[{"data":1,"prerenderedAt":361},["ShallowReactive",2],{"subject-sheng-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3741,"sheng-wen","绳纹","绳纹画高清赏析","精选中国历代绳纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829938d09fbe4bdb23de508ae4e70365.jpg",0,37,[14,36,44,56,65,82,94,103,118,132,140,148,157,166,173,183,190,198,206,213,223,231,240,249,256,268,277,287,293,300,307,314,323,332,340,347,354],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":34,"manualWeight":11,"mainColor":35},223915,"zhan-guo-sheng-wen-bian-ping-yi-ming-223915","战国 绳纹扁缾","周","佚名","藏地不详","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。",[23,24,7,25,26,27,28],"青铜器","铜制","周代","战国","雕刻","器","未知","Xcm*Xcm","",[],8,1,"795548",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":21,"tags":40,"thumbUrl":41,"material":29,"size":30,"collection":31,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":35},223916,"zhan-guo-sheng-wen-che-qi-yi-ming-223916","战国 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　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[110,50,27,111,7,77,112,113,114,115],"宋代","兽耳","器物","简洁雅致","纹饰","玉器工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009124fb115e1c4f115369de6c1e77b0.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":122,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":129,"material":29,"size":30,"collection":31,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":35},274071,"zi-tan-mu-diao-sheng-wen-fang-ji-yi-ming-274071","紫檀木雕绳纹方机","不详","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[125,27,7,126,127,128],"木质","方机","木器","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73622e28c17f6c294723e203abc60c9.jpg",[],2,{"id":133,"slug":134,"title":135,"dynasty":107,"author":19,"museum":20,"description":48,"tags":136,"thumbUrl":138,"material":29,"size":30,"collection":31,"collections":139,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":93},251106,"bai-yu-tou-diao-sheng-wen-bi-shi-pei-yi-ming-251106","白玉透雕绳纹璧式佩",[107,50,137,7,51],"透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd0a5101a0fb2653d675ab4bf34e00d.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":21,"tags":144,"thumbUrl":146,"material":29,"size":30,"collection":31,"collections":147,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":35},243438,"sheng-wen-zhui-yi-ming-243438","绳纹坠",[18,23,7,27,24,145],"坠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccd2daec5c4ba8d59b6ab4a100c0168.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":69,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":155,"material":29,"size":30,"collection":31,"collections":156,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":93},258603,"dong-qing-you-sheng-wen-hu-yi-ming-258603","冬青釉绳纹壶","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。”",[73,154,7,72,28],"冬青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4280f401e9aa64b009b458ec82510bcf.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":161,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":164,"material":29,"size":30,"collection":31,"collections":165,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":93},252587,"qing-yu-sheng-wen-huan-yi-ming-252587","青玉绳纹环","汉","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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。",[161,50,27,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6cdf34ce8c1fee9e3d258c033ce7f.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":107,"author":19,"museum":20,"description":48,"tags":170,"thumbUrl":171,"material":29,"size":30,"collection":31,"collections":172,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":93},251806,"bai-yu-sheng-wen-pei-yi-ming-251806","白玉绳纹佩",[107,50,27,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa648cdcee19686c49ca645b5db743fc2.jpg",[],{"id":174,"slug":175,"title":176,"dynasty":69,"author":19,"museum":20,"description":86,"tags":177,"thumbUrl":181,"material":29,"size":30,"collection":31,"collections":182,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":93},248793,"ti-hong-sheng-fu-wen-dai-zuo-tuo-yuan-he-yi-ming-248793","剔红绳蝠纹带座椭圆盒",[72,90,27,88,7,178,179,180],"蝙蝠纹","椭圆盒","座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21cab5b335e0d7df18b6a95cd416049a.jpg",[],{"id":184,"slug":185,"title":85,"dynasty":69,"author":19,"museum":20,"description":86,"tags":186,"thumbUrl":188,"material":29,"size":30,"collection":31,"collections":189,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":93},248791,"ti-hong-sheng-wen-tuo-yuan-he-yi-ming-248791",[72,88,90,27,7,187,28],"椭圆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43137f2b10455ca05aee81c3716c595b.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":18,"author":19,"museum":20,"description":21,"tags":194,"thumbUrl":196,"material":29,"size":30,"collection":31,"collections":197,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":55},245027,"sheng-wen-ma-shi-yi-ming-245027","绳纹马饰",[23,24,7,27,195,51,18],"马饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F333ae3c1b386fd7b9688f586c408dfe1.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":161,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":204,"material":29,"size":30,"collection":31,"collections":205,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":93},244849,"sheng-wen-fang-xing-pei-shi-yi-ming-244849","绳纹方形佩饰","礼仪性的玉器 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