[{"data":1,"prerenderedAt":288},["ShallowReactive",2],{"subject-tao-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4186,"tao-qi","陶器","陶器画高清赏析","精选中国历代陶器题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22a692257dd10fc692213fc4ae3f22f.jpg",0,21,[14,34,52,66,77,91,102,133,146,154,163,172,180,190,201,211,222,235,250,267,277],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":11,"mainColor":33},223698,"lv-you-tao-zhong-yi-ming-223698","绿釉陶钟","汉","佚名","藏地不详","东汉绿釉陶钟结构简单,强调实用,雄伟高雅不次于青铜器,莹润明亮的釉层,华美的釉色,体现出我国汉代高超的制陶工艺水平,为研究汉代明器文化提供了有力的实物",[23,7,24,25,26],"陶瓷","绿釉陶","明器","饮酒器","未知","Xcm*Xcm","",[],47,1,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":47,"material":27,"size":28,"collection":48,"collections":49,"showCount":50,"zanCount":32,"manualWeight":11,"mainColor":51},256720,"gong-yi-yao-san-cai-shuang-xi-guan-yi-ming-256720","巩义窑三彩双系罐","唐","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。",[41,23,42,43,44,45,7,46],"唐代","三彩","设色","罐","双系","低温铅釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd3db5804d0db3f13f07ac214c8977ed.jpg","瓷器精选",[48],14,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":62,"material":27,"size":28,"collection":29,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},253178,"tao-gou-yi-ming-253178","陶狗","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[18,58,59,60,61,7],"陶塑","俑","兽","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82022ffb94d9890066f9c147157ba4a.jpg",[],4,"37474F",{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":56,"tags":70,"thumbUrl":74,"material":27,"size":28,"collection":29,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":65},255796,"tao-shu-mai-mian-shi-xian-wen-cang-yi-ming-255796","陶“黍麦面石”弦纹仓",[18,23,71,72,73,7],"弦纹","三足","文字装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dc116369af913aafc147480d7f1c49.jpg",[],2,{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":89,"material":27,"size":28,"collection":29,"collections":90,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":33},255791,"tao-huang-you-cang-yi-ming-255791","陶黄釉仓","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[83,23,84,72,85,86,87,7,88],"汉代","黄釉","釉陶","仓形器物","条纹装饰","汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3dd8d5a012be1076bf847d4cee41024.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":18,"author":19,"museum":20,"description":56,"tags":95,"thumbUrl":100,"material":27,"size":28,"collection":29,"collections":101,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":33},255231,"tao-long-hu-wen-jing-lan-yi-ming-255231","陶龙虎纹井栏",[83,7,96,97,98,60,99],"雕刻","龙","虎","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a1a830fc41078702e283887418dd25.jpg",[],{"id":103,"slug":104,"title":105,"dynasty":106,"author":107,"museum":20,"description":108,"tags":109,"thumbUrl":131,"material":27,"size":28,"collection":29,"collections":132,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":33},232291,"a-er-ma-18-lao-lun-si-a-er-ma-ta-de-ma-232291","阿尔玛18","不详","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[110,111,112,113,114,115,116,117,118,119,120,121,7,122,123,124,125,126,127,128,129,130],"油画","写实","设色浓郁","古典风格","人物群像","河流","船只","花卉","古埃及元素","金字塔","羽毛扇","乐器","水果","建筑","天空","侍从","织物","植物","贵族女性","装饰细节","色彩明亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a52be0152e4e8ebabfae122f8932be.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":137,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":144,"material":27,"size":28,"collection":29,"collections":145,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},255642,"tao-bai-you-jing-yi-ming-255642","陶白釉井","隋","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[23,140,141,142,7,85,143],"白釉","日用器","隋代","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec4a182d52ad153fdc8dce250e2b1ae.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":20,"description":56,"tags":150,"thumbUrl":152,"material":27,"size":28,"collection":29,"collections":153,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":65},255239,"tao-zao-yi-ming-255239","陶灶",[83,7,96,151],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2bc9a25f560ce41bd73696121560145.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":19,"museum":20,"description":39,"tags":158,"thumbUrl":161,"material":27,"size":28,"collection":29,"collections":162,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},255071,"tao-lv-you-zao-yi-ming-255071","陶绿釉灶",[83,23,159,85,151,160,7,96],"绿釉","日用器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742afe12dcf96f90c89b02582cd56b24.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":20,"description":56,"tags":167,"thumbUrl":170,"material":27,"size":28,"collection":29,"collections":171,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},253279,"tao-ji-yi-ming-253279","陶鸡",[83,58,168,7,169,59],"雕塑","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a34603b914da1a6a385108f47414fa5.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":18,"author":19,"museum":20,"description":56,"tags":176,"thumbUrl":178,"material":27,"size":28,"collection":29,"collections":179,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":65},253209,"tao-niu-yi-ming-253209","陶牛",[7,177,25,58,60],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7403a2b8e5f51233521cda1596c888f.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":184,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":188,"material":27,"size":28,"collection":29,"collections":189,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":65},231440,"shen-bian-tao-wan-yi-ming-231440","深边陶碗","宋","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[184,23,141,7,187],"深边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4887f2ff0cec83887c14c14a241d197.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":194,"author":19,"museum":20,"description":39,"tags":195,"thumbUrl":199,"material":27,"size":28,"collection":29,"collections":200,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},255852,"tao-huang-lv-you-gao-zu-pan-yi-ming-255852","陶黄绿釉高足盘","明",[194,23,196,7,197,198],"黄绿釉","高足","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aeedaf44085dbb32ffb16465d94e78e.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":38,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":209,"material":27,"size":28,"collection":29,"collections":210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},255558,"tao-hua-cai-niu-che-xiang-yi-ming-255558","陶画彩牛车厢","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[38,7,207,43,177,208,143],"彩绘","车厢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad565fc34b1684beab783c872ee8ca7.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":18,"author":19,"museum":20,"description":56,"tags":215,"thumbUrl":220,"material":27,"size":28,"collection":29,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},255237,"tao-fang-ge-wen-jing-lan-yi-ming-255237","陶方格纹井栏",[18,216,217,218,219,96,141,7],"陶","方格纹","几何纹饰","模印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7dfbce9fa28de0723cbea4d2442e4bf.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":194,"author":19,"museum":20,"description":39,"tags":226,"thumbUrl":233,"material":27,"size":28,"collection":29,"collections":234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},255043,"tao-zi-lv-you-fang-guan-yi-ming-255043","陶紫绿釉方罐",[7,227,228,229,219,230,231,232],"明代","紫绿釉","方形器","浮雕","釉彩","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa699aa497bed2b73bcc2d2f1bcca453f.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":18,"author":19,"museum":20,"description":39,"tags":239,"thumbUrl":248,"material":27,"size":28,"collection":29,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},254675,"tao-yin-you-wu-yi-ming-254675","陶银釉屋",[240,241,85,96,88,242,243,244,7,245,246,247,58],"陶制","银釉","房屋","兽足","建筑模型","建筑造型","釉色装饰","古代建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce22bb77bec74ab9c007da18a3faaf28.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":38,"author":19,"museum":20,"description":254,"tags":255,"thumbUrl":265,"material":27,"size":28,"collection":29,"collections":266,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},254434,"tao-qi-ma-nan-yong-yi-ming-254434","陶骑马男俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[38,216,59,256,257,258,58,207,259,260,261,262,7,263,264],"骑马","人物","马","唐代风格","彩绘陶俑","骑马俑","男俑","人物俑","马俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c0c2bc0a2d6b64ec3fa31229dae59c.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":38,"author":19,"museum":20,"description":205,"tags":271,"thumbUrl":275,"material":27,"size":28,"collection":29,"collections":276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},253302,"tao-hua-cai-luo-tuo-yi-ming-253302","陶画彩骆驼",[38,272,273,274,7,59,60,43],"陶俑","骆驼","画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0755312bf16ddfba213078c44a8d70d6.jpg",[],{"id":278,"slug":279,"title":280,"dynasty":184,"author":19,"museum":20,"description":185,"tags":281,"thumbUrl":286,"material":27,"size":28,"collection":29,"collections":287,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},231453,"huang-tao-cha-wan-yi-ming-231453","黄陶茶碗",[282,23,7,283,284,141,285],"宋代","黄陶","开片","茶碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518cfd89ef58410c8bf830dcdc4e47d.jpg",[],1777535719999]