耳圈足炉",[79,23,139,215,7,216],"鱼耳","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773842cec090b55b230fab0d14cc7615.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":204,"author":19,"museum":20,"description":205,"tags":223,"thumbUrl":228,"material":32,"size":33,"collection":34,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},270257,"xuan-de-kuan-tong-hui-er-quan-zu-xun-lu-yi-ming-270257","宣德款铜虺耳圈足熏炉",[79,23,224,207,7,225,226,227,144],"熏炉","镂空纹饰","卍字纹","香具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc816a812041a6ec156518cdec50b0bd9.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":109,"author":19,"museum":20,"description":234,"tags":235,"thumbUrl":239,"material":32,"size":33,"collection":34,"collections":240,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":158},243071,"xian-wen-bian-hu-yi-ming-243071","弦纹扁壶","器型饱满敦实，敞口束颈，对称衔环双耳为沉稳造型晕开灵动生机，圈足规整，稳稳承托整体姿态。颈腹两道弦纹利落简约，摒弃繁饰，尽显宋韵素雅古拙。深绿铜色裹挟斑驳锈迹，凝缩悠悠岁月的摩挲痕迹，将宋人尚简的审美意趣熔铸其中。平和内敛间，古雅静穆的器物之美缓缓舒展，尽显复古雅致的宋代风雅格调。",[23,79,112,236,44,237,30,7,238,97,125],"弦纹","器形扁圆","古物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd479dd64db2b0419c3a277842ac78907.jpg",[],{"id":242,"slug":243,"title":244,"dynasty":245,"author":19,"museum":20,"description":163,"tags":246,"thumbUrl":251,"material":32,"size":33,"collection":34,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},231897,"guang-kou-bei-yi-ming-231897","广口杯","元",[247,60,166,248,7,249,250],"元代","花瓣口","黄褐色釉","模印纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab1fe4ae040716005b0faf52c1ca1ca.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":204,"author":19,"museum":20,"description":257,"tags":258,"thumbUrl":261,"material":32,"size":33,"collection":34,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},229886,"bi-yu-lu-yi-ming-229886","碧玉炉","古文云:“石之美，谓之玉”，中国古代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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[259,28,260,144,25,67,30,177,7],"玉石","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb03e54f9ae3b3281b5dab9b350710039.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":109,"author":19,"museum":20,"description":110,"tags":267,"thumbUrl":272,"material":32,"size":33,"collection":34,"collections":273,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},227961,"wan-yi-ming-227961","碗",[109,60,268,269,7,114,270,115,271],"白釉","花口","素面","造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7920633d7209c2e7223c3469f76ebc6.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":109,"author":19,"museum":20,"description":110,"tags":278,"thumbUrl":281,"material":32,"size":33,"collection":34,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},227434,"gao-jing-hua-ping-yi-ming-227434","高颈花瓶",[112,60,268,279,280,270,7],"高颈","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ee17f59b6444aa1abb8857b333b7471.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":109,"author":19,"museum":20,"description":185,"tags":287,"thumbUrl":290,"material":32,"size":33,"collection":34,"collections":291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},227307,"ao-bian-bai-ci-wan-yi-ming-227307","凹边白瓷碗",[112,60,288,270,7,289],"单色釉","凹边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b1495703fb2271a8c974fcf7ad991c.jpg",[],{"id":293,"slug":294,"title":295,"dynasty":296,"author":19,"museum":20,"description":42,"tags":297,"thumbUrl":302,"material":32,"size":33,"collection":34,"collections":303,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},224064,"xi-zhong-huan-wen-gui-yi-ming-224064","西重环纹簋","周",[23,25,26,298,79,28,299,300,7,301],"周代","重环纹","兽首耳","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ffc5f25363868766deda4f35dffc0c.jpg",[],{"id":305,"slug":306,"title":307,"dynasty":308,"author":19,"museum":20,"description":309,"tags":310,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":313,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},224003,"zhi-wen-gui-yi-ming-224003","直纹簋","不详","青铜簋，为商周时期重要的青铜礼器和食器，主要盛放煮熟的黍、稷、稻、粱等食粮，作用相当于我们现在使用的大碗，人们使用工具从簋中取食。在商周礼制中，青铜簋通常在祭祀和宴飨时以偶数组合与以奇数组合的列鼎配合使用，如，天子用九鼎八簋，诸侯七鼎六簋，大夫五鼎四簋，元士三鼎二簋。\n现在所见最早的青铜簋是二里岗时期的。商代早中期，簋多为圆形，侈口、深腹、圈足；到了商代晚期，双耳簋开始增多。西周时期是簋的盛行时期，不仅出土数量增多，而且形制亦趋复杂，除双耳圈足簋外，还出现了四耳簋、三足簋、四足簋和方座簋等；西周中期后多有盖。至战国后始衰落。",[23,79,25,311,28,312,47,7,67,238],"盛食器","直纹",[],1777535718060]