[{"data":1,"prerenderedAt":215},["ShallowReactive",2],{"subject-teng-luo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1740,"teng-luo","藤萝","藤萝画高清赏析","精选中国历代藤萝题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef3464a9a6be1f6ba6ee9ba78fffc1e.jpg",0,14,[14,36,76,94,109,120,133,146,154,166,175,185,196,205],{"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},229703,"guan-yao-fen-cai-teng-luo-hua-niao-hua-pen-yi-ming-229703","官窑 粉彩藤萝花鸟花盆","清","佚名","藏地不详","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[23,24,25,26,27,7,28],"陶瓷","官窑","粉彩","设色","花鸟","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a0e6d27520d27d81d1d456aca2daf6.jpg","未知","Xcm*Xcm","瓷器精选",[32],59,"795548",{"id":37,"slug":38,"title":39,"dynasty":40,"author":41,"museum":42,"description":43,"tags":44,"thumbUrl":69,"material":70,"size":71,"collection":72,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","明","胡俨","北京故宫博物院","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[45,46,47,48,49,50,51,52,53,54,55,56,7,57,58,59,60,61,62,63,64,65,66,67,68],"高清","行书","书法","题诗","笔墨","章法","结体","山房","竹","月","树","鹤","苍松","雪","溪","舟","田舍","云","烟","风","雨","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纸本,水墨","纵27.3厘米，横45.5厘米","书法精选",[72],42,"BDBDBD",{"id":77,"slug":78,"title":79,"dynasty":18,"author":80,"museum":42,"description":81,"tags":82,"thumbUrl":88,"material":89,"size":90,"collection":91,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":75},234522,"teng-luo-tu-shan-ye-liao-yun-jin-234522","藤萝图扇页","廖云锦","此图为工写结合的设色花卉。紫藤的藤蔓由右向左延伸，结串的藤花以紫色染就不见笔痕，叶片先勾后染，设色轻妆淡写，运笔纤细工整，注重叶子阴阳向背的表现，每片叶子都具有立体感。其画风脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，自出性灵，非寻常学力所能及。",[83,84,85,26,86,27,7,87],"国画","书画","扇面","工笔","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15bc6b67350636ca42aa3771ac6d962f.jpg","纸本，设色","纵16.2厘米，横49.5厘米","",[],20,{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":104,"material":30,"size":31,"collection":91,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":108},264408,"yue-bai-se-chou-xiu-qian-cai-shui-xian-teng-luo-wen-chang-yi-liao-yi-ming-264408","月白色绸绣浅彩水仙藤萝纹氅衣料","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[100,101,102,103,7,27],"衣帽","布料","刺绣","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3331d4dc83176bb4e8900a594470ef.jpg",[],11,1,"2A56C6",{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":20,"description":113,"tags":114,"thumbUrl":117,"material":30,"size":31,"collection":91,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":75},266358,"huang-se-ke-si-teng-luo-tuan-shou-wen-chen-yi-chai-pian-yi-ming-266358","黄色缂丝藤萝团寿纹衬衣拆片","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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工艺美术方面的重要发明。",[23,202,25,26,27,7,171],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38d25d797e1c0436e1ad5a2b82a0f9f.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":209,"tags":210,"thumbUrl":213,"material":30,"size":31,"collection":91,"collections":214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":75},258908,"lv-di-fen-cai-teng-luo-yue-ji-hua-wen-hua-pen-yi-ming-258908","绿地粉彩藤萝月季花纹花盆","松石绿釉底色匀净鲜亮，恰似一汪澄澈春水。朱红枝蔓虬曲舒展，藤萝紫花垂缀如瀑，月季柔粉、明红次第绽放，娇妍动人。褐羽禽鸟俏立枝头，羽色油亮层次分明，尖喙轻抬，似将啼鸣唤春。\n\n粉彩晕染柔润自然，花叶脉络勾勒细致鲜活，把春日繁花禽栖的意趣凝于瓷上，构图饱满却不显拥塞，明艳配色衬出融融春意，将工笔雅致与装饰意趣相融，把盎然生机藏于器形之中，雅致鲜活又带着融融暖意。",[23,211,25,26,27,7,212,28],"清代","月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e2d990c4a0b96f39e38f132bbe5384.jpg",[],1777535726437]