[{"data":1,"prerenderedAt":1499},["ShallowReactive",2],{"subject-san-cai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9634,"san-cai","三彩","三彩画高清赏析","精选中国历代三彩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd294f4a01d79ce7c90461af81ff44751.jpg",0,193,[14,38,56,66,73,83,93,102,112,126,135,144,152,161,172,182,189,196,205,216,224,235,246,254,263,272,279,286,294,303,312,320,329,340,351,360,367,376,383,389,395,401,408,414,421,429,439,445,454,462,472,478,488,497,504,512,522,530,539,546,556,564,571,578,587,595,602,611,620,628,636,645,651,658,666,675,685,694,701,711,721,729,737,744,753,762,770,778,786,793,802,809,816,822,828,838,844,852,860,868,874,880,888,894,903,909,915,921,927,933,939,947,953,960,966,972,978,984,991,997,1006,1015,1021,1028,1035,1041,1048,1054,1062,1068,1075,1081,1088,1096,1103,1112,1121,1130,1137,1143,1150,1156,1162,1168,1174,1180,1187,1194,1200,1206,1213,1219,1225,1231,1238,1244,1251,1261,1269,1276,1283,1290,1298,1304,1312,1318,1325,1331,1338,1344,1350,1356,1363,1369,1376,1383,1389,1397,1403,1409,1415,1423,1430,1436,1442,1448,1454,1460,1466,1473,1480,1486,1492],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},256720,"gong-yi-yao-san-cai-shuang-xi-guan-yi-ming-256720","巩义窑三彩双系罐","唐","佚名","藏地不详","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[23,24,7,25,26,27,28,29],"唐代","陶瓷","设色","罐","双系","陶器","低温铅釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd3db5804d0db3f13f07ac214c8977ed.jpg","未知","Xcm*Xcm","瓷器精选",[33],14,1,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":51,"material":31,"size":32,"collection":52,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},256072,"san-cai-zhen-wu-di-zuo-xiang-yi-ming-256072","三彩真武帝坐像","明","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[45,7,24,46,47,48,49,50],"明代","宗教","人物","坐像","雕刻","釉彩装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771e3959d083fe3b378219557d290084.jpg","",[],8,"795548",{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":20,"description":60,"tags":61,"thumbUrl":63,"material":31,"size":32,"collection":52,"collections":64,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":65},252767,"san-cai-hu-ren-la-ma-yong-yi-ming-252767","三彩胡人拉马俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[18,7,24,47,62],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537a90b8215046ea3fd499e44e55f47.jpg",[],"37474F",{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":60,"tags":70,"thumbUrl":10,"material":31,"size":32,"collection":52,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":65},252758,"san-cai-la-ma-yong-yi-ming-252758","三彩拉马俑",[23,24,7,25,47,62],[],7,{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":80,"material":31,"size":32,"collection":52,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":65},256154,"san-cai-ma-yi-ming-256154","三彩马","此马体态丰腴矫健，昂首伫立，筋骨线条劲挺舒展，尽显神骏昂扬之风。\n\n以白釉为底，褐釉如赭色流苏顺着颈鬃蜿蜒流淌，绿釉点缀鞍鞯与佩饰，三色交融晕染，古朴又明艳动人。鞍具纹饰精巧写实，垂坠的璎珞细腻生动，将大唐战马的华贵仪仗之气拉满。褪去疆场杀伐之态，凝住盛世雍容气度，静立间仿佛能窥见长安市上骏马骄行的往昔风貌，尽显彼时陶匠对鞍马的极致审美。",[18,24,7,79],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e70299bbdbb5073c7fdbd1211dcd5ff.jpg",[],5,{"id":84,"slug":85,"title":86,"dynasty":18,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":91,"material":31,"size":32,"collection":52,"collections":92,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":65},254739,"san-cai-zhen-mu-shou-yi-ming-254739","三彩镇墓兽","它人面兽身，高竖的鬃冠如利剑冲霄，阔耳外张，怒目圆睁，虬髯翻卷，自带慑人凶威。躯体纹饰如翎羽迸发舒张，褐、绿、白三色釉彩交融晕染，层次鲜亮分明，将幽冥守护者的狞猛姿态塑造得淋漓尽致。\n\n盛唐匠人以陶土为骨，釉色为魂，将镇慑邪祟的祈愿熔铸其中，诡谲奇崛的造型里，尽显大唐奔放雄浑的气魄，是冥世意象与工艺美学的绝妙碰撞。",[18,24,7,89,62,49,25,90],"兽","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a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[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。",[24,7,118,25,119,120,121],"刻花","鹭鸟","莲","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676f57ac08214d5b01da7fbb7f70dae9.jpg",[],4,"0D904F",{"id":127,"slug":128,"title":129,"dynasty":18,"author":19,"museum":20,"description":116,"tags":130,"thumbUrl":133,"material":31,"size":32,"collection":52,"collections":134,"showCount":124,"zanCount":36,"manualWeight":11,"mainColor":55},256724,"san-cai-ke-hua-hui-wen-san-zu-pan-yi-ming-256724","三彩刻花卉纹三足盘",[24,23,7,118,131,132,121],"花卉纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3037748a7f30271e131b9e46d5e76d3.jpg",[],{"id":136,"slug":137,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":138,"thumbUrl":142,"material":31,"size":32,"collection":52,"collections":143,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":65},255870,"san-cai-zhen-wu-di-zuo-xiang-yi-ming-255870",[45,24,7,139,140,47,141,25,48],"雕塑","道教","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f9112dea1853e14692bef5b373eac5.jpg",[],{"id":145,"slug":146,"title":41,"dynasty":147,"author":19,"museum":20,"description":43,"tags":148,"thumbUrl":150,"material":31,"size":32,"collection":52,"collections":151,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":65},255395,"san-cai-zhen-wu-di-zuo-xiang-yi-ming-255395","清",[149,24,7,46,47,48,139],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e631d71c61ea9f18d7f3827bc9d79.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":60,"tags":156,"thumbUrl":159,"material":31,"size":32,"collection":52,"collections":160,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":65},253281,"san-cai-qi-ma-nan-yong-yi-ming-253281","三彩骑马男俑",[23,7,24,62,47,79,157,158,25],"骑马","低温釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787a3b259b14ef1a68e831b83a2f62eb.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":21,"tags":165,"thumbUrl":169,"material":31,"size":32,"collection":52,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":65},261962,"san-cai-hei-he-you-shuang-long-bing-zun-yi-ming-261962","三彩黑褐釉双龙柄尊",[24,7,166,141,167,168],"黑褐釉","尊","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a1f77c5e950e442647b727adae4a56.jpg",[],3,{"id":173,"slug":174,"title":175,"dynasty":106,"author":19,"museum":20,"description":21,"tags":176,"thumbUrl":180,"material":31,"size":32,"collection":52,"collections":181,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":37},261349,"lv-you-san-cai-hua-hua-ren-wu-wen-zhen-yi-ming-261349","绿釉三彩划花人物纹枕",[24,7,177,47,178,179],"划花","花卉","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec1ff514b8b0c5bbb5a6c073329269f.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":106,"author":19,"museum":20,"description":60,"tags":186,"thumbUrl":187,"material":31,"size":32,"collection":52,"collections":188,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":65},254921,"san-cai-she-shen-shuang-ren-shou-yong-yi-ming-254921","三彩蛇身双人首俑",[106,24,62,7,25,47,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6844531494582ea2c3220ad8ab6949e.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":60,"tags":193,"thumbUrl":194,"material":31,"size":32,"collection":52,"collections":195,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":55},254909,"san-cai-wu-shi-yong-yi-ming-254909","三彩武士俑",[18,62,24,7,47,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7345a4b29276b92621ee61b71bfd8bf4.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":18,"author":19,"museum":20,"description":60,"tags":200,"thumbUrl":203,"material":31,"size":32,"collection":52,"collections":204,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":55},254160,"san-cai-nv-li-yong-yi-ming-254160","三彩女立俑",[23,7,24,47,62,201,202],"女俑","立俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7478d38d900e19a776e017950f1950e1.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":209,"tags":210,"thumbUrl":213,"material":31,"size":32,"collection":52,"collections":214,"showCount":215,"zanCount":36,"manualWeight":11,"mainColor":55},262257,"san-cai-jia-lan-shi-xing-zhu-tai-yi-ming-262257","三彩加蓝狮形烛台","瑞狮昂首怒目，鬃毛翻卷层次分明，躯体敦实威严，背插管台，将镇宅瑞兽的威仪与日用烛台的功用巧妙相融。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