[{"data":1,"prerenderedAt":96},["ShallowReactive",2],{"subject-shan-shui-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10280,"shan-shui-wen","山水纹","山水纹画高清赏析","精选中国历代山水纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb98e04ab28dd77d2e74628fff99d4a8b.jpg",0,6,[14,36,49,60,73,85],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},264281,"ou-he-se-ke-si-gui-hua-wen-pao-liao-yi-ming-264281","藕荷色缂丝桂花纹袍料","清","佚名","藏地不详","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,24,25,26,27,7,28],"缂丝","布料","衣帽","桂花纹","飞鸟","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb590f76cd2e627afdb3fdd8772d118bf.jpg","未知","Xcm*Xcm","",[],3,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":30,"size":31,"collection":32,"collections":48,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},272945,"hei-qi-miao-jin-shan-shui-wen-ge-yi-ming-272945","黑漆描金山水纹格","此件以髹漆为底，金彩作绘，将山水雅趣凝于柜体之上。敞格与柜门错落排布，兼具陈置与收纳之用。描金山水远近层次分明，苍松茂林、汀渚渔隐一一铺展，把文人寄情山水的意趣藏进日常家具之中。经年岁月让金彩略有斑驳脱落，反倒晕染出古旧温润的质感，更显古雅沉静。整体形制规整大方，漆绘工艺精妙，将绘画意匠与木作髹漆巧思相融，尽显清代家具里文人化的审美风尚。",[42,43,44,7,45,46],"漆器","木质","描金","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff264737041ba57d739a46a03ca6a9cda.jpg",[],{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":58,"material":30,"size":31,"collection":32,"collections":59,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},272764,"zi-qi-miao-jin-shan-shui-wen-hai-tang-shi-xiang-ji-yi-ming-272764","紫漆描金山水纹海棠式香几","此香几取海棠造型，婉转雅致。束腰镂雕缠枝纹，通透灵秀，下洼膛肚牙子云纹舒展，柔润雅致。三弯腿蜿蜒如流云垂落，紫漆地子上描金晕染山水、回纹，金彩熠熠，将林泉丘壑缩于几身，古意悠然。足端包镶鎏金兽足，稳稳承托下层海棠承盘，上下形制呼应，章法和谐。\n\n髹漆匀净沉稳，描金工细入微，雕、描、镶工艺相融，既有文房清供的隽秀，亦含华贵气度，静立间晕开东方古典雅致余韵，尽显旧时造物的精妙审美意匠。",[42,44,43,55,7,56,57],"海棠式","香几","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f26047ff2de390e5f5a932f57ca8cb.jpg",[],{"id":61,"slug":62,"title":63,"dynasty":18,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":70,"material":30,"size":31,"collection":32,"collections":71,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},271971,"yu-ming-duan-shi-diao-shan-shui-yun-long-wen-yan-yi-ming-271971","御铭端石雕山水云龙纹砚","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。",[66,67,57,68,7,69],"砚","端石","云龙纹","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669c8f0b667a50194c0eeb85bea9b8c3.jpg",[],"795548",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":83,"material":30,"size":31,"collection":32,"collections":84,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},261017,"qing-hua-shan-shui-wen-pan-yi-ming-261017","青花山水纹盘","明","青花瓷（blue 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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。",[80,81,7,82,45],"陶瓷","青花","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24150b7ef25e8e2b8b9ba122a2831049.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":10,"material":30,"size":31,"collection":93,"collections":94,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},257533,"de-hua-yao-bai-you-ke-hua-shan-shui-wen-shui-cheng-yi-ming-257533","德化窑白釉刻花山水纹水丞","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为\"象牙白\"、\"奶白\"或 \"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[80,91,92,7,46],"白釉","刻花","瓷器精选",[93],"37474F",1777535749005]