[{"data":1,"prerenderedAt":124},["ShallowReactive",2],{"subject-ti-liang-hu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2112,"ti-liang-hu","提梁壶","提梁壶画高清赏析","精选中国历代提梁壶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae9115b9dcaf387959685d51c9168b.jpg",0,9,[14,38,50,62,73,85,93,104,117],{"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":11,"manualWeight":11,"mainColor":37},258974,"yi-xing-yao-zi-sha-yin-juan-zhi-wen-ti-liang-hu-yi-ming-258974","宜兴窑紫砂印卷枝纹提梁壶","清","佚名","藏地不详","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[23,24,25,26,27,28,7,29,30],"清代","紫砂","陶瓷","雕刻","印纹","卷枝纹","日用器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9001aa70d3c2c14985870e6c1881d3e.jpg","未知","Xcm*Xcm","瓷器精选",[34],5,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":46,"material":32,"size":33,"collection":34,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},261183,"peng-nian-kuan-yi-xing-yao-zi-sha-ke-mei-wen-ti-liang-hu-yi-ming-261183","彭年款宜兴窑紫砂刻梅纹提梁壶",[25,43,7,26,44,45,30],"紫砂壶","梅","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d724d3340f5da97893ae5cf2e9dea6f.jpg",[34],2,"795548",{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":59,"material":32,"size":33,"collection":60,"collections":61,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":37},259974,"fen-cai-hua-hui-wen-ti-liang-hu-yi-ming-259974","粉彩花卉纹提梁壶","壶身饱满圆融，提梁高挑舒展，线条柔和雅致尽显温婉气韵。主饰粉彩牡丹，花瓣层叠晕染，娇妍动人，枝叶舒展有灵，间以淡蓝碎花点缀，添几分清新意趣。提梁与壶嘴以矾红描金勾勒卷草纹，暗增华贵细节，盖面小花与壶身主题呼应，构图疏密相宜。莹白釉色衬得彩料鲜妍柔润，将柔美花意与瓷质清雅完美相融，尽显秀雅端庄的中式美学意韵，是兼具实用与赏玩价值的精巧佳器。",[25,45,56,57,58,7],"粉彩","牡丹","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff54e9d17345a917e30f520eb3165b5de.jpg","",[],{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":69,"material":32,"size":33,"collection":60,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},273104,"guang-xu-chang-chun-gong-yao-fang-kuan-yin-ti-liang-hu-yi-ming-273104","光绪长春宫药房款银提梁壶","温润包浆凝着时光旧痕，圆壶肚饱满敦实，素净无过多雕饰，尽显内敛雅致。高挑提梁弯弧柔和，银链牵系壶盖，既防倾洒又添灵动意趣。曲颈壶嘴微微上扬，线条流畅利落，出水爽利落拓，腹部嵌饰素洁圆片，于朴素中缀出精巧细节。\n\n整体清隽简约，是实用与审美相融的器物，带着旧时煎调汤饮的烟火气，静静述说着往昔日常里的雅致匠心，将手作温度藏于银质肌理，见证过往细致妥帖的日常光景。",[68,45,7,30],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd916ffa6c8eb83bba76c51ef5f0c9e98.jpg",[],1,"37474F",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":83,"material":32,"size":33,"collection":60,"collections":84,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},261996,"huang-you-hua-hua-ti-liang-hu-yi-ming-261996","黄釉划花提梁壶","宋","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。",[25,80,81,7,82,45,30],"黄釉","划花","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112978f243a66b6ff1af16ebc322bd0.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":21,"tags":89,"thumbUrl":91,"material":32,"size":33,"collection":34,"collections":92,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},260258,"yi-xing-yao-zi-ye-kuan-zi-sha-ti-liang-hu-yi-ming-260258","宜兴窑子冶款紫砂提梁壶",[25,43,7,45,26,90],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c805194ac6b008d02b07387b772818.jpg",[34],{"id":94,"slug":95,"title":96,"dynasty":97,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":102,"material":32,"size":33,"collection":34,"collections":103,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},260001,"long-quan-yao-qing-you-ti-liang-hu-yi-ming-260001","龙泉窑青釉提梁壶","明","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[25,45,100,7,101,30],"青釉","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf638aa8ba01b9fb27ddf1488059e04.jpg",[34],{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":108,"tags":109,"thumbUrl":115,"material":32,"size":33,"collection":60,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},258254,"yong-zheng-kuan-qing-hua-ti-liang-hu-yi-ming-258254","雍正款青花提梁壶","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[25,110,23,7,45,111,112,113,114],"青花","缠枝纹","白地青花","器型","青花装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0bb11411b8208f180f3bb8ab0628d8.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":10,"material":32,"size":33,"collection":60,"collections":123,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},245757,"xuan-tong-kuan-yin-ti-liang-hu-yi-ming-245757","宣统款银提梁壶","提梁仿竹弯折，弧度温婉柔和，包浆晕染出沉润光泽。壶身饱满圆融，线条自肩部缓缓收束，搭配修长曲流，出水劲爽雅致。圆珠状盖钮小巧玲珑，链索牵系提梁，妥帖护住壶盖，兼具巧思与实用。\n\n银身经百年岁月浸润，氧化出幽蓝与虹彩交织的斑斓包浆，如同将旧时光晕凝于器身，朦胧雅致。整器无过多纹饰修饰，以极简造型传递清隽意趣，把日常用器的质朴与中式审美的沉静雅致相融，尽显清代银作工艺平衡实用与美学的精巧功力。",[18,68,45,7],[],1777535737224]