[{"data":1,"prerenderedAt":123},["ShallowReactive",2],{"subject-sheng-er":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8405,"sheng-er","绳耳","绳耳画高清赏析","精选中国历代绳耳题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aedd383f3cf1034680579748bc38185.jpg",0,9,[14,34,49,64,75,84,91,103,115],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},257870,"kong-que-lv-you-sheng-er-san-zu-lu-yi-ming-257870","孔雀绿釉绳耳三足炉","清","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],"陶瓷","孔雀绿釉","三足","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be6dbf26a466d82cffe150c550a9119.jpg","未知","Xcm*Xcm","",[],1,"37474F",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":45,"material":28,"size":29,"collection":46,"collections":47,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":48},257580,"long-quan-yao-qing-you-ke-hua-sheng-er-san-zu-lu-yi-ming-257580","龙泉窑青釉刻花绳耳三足炉","明","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[23,41,42,7,25,43,44,26],"青釉","刻花","炉","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f095858ca805674a10181de811dbee5.jpg","瓷器精选",[46],"795548",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":62,"material":28,"size":29,"collection":30,"collections":63,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},270309,"xuan-zi-kuan-tong-sheng-er-san-zu-lu-yi-ming-270309","宣字款铜绳耳三足炉","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。",[55,56,57,7,25,58,59,60,61],"铜制","青铜器","香炉","玉石","雕刻","葫芦","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8863a75b04053c62b38156d8e221cb9.jpg",[],{"id":65,"slug":66,"title":67,"dynasty":38,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":73,"material":28,"size":29,"collection":46,"collections":74,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},262162,"de-hua-yao-huai-de-yao-zhi-kuan-bai-you-sheng-er-san-zu-lu-yi-ming-262162","德化窑怀德窑制款白釉绳耳三足炉","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。",[23,70,7,71,72],"白釉","三足炉","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203086626a0938dc0cd47477fd4b5c71.jpg",[46],{"id":76,"slug":77,"title":78,"dynasty":38,"author":19,"museum":20,"description":21,"tags":79,"thumbUrl":81,"material":28,"size":29,"collection":46,"collections":82,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},261990,"chao-zhou-yao-xuan-de-kuan-bai-you-sheng-er-san-zu-lu-yi-ming-261990","潮州窑宣德款白釉绳耳三足炉",[23,70,7,71,80,26],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf6f13059c0bc8fae49892ebe990459.jpg",[46],"BDBDBD",{"id":85,"slug":86,"title":87,"dynasty":38,"author":19,"museum":20,"description":68,"tags":88,"thumbUrl":89,"material":28,"size":29,"collection":46,"collections":90,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},260558,"de-hua-yao-bai-you-sheng-er-san-zu-lu-yi-ming-260558","德化窑白釉绳耳三足炉",[23,26,70,7,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc4a179200c7bf0e671eb5aea0c48d9.jpg",[46],{"id":92,"slug":93,"title":94,"dynasty":95,"author":19,"museum":20,"description":96,"tags":97,"thumbUrl":101,"material":28,"size":29,"collection":30,"collections":102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},260101,"qing-you-lou-kong-xian-wen-sheng-er-guan-yi-ming-260101","青釉镂孔弦纹绳耳罐","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[23,41,98,99,7,100,61,80],"镂孔","弦纹","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82456945de065f4cd4a6d4faf8466d8.jpg",[],{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":113,"material":28,"size":29,"collection":30,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},249709,"qia-si-fa-lang-chan-zhi-lian-wen-sheng-er-ru-zu-lu-yi-ming-249709","掐丝珐琅缠枝莲纹绳耳乳足炉","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[109,110,7,111,112,55,18],"掐丝珐琅","缠枝莲纹","乳足","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df62ae7a0ec252889996f1d85d2220f.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":119,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},243077,"sheng-er-hu-yi-ming-243077","绳耳壶","宋","器形饱满圆润，敞口束颈，弧腹缓缓收束衔接圈足，线条柔和舒展，自带沉静温婉的气韵。三枚扭绳状附耳尤见巧思，将编绳柔韧的肌理凝于铜身，拙朴中带着手工温度。青褐铜身晕染着斑驳锈色，红褐锈迹如晕开的淡墨，是岁月浸淫留下的痕迹。通体无繁缛纹饰，以极简形制尽显素雅古拙的审美意趣，沉静内敛间，晕开跨越年岁的沉静古意。",[56,55,59,7,26],[],1777535738024]