[{"data":1,"prerenderedAt":157},["ShallowReactive",2],{"subject-shi-liu-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9071,"shi-liu-wen","石榴纹","石榴纹画高清赏析","精选中国历代石榴纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15ece2e4e3660471648511299cd6483.jpg",0,11,[14,35,50,61,72,84,97,111,122,135,150],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256306,"ding-yao-bai-you-ke-hua-hua-shi-liu-wen-wan-yi-ming-256306","定窑白釉刻划花石榴纹碗","宋","佚名","藏地不详","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[18,23,24,25,7,26,27],"定窑","白釉","刻划花","陶瓷","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7737ac7bacdfaed8c1d636e0fdc8fa.jpg","未知","Xcm*Xcm","瓷器精选",[31],7,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":46,"material":29,"size":30,"collection":47,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":34},256864,"qing-hua-zhe-zhi-shi-liu-wen-ling-hua-kou-xi-yi-ming-256864","青花折枝石榴纹菱花口洗","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。",[26,42,43,44,7,45],"青花","明代","折枝","菱花口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a11e8c09adf0d719724471ced916c6.jpg","",[],5,{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":40,"tags":55,"thumbUrl":57,"material":29,"size":30,"collection":47,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},259925,"jia-qing-kuan-qing-hua-shi-liu-wen-guan-er-ping-yi-ming-259925","嘉庆款青花石榴纹贯耳瓶","清",[26,42,56,7,27],"贯耳瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F651905d7da367a4908d1f409bb021f34.jpg",[],3,"37474F",{"id":62,"slug":63,"title":64,"dynasty":54,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":70,"material":29,"size":30,"collection":47,"collections":71,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},259697,"qian-long-kuan-fen-qing-you-tu-shi-liu-hu-lu-ping-yi-ming-259697","乾隆款粉青釉凸石榴葫芦瓶","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。”",[26,67,68,7,69],"葫芦瓶","粉青釉","凸饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8b9714f6b354c7020464abfa68bb53.jpg",[],{"id":73,"slug":74,"title":75,"dynasty":54,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":82,"material":29,"size":30,"collection":47,"collections":83,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},257863,"kang-xi-kuan-jia-pi-zi-an-shi-liu-hua-wen-pan-yi-ming-257863","康熙款茄皮紫暗石榴花纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[26,78,79,7,80,81,27],"茄皮紫釉","暗刻","清代","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4a37e120af2f90409158dc73deeaa74.jpg",[],{"id":85,"slug":86,"title":87,"dynasty":54,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":94,"material":29,"size":30,"collection":47,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":34},263779,"hong-se-tuan-shi-liu-hai-tang-wen-chun-chou-yi-ming-263779","红色团石榴海棠纹春绸","这匹织物色泽正红醇厚，历经岁月仍带着温润光泽。团石榴与海棠暗纹隐于细密的春绸肌理之中，含蓄雅致，将多子多福、富贵满堂的美好祈愿藏于经纬之间。\n织物走线紧实匀整，侧边留存的卷边与流苏带着手工织造的质朴温度，尽显旧时织造工艺的精巧心思。把日常织物晕染出雅致东方意韵，藏着古人融入衣食起居里的浪漫期许，静静沉淀着旧时光的温柔质感。",[90,91,92,7,93],"布料","丝绸","红色","海棠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a2e4f49b196afee8abb60082538532.jpg",[],1,{"id":98,"slug":99,"title":100,"dynasty":54,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":109,"material":29,"size":30,"collection":47,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},269463,"mu-bing-qian-yu-shi-ran-ya-shi-liu-wen-ru-yi-yi-ming-269463","木柄嵌玉石染牙石榴纹如意","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。",[27,103,104,105,106,107,7,108],"饰品","玉石","木质","象牙","雕刻","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9562f43134f55aae18edc410d180a41.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":54,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":120,"material":29,"size":30,"collection":47,"collections":121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},267835,"xue-qing-se-shi-liu-mu-dan-wen-hua-chou-yi-ming-267835","雪青色石榴牡丹纹花绸","柔雅底色如揉碎的暮春烟霞，暗纹提花隐于莹润丝色之间。饱满石榴垂坠、牡丹雍容舒展，缠枝萦回，将多子富贵的吉庆意趣藏于经纬交织里。\n\n绸缎肌理细腻莹润，提花浅淡耐看，以含蓄暗纹诉说中式古典的雅致克制。它曾裁作衣缘或帕料，将旧时闺阁的温婉意绪织入丝缕，把东方独有的内敛浪漫融于日常，静述慢时光里的温柔期许。",[90,117,7,118,119],"绸","牡丹纹","雪青色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa80146f15155ce92473599ccc3d37114.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":54,"author":19,"museum":20,"description":40,"tags":126,"thumbUrl":132,"material":29,"size":30,"collection":47,"collections":133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},258333,"qing-hua-shi-liu-hua-wen-wo-zu-wan-yi-ming-258333","青花石榴花纹卧足碗",[26,42,127,80,7,128,129,130,131],"釉下彩","龙纹","寿字纹","卧足","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee6e5d6a76abeaf7cd6f13cafa78a15.jpg",[],"BDBDBD",{"id":136,"slug":137,"title":138,"dynasty":54,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":148,"material":29,"size":30,"collection":47,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},247794,"dui-cai-shi-liu-wen-he-yi-ming-247794","堆彩石榴纹盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[54,141,107,142,143,7,144,145,92,146,147],"堆彩","漆器","设色","花叶","器物","褐色","绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aac2e918304c09188fa0f89035c99ae.jpg",[],{"id":151,"slug":152,"title":138,"dynasty":54,"author":19,"museum":20,"description":139,"tags":153,"thumbUrl":10,"material":29,"size":30,"collection":47,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},247762,"dui-cai-shi-liu-wen-he-yi-ming-247762",[80,142,141,107,7,154,145,155],"花卉","传统工艺",[],1777535732731]