[{"data":1,"prerenderedAt":382},["ShallowReactive",2],{"subject-su-san-cai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9772,"su-san-cai","素三彩","素三彩画高清赏析","精选中国历代素三彩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c6f3defd2816fd531201f04f0c8736.jpg",0,36,[14,36,51,62,74,88,98,106,119,132,141,156,165,174,184,193,202,213,221,230,243,253,263,272,283,295,303,311,319,326,336,344,351,361,368,376],{"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},261450,"su-san-cai-he-hua-shi-bei-yi-ming-261450","素三彩荷花式杯","清","佚名","藏地不详","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[23,24,25,26,27,28,7],"陶瓷","饮酒器","日用具","器","荷","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5df4d3919bfe6f5dd78e774a189b114.jpg","未知","Xcm*Xcm","",[],7,"795548",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":48,"material":30,"size":31,"collection":32,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":35},262227,"su-san-cai-hai-ma-ba-ji-xiang-wen-guan-yi-ming-262227","素三彩海马八吉祥纹罐","此器以墨绿釉通身为地，色调沉静古雅。白、褐、浅绿釉料点缀铺陈，晕开鲜活图景：海马鬃毛飞扬，踏浪穿梭于缠枝花卉与江崖海水之间，野趣恣肆灵动；八吉祥纹错落排布，暗蕴祥瑞吉意。\n\n整器构图繁密却层次分明，釉色匀净明润，将素三彩的淡雅质感尽数展现，无艳色堆砌却自见清丽端庄，静穆之中藏着生动意趣，把装饰美感与吉祥意蕴相融，尽显古雅秀逸的工艺造诣。",[23,7,42,43,44,45,46,47],"海马","兽","海水","花卉","八吉祥","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1598ceb78685a9da99e4a94aef31a2e0.jpg",[],2,{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":60,"material":30,"size":31,"collection":32,"collections":61,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":35},256057,"su-san-cai-ying-wu-yi-ming-256057","素三彩鹦鹉","昂首伫立的鹦鹉身形饱满写实，敛目沉静自带灵禽雅韵，喙部朴拙写实，羽翼弧度暗藏振翅欲飞的张力。躯体以绿釉晕染，釉色莹润且层次分明，腹间釉色浅柔过渡自然，头部釉色鲜亮浓郁，将禽鸟羽毛的质感描摹尽致。\n\n底座素三彩三色交融流淌，仿若天然岩壑，孔洞点缀更添朴野意趣。整器釉色素雅古拙，毫无艳俗之感，将灵禽的静穆优雅与古瓷的内敛质感相融，尽显彩瓷塑作的写实功力与含蓄审美，是颇具意趣的案头雅玩。",[23,7,57,58,59],"鹦鹉","清代","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78b0f54c0485c52cf10ab6d0b92eb32.jpg",[],{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":72,"material":30,"size":31,"collection":32,"collections":73,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":35},254838,"su-san-cai-zhen-wu-di-zuo-xiang-yi-ming-254838","素三彩真武帝坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,7,59,68,69,70,71],"雕刻","宗教","人物","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd681e0b7e44a89a3a709557933f2bfe3.jpg",[],{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":85,"material":30,"size":31,"collection":32,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":35},261551,"su-san-cai-mei-zhu-you-qin-tu-wan-yi-ming-261551","素三彩梅竹幽禽图碗","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。",[23,7,80,81,82,83,84],"梅","竹","飞鸟","花鸟","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bae498892d67bd9be8131663843d29.jpg",[],1,{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":78,"tags":92,"thumbUrl":95,"material":30,"size":31,"collection":32,"collections":96,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":97},261385,"kang-xi-kuan-su-san-cai-hua-die-wen-wan-yi-ming-261385","康熙款素三彩花蝶纹碗",[23,7,93,83,94,25],"花蝶纹","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3bc5fd23cd8fec0d223276ab5f759c4.jpg",[],"37474F",{"id":99,"slug":100,"title":101,"dynasty":18,"author":19,"museum":20,"description":78,"tags":102,"thumbUrl":104,"material":30,"size":31,"collection":32,"collections":105,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":97},261097,"zi-di-su-san-cai-lan-hua-wen-pie-kou-wan-yi-ming-261097","紫地素三彩兰花纹撇口碗",[23,25,7,103,94],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf7192d75a8d2353515de3fdaf08f67.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":18,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":117,"material":30,"size":31,"collection":32,"collections":118,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":35},260184,"su-san-cai-tu-ling-zhi-wen-guan-er-ping-yi-ming-260184","素三彩凸灵芝纹贯耳瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,7,112,113,114,115,116,26],"贯耳瓶","凸雕","松树","禽鸟","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724cee5ef2dfd4b231bd0531d8e1b072.jpg",[],{"id":120,"slug":121,"title":122,"dynasty":18,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":130,"material":30,"size":31,"collection":32,"collections":131,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":35},258062,"su-san-cai-lou-kong-xun-yi-ming-258062","素三彩镂空熏","八角形制端庄秀雅，镂空开窗巧思尽显，钱纹与海棠式花格错落排布，既引香韵流转，又增通透灵秀之态。鱼子纹绿釉为底，铺就细碎雅致肌理，瑞兽身姿灵动游走其间，素三彩釉色沉静柔和，绿、紫、白三色交融晕染，不见浓艳浮华，只余古雅清隽。整器将实用熏香的功能与陈设审美相融，把寻常日用之物锻造成雅室清玩，藏着古人焚香幽赏的闲情，尽显制瓷工艺的精妙匠心。",[23,7,125,58,26,68,126,127,128,129],"镂空","彩瓷","纹饰","镂空技法","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeddcc5116b524605dd6c1de70ddcc9b.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":18,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":139,"material":30,"size":31,"collection":32,"collections":140,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":97},256563,"su-san-cai-jin-di-lou-kong-xiang-xun-yi-ming-256563","素三彩锦地镂空香熏","此方香熏以素三彩晕染出雅致气韵，细碎锦纹满布器身，绿、黄、淡蓝三色交织铺陈，排布齐整细密，如织就一方精巧软缎，尽显繁而不乱的装饰匠心。四面镂空万字纹样，线条刚劲利落，既通透便于散香，又暗含万福绵长的吉意。方正器形端庄沉稳，素雅釉色褪去艳俗，自带沉静古雅的质感，将实用功能与装饰美学相融，静静伫立间，仿佛能窥见旧时厅堂里，香烟袅袅漫过纹饰的闲雅图景，尽显制瓷工艺的精妙意趣。",[7,125,138,23,26,25],"锦地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e5c311f843f349d9416bffcd86b724.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":145,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":154,"material":30,"size":31,"collection":32,"collections":155,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":97},256498,"su-san-cai-hai-chan-wen-san-zu-xi-yi-ming-256498","素三彩海蟾纹三足洗","明","敛口鼓腹，下承酱褐三足，形制端庄古雅。外壁以翠绿釉铺作海波底色，刻划的水纹细密翻卷，仿若层浪不息。黄釉海兽凌浪穿行，留白堆塑的浪花错落点缀，色彩搭配明快沉静，将素三彩的素雅质感尽显无遗。酱色口沿与足托首尾呼应，衬得釉色愈发鲜亮柔和，把海兽踏浪的蓬勃生机凝于器身，构图疏密有致，将山海灵趣融于瓷上，尽显古拙雅致的彩瓷匠心与古典审美意趣。",[148,23,7,149,150,151,152,43,153,59,68],"明代","彩绘","海浪纹","海蟾纹","三足","水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d0f8fb734f649914462df67acd75858.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":145,"author":19,"museum":20,"description":110,"tags":160,"thumbUrl":163,"material":30,"size":31,"collection":32,"collections":164,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":97},256497,"su-san-cai-chan-zhi-lian-wen-gao-zu-wan-yi-ming-256497","素三彩缠枝莲纹高足碗",[23,7,161,162,84,26],"缠枝莲纹","高足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8510bc123560e97dc60b71583ffb0620.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":110,"tags":169,"thumbUrl":172,"material":30,"size":31,"collection":32,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},263536,"su-san-cai-shou-er-xiao-fang-ping-yi-ming-263536","素三彩兽耳小方瓶",[23,7,170,171],"兽耳","方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67aa07607e18af95268eb241595a8266.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":18,"author":19,"museum":20,"description":178,"tags":179,"thumbUrl":182,"material":30,"size":31,"collection":32,"collections":183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},262083,"su-san-cai-he-lian-tu-zan-pan-yi-ming-262083","素三彩荷莲图攒盘","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。",[23,7,180,27,28,181,26],"攒盘","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9732170ad55db3abb98aebb10f46696d.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":20,"description":178,"tags":188,"thumbUrl":191,"material":30,"size":31,"collection":32,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},261471,"su-san-cai-lin-wen-zan-pan-yi-ming-261471","素三彩麟纹攒盘",[23,7,180,189,190,81,25,181],"麟纹","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76adb6f8a644eec8052287aaf09fa128.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":197,"tags":198,"thumbUrl":200,"material":30,"size":31,"collection":32,"collections":201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260800,"su-san-cai-duo-mu-hu-yi-ming-260800","素三彩多穆壶","此器仿游牧盛器形制，以竹节式筒身为骨，挺拔劲朗。贴塑的壶流与系耳简拙质朴，盖沿作兽面状，暗合草原器物的粗犷气质。\n\n以翠绿为底釉，米白、赭褐、姜黄釉色随意晕染流淌，如苔痕覆于竹身，似秋霞点染苍林，釉色交融无拘无束，不见刻意勾勒的匠气，尽是自然舒展的野趣。\n\n它是中原瓷艺与游牧风物的共情之作，粗粝中带着灵动稚拙，将旷野意趣凝于瓷上，尽显质朴憨然的审美意韵。",[23,7,199,26,25],"多穆壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09fcb8b2d3f7fbeddcb122e4efd8d365.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":18,"author":19,"museum":20,"description":206,"tags":207,"thumbUrl":211,"material":30,"size":31,"collection":32,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},260395,"su-san-cai-qiao-fu-tu-bi-tong-yi-ming-260395","素三彩樵夫图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[23,7,70,208,209,210,26],"樵夫","山林","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853d5be5ad57525035d9e2188b3bafda.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":18,"author":19,"museum":20,"description":178,"tags":217,"thumbUrl":219,"material":30,"size":31,"collection":32,"collections":220,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260117,"su-san-cai-hua-hui-wen-zan-pan-yi-ming-260117","素三彩花卉纹攒盘",[23,7,218,180,25],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68bd743e803851346f7f588cf9b9761.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":178,"tags":225,"thumbUrl":228,"material":30,"size":31,"collection":32,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},258906,"bai-di-su-san-cai-ke-hua-mu-dan-wen-da-pan-yi-ming-258906","白地素三彩刻花牡丹纹大盘",[58,23,26,7,226,227],"刻花","牡丹纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76e75e3f3425f91015542b8cb2cfedc2.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":18,"author":19,"museum":20,"description":234,"tags":235,"thumbUrl":241,"material":30,"size":31,"collection":32,"collections":242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},258072,"huang-di-su-san-cai-jia-hong-song-lu-tu-tuo-yuan-gai-he-yi-ming-258072","黄地素三彩加红松鹿图椭圆盖盒","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",[18,7,59,23,26,236,237,238,239,240],"松","鹿","龙","椭圆","盖盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f2983f0ba7088d4a13152fe54e7f58.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":20,"description":178,"tags":247,"thumbUrl":251,"material":30,"size":31,"collection":32,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},257804,"kang-xi-kuan-huang-di-su-san-cai-li-shuang-long-wai-tuan-long-wen-pan-yi-ming-257804","康熙款黄地素三彩里双龙外团龙纹盘",[23,7,248,238,249,250,58,26],"黄地","双龙","团龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76953e687abbbae22db458b90fb8dd3f.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":18,"author":19,"museum":20,"description":178,"tags":257,"thumbUrl":261,"material":30,"size":31,"collection":32,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},257803,"kang-xi-kuan-su-san-cai-an-hua-yun-long-hua-guo-wen-pan-yi-ming-257803","康熙款素三彩暗划云龙花果纹盘",[18,7,258,259,260,23],"暗划","云龙","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea75dfa4b439709cdd072be34f0e6ec.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":20,"description":78,"tags":267,"thumbUrl":270,"material":30,"size":31,"collection":32,"collections":271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},257802,"su-san-cai-hai-shou-tu-wan-yi-ming-257802","素三彩海兽图碗",[23,7,59,26,43,268,269,44],"马","海兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c640655a4ccae0c740db96f951b97f7.jpg",[],{"id":273,"slug":274,"title":275,"dynasty":145,"author":19,"museum":20,"description":276,"tags":277,"thumbUrl":280,"material":30,"size":31,"collection":32,"collections":281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":282},257346,"huang-di-su-san-cai-ke-shuang-long-wen-zuo-dun-yi-ming-257346","黄地素三彩刻双龙纹坐墩","此坐墩取鼓形，周身缀饰凸鼓钉，摹仿木鼓榫卯意趣，古雅敦实。黄釉为底，明丽华贵，以素三彩技法绘就双龙穿池：墨蓝龙躯矫健遒劲，爪牙锋利，翻涌于莲藻碧波之间，须发张扬尽显威严气势。辅以缠枝花卉间杂点缀，花叶娇妍柔婉，刚柔并济。素三彩施色匀净沉静，于鲜亮黄地间更显雅致脱俗，不见红彩却自彰器物的庄重华贵，尽显古彩瓷工艺的精妙造诣，将威严瑞气与装饰意趣融于一体。",[23,7,278,238,148,59,279],"刻纹","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd619c4171947e4d07dce2869d9f36e5c.jpg",[],"BDBDBD",{"id":284,"slug":285,"title":286,"dynasty":145,"author":19,"museum":20,"description":287,"tags":288,"thumbUrl":293,"material":30,"size":31,"collection":32,"collections":294,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},256875,"tian-shun-ba-nian-kuan-tao-tai-su-san-cai-mu-dan-shuang-long-wen-shuang-er-san-shou-zu-lu-yi-ming-256875","天顺八年款陶胎素三彩牡丹双龙纹双耳三兽足炉","身间施黄、绿釉,云朵为紫色,意为“金龙呈祥踏紫云”。炉两端雕塑金凤飞翔于牡丹花上。炉腰下起腰线。施绿釉及足,四足为卷云状外起,下承长方形托泥。",[148,23,7,68,289,238,290,291,292],"牡丹","兽足","双耳","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3d54384700f1e3ae392a2ac7bae03e.jpg",[],{"id":296,"slug":297,"title":298,"dynasty":145,"author":19,"museum":20,"description":299,"tags":300,"thumbUrl":301,"material":30,"size":31,"collection":32,"collections":302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},256067,"su-san-cai-shi-yi-ming-256067","素三彩狮","这只瑞狮昂首振鬣，嘶吼作威，卷舒的鬃毛以翠彩晕染，与深沉匀净的霁蓝底色相互辉映，古雅华贵。狮爪按弄绣球，绶带缠绕周身，暗合事事如意的祥瑞寓意。\n\n台座形制简约素雅，更衬出瑞兽雄健狞厉的气势。胎质厚重扎实，釉色莹润古朴，带着雄浑厚重的质感，将瑞兽的威严霸气与吉祥意涵融为一体，尽显古陶瓷造像的精巧匠心与古朴韵致。",[7,23,68,43,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7822afc8335dcaa4db9f47f91879fab5.jpg",[],{"id":304,"slug":305,"title":298,"dynasty":18,"author":19,"museum":20,"description":306,"tags":307,"thumbUrl":308,"material":30,"size":31,"collection":32,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":310},256066,"su-san-cai-shi-yi-ming-256066","昂首张口，卷鬃灵动飞扬，这只瑞狮憨威兼具，前足逗弄幼狮，将瑞兽的威严与嬉耍意趣相融。素三彩釉色晕染自然，黄褐绿三色错落铺陈，釉面细碎开片晕开古旧质感，朴拙的素胎衬出彩釉温润光泽。整体造型稚朴生动，带着民间手工艺的鲜活灵气，把镇宅祈福的瑞兽意象，揉进憨态可掬的瓷塑之中，尽显乡土造物的质朴审美意趣。",[58,23,7,68,43,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1469b7d76877c6bb0e2d8196da8a67.jpg",[],"F48FB1",{"id":312,"slug":313,"title":298,"dynasty":18,"author":19,"museum":20,"description":314,"tags":315,"thumbUrl":317,"material":30,"size":31,"collection":32,"collections":318,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},256064,"su-san-cai-shi-yi-ming-256064","昂首蹲坐，威风里带着憨态，幼狮偎身蹭弄，尽显融融温情。翠绿为骨，米黄与赭褐点缀其间，素三彩釉色沉静雅致，毫无艳俗之感。卷毛丝丝分明，獠牙毕现，鬃毛翻卷灵动，立柱莲花饰件古意悠然，底座镂空透雕兼顾装饰与实用。塑工老辣，将瑞兽威严又不失灵动的气质拿捏恰到好处，静穆之中藏着勃勃生气，是彩瓷塑里意趣兼备的精妙之作。",[18,7,23,43,316],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be108baf7630a7a8d4d73c8fa9a153.jpg",[],{"id":320,"slug":321,"title":298,"dynasty":18,"author":19,"museum":20,"description":322,"tags":323,"thumbUrl":324,"material":30,"size":31,"collection":32,"collections":325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":282},256063,"su-san-cai-shi-yi-ming-256063","怒目圆睁，阔口大开，卷鬃灵动虬结，抬前腿借力立柱，雄健昂扬尽显瑞兽威严。素三彩釉色古拙温润，黄褐绿三色交融晕染，不显艳俗，与朴拙厚重的胎体相融，带着民间手作的质朴意趣。它将镇宅驱邪的祈福寓意，融入稚拙鲜活的塑造里，把瑞兽的威仪与民间陶艺的随性生动结合，尽显清代民间匠人鲜活的造物巧思。",[58,23,7,43,68,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc89407d3b6b54732645033b375afed.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":18,"author":19,"museum":20,"description":330,"tags":331,"thumbUrl":334,"material":30,"size":31,"collection":32,"collections":335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},256062,"su-san-cai-fu-qiu-dun-shi-yi-ming-256062","素三彩扶球蹲狮","蹲踞台座之上，前爪扶弄镂花绣球，瑞狮威态尽显。卷鬃虬结于首，阔口獠牙毕露，圆目凸瞪自带慑人气场，戏球姿态又添几分憨趣，暗合太平祥瑞的美好祈愿。\n\n素三彩釉色明丽古雅，黄釉覆身，凝润似蜜，晕出敦实躯体；绿釉点染鬃爪，翠色灵动，衬出雄狮英气；褐釉勾勒边角，沉郁厚重，稳住整体基调。台座镂空起棱，釉色交融晕染，古拙大气。塑工利落传神，将瑞狮的威猛与娇憨相融，把祈福意涵凝于瓷土釉色，尽显旧时彩瓷塑的匠心与民俗意趣。",[58,7,23,68,59,43,332,333],"蹲狮","球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b24fb3d64f5ec1afba248881f49979.jpg",[],{"id":337,"slug":338,"title":298,"dynasty":18,"author":19,"museum":20,"description":339,"tags":340,"thumbUrl":342,"material":30,"size":31,"collection":32,"collections":343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},256061,"su-san-cai-shi-yi-ming-256061","昂首瞋目，卷鬃虬劲，瑞狮大口阔张，将镇宅神兽的威仪尽数铺展。绿釉晕染躯体，茄紫釉勾勒鬃背，黄釉点缀饰件，三彩素净古雅，色泽层次分明却相融和谐，毫无艳俗之感。\n\n狮身侧驮灯柱，将瑞兽祈福的寓意与实用功能相融。它雄踞镂空方座，身姿挺拔矫健，釉色之下肌肉线条隐约可见，静穆体态暗含勃发劲力，把瑞兽的威严与憨拙揉为一体，藏着民间工匠灵动的造物巧思，将纳福护宅的愿景凝于方寸瓷塑之中，尽显古朴素净的彩瓷塑风韵。",[58,7,23,43,341,59],"雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086effd45a2f487bda52dbb7e08f774c.jpg",[],{"id":345,"slug":346,"title":54,"dynasty":18,"author":19,"museum":20,"description":347,"tags":348,"thumbUrl":349,"material":30,"size":31,"collection":32,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},255973,"su-san-cai-ying-wu-yi-ming-255973","此作将鹦鹉的灵秀之气凝于瓷土。它身姿昂扬挺立，赭色尖喙鲜亮醒目，墨色点睛传神，似正欲引吭啼鸣，活灵活现。通体翠绿釉色匀净莹润，将禽鸟华羽的柔润光泽尽数铺陈，仿若翠色绒羽覆身。\n\n下方底座以三色交融晕染，似潮浪浸蚀的岩礁，斑驳自然，预留的孔洞透气灵动，暗藏匠心巧思。写实造型搭配雅致釉色，将鹦鹉的机敏鲜活定格，静立间似有清啼隐隐传来，尽显彩瓷仿生工艺的精妙意趣。",[18,23,7,57,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb848de6630ec849f387cae91751a3b20.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":18,"author":19,"museum":20,"description":355,"tags":356,"thumbUrl":359,"material":30,"size":31,"collection":32,"collections":360,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},255970,"su-san-cai-ci-ying-wu-yi-ming-255970","素三彩瓷鹦鹉","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[58,23,7,59,357,83,358],"鸟","瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615e38aca646cd31a8c7ea20c23c0eaa.jpg",[],{"id":362,"slug":363,"title":298,"dynasty":18,"author":19,"museum":20,"description":364,"tags":365,"thumbUrl":366,"material":30,"size":31,"collection":32,"collections":367,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},254891,"su-san-cai-shi-yi-ming-254891","昂首威立，虬鬃怒张，圆目眈眈，阔口獠牙毕露，将瑞狮悍勇狞厉的气势尽致展现。明黄釉遍覆躯体，鲜亮明快；绿釉点染鬃毛饰件，沉静雅致；褐釉勾勒筋骨细节，古拙厚重。三色交融却不显冗杂，素三彩特有的沉静质感赋予瑞狮古雅气质。\n\n背驮花插，兼顾陈设与实用，前爪抚弄幼狮，于威严之外晕开舐犊温情，刚柔相济。镂空台座以彩釉点饰卷花纹样，与狮身釉色呼应成趣。塑形写实灵动，釉色匀净光润，匠人之巧思融于瑞兽形神之间，尽显古朴雅致的彩瓷意趣。",[18,7,23,316,43,341,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6692aa8526194bca50a5560e0777319c.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":18,"author":19,"museum":20,"description":372,"tags":373,"thumbUrl":374,"material":30,"size":31,"collection":32,"collections":375,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},254620,"su-san-cai-dun-shi-yi-ming-254620","素三彩蹲狮","这只蹲狮狞猛生动，阔口獠牙尽显威严，颜面环绕褐黄点饰的鬃毛，翠绿釉色莹亮匀净，褐彩勾勒筋骨纹路，黄彩点缀细节留白，素胎衬出三色明丽沉稳。它前爪环抱着幼狮，将瑞狮雄健与舐犊温情相融，身侧附立柱，下承镂空方座，线条硬朗又带着柔润的釉色质感。无华彩堆砌，却以素三彩的雅致格调，把神兽威仪与脉脉温情塑造得淋漓尽致，是彩瓷塑里兼具工艺性与意趣的佳品，尽显古朴厚重的民俗意韵。",[58,7,23,43,332,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d998abedc64ce3bb7d8a24e034dd54.jpg",[],{"id":377,"slug":378,"title":371,"dynasty":18,"author":19,"museum":20,"description":379,"tags":380,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},253886,"su-san-cai-dun-shi-yi-ming-253886","昂首眦目，阔口展露獠牙，鬃毛以贴塑圆粒层叠装饰，狞厉张扬尽显瑞兽威仪。素三彩釉色明丽和谐，翠绿鲜亮莹润，褐彩沉郁古朴，米黄柔和雅致，三色交融却泾渭分明，古拙雅致。左前爪按擎镂空绣球，球纹精巧灵动，搭配束腰雕花方座，方正古雅，让瑞兽身姿更显挺拔雄浑。\n\n整体朴拙大气，既有镇宅瑞兽的慑人气势，又饱含民窑瓷塑的装饰巧思，将祈福纳祥的民俗意趣融于瓷塑之中，尽显古雅雄浑的陈设意韵。",[23,7,68,316,333,43,59],[],1777535713098]