[{"data":1,"prerenderedAt":141},["ShallowReactive",2],{"subject-shou-xing-zhuang-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5509,"shou-xing-zhuang-shi","兽形装饰","兽形装饰画高清赏析","精选中国历代兽形装饰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cb3810f97aea0eca70be9a42940d1.jpg",0,9,[14,39,53,65,74,96,104,122,133],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":11,"mainColor":38},226907,"yong-bao-shuang-guan-ping-yi-ming-226907","永宝双管瓶","汉","佚名","藏地不详","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[23,24,25,26,7,27,28,29,30],"汉代","青铜器","铸造","雕刻","双管造型","礼器","金属器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2841a290e0780e3e8be634e5d32c8c5f.jpg","未知","Xcm*Xcm","",[],14,1,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":50,"material":32,"size":33,"collection":34,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":38},243475,"wei-you-yi-ming-243475","囗卣","商","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。",[46,24,47,48,28,26,49,7],"商代","铜制","酒器","兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7add77b89d3b3539d3afee9010c239c.jpg",[],3,{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":20,"description":44,"tags":58,"thumbUrl":62,"material":32,"size":33,"collection":34,"collections":63,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":64},242995,"chun-yu-yi-ming-242995","錞于","周",[59,24,47,26,7,60,61],"周代","乐器","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa602abcb1531e0f613c685ffb2ef6d3.jpg",[],"37474F",{"id":66,"slug":67,"title":68,"dynasty":18,"author":19,"museum":20,"description":21,"tags":69,"thumbUrl":72,"material":32,"size":33,"collection":34,"collections":73,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":38},227006,"wa-wen-deng-yi-ming-227006","瓦纹镫",[23,24,47,25,70,7,71],"瓦纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbdcd2f399481c1e06083db38b45ff6.jpg",[],{"id":75,"slug":76,"title":77,"dynasty":78,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":94,"material":32,"size":33,"collection":34,"collections":95,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},256517,"qing-hua-luo-han-tu-zhong-yi-ming-256517","青花罗汉图钟","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。",[81,82,83,84,85,86,30,87,88,89,90,7,91,92,93],"陶瓷","青花","宗教","人物","龙","器","釉下彩","明代","佛教","罗汉","缠枝纹","人物故事","器物装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70aca226c96f3304ade86484f539f7d3.jpg",[],{"id":97,"slug":98,"title":99,"dynasty":57,"author":19,"museum":20,"description":44,"tags":100,"thumbUrl":102,"material":32,"size":33,"collection":34,"collections":103,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},226845,"liao-gong-ding-yi-ming-226845","鄝公鼎",[24,47,101,28,26,7,59],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf110c3a0f2c172b31d950b5c55a05c.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":108,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":120,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":121},226692,"qing-ci-you-mian-hu-yi-ming-226692","青瓷釉面壶","宋","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。",[111,112,113,114,81,115,116,7,117,118,119],"宋代","青瓷","釉面","开片","壶","日用器","冰裂纹","青瓷釉工艺","开片技法",[],"BDBDBD",{"id":123,"slug":124,"title":125,"dynasty":108,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":131,"material":32,"size":33,"collection":34,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},243140,"xiang-shi-dao-ren-ding-yi-ming-243140","香侍道人鼎","此器取上古方鼎形制，古雅端凝。青铜器身错银勾勒兽面纹饰，鎏金圆钉点缀其间，将商周礼器的狞厉古意凝缩于方寸案头。深棕木盖温润朴拙，盖顶白玉瑞兽钮莹光洁净，柔润玉色、沉穆铜泽、温雅木质相映成趣，刚柔相济。\n\n整器把庙堂重器的肃穆，化为文房清供的雅玩，暗合追慕古风的审美意趣。燃香时，青烟从立耳袅袅溢出，古纹样与清芬萦绕一室，尽显雅致闲淡的文房意韵。",[108,47,26,128,129,28,101,7,130],"玉石","镶嵌","仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e584242ac6f740894f3519e228b6102.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":57,"author":19,"museum":20,"description":44,"tags":137,"thumbUrl":139,"material":32,"size":33,"collection":34,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},242827,"leng-wen-gui-yi-ming-242827","棱纹簋",[24,57,26,138,7,71,28,101],"棱纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb4b939f58076ce5ba24449aa9a0287.jpg",[],1777535736790]