[{"data":1,"prerenderedAt":262},["ShallowReactive",2],{"subject-ti-liang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4198,"ti-liang","提梁","提梁画高清赏析","精选中国历代提梁题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12876559cff11b2b616bb521ee465e35.jpg",0,20,[14,38,56,74,88,100,113,126,135,145,157,167,178,186,195,210,221,231,238,252],{"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},244433,"ti-liang-deng-yi-ming-244433","提梁灯","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。",[23,24,25,26,27,28,29,7,30],"青铜器","铜制","汉代风格","铸造","雕刻","龙","三足","灯具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffcc2f6a60f2881b8c512ef10e889f2.jpg","未知","Xcm*Xcm","",[],5,"F48FB1",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":52,"material":32,"size":33,"collection":34,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},242870,"wei-you-yi-ming-242870","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。",[23,27,45,46,47,7,48,49,50,51],"酒器","兽纹","古朴","纹饰","青铜工艺","商代风格","盛酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7333abf0b847ff9f7aa54b67588452c.jpg",[],3,"795548",{"id":57,"slug":58,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":59,"thumbUrl":72,"material":32,"size":33,"collection":34,"collections":73,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},242867,"wei-you-yi-ming-242867",[23,60,45,61,62,63,64,65,7,66,67,68,69,70,71],"礼器","浮雕纹饰","线刻纹饰","兽面纹","夔龙纹","带盖","双耳","铸造工艺","古铜锈迹","器物造型","青铜纹饰","商周风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2f84f2d85964fc1e534c638563dcd63.jpg",[],{"id":75,"slug":76,"title":77,"dynasty":78,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":86,"material":32,"size":33,"collection":34,"collections":87,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},223711,"gua-shi-ti-liang-hu-yi-ming-223711","瓜式提梁壶","宋","注壶，作六稜圆瓜形矮圆壶身，顶面圆凹下，中间留有小圆口，口上覆以隆起如桥的叶状泥片；小短流；提梁作十字形，两侧泥条搭接于前後向的提梁上，提梁与器身相接处贴饰瓜叶三片，叶呈菱形或三角形，各押印纹理，使提梁宛如瓜的藤蔓；矮圈足，足底缘无釉，露白胎；足内平底，底部荡釉不匀整；器施牙白釉，釉色匀润，外壁留有刷丝镟痕及上釉时的工具遗痕；并见两处褐色杂点。 全器造型以瓜实为主题，贴饰也均以瓜叶相生相伴，十分具有巧思。其坚致细白的土质，莹泽的釉光，当系北宋前期定窑制作的精品。相似的造型曾数见于辽宁、吉林及内蒙的辽墓，贴饰则有蝶文或鱼龙纹之异。宋代定窑的烧造窑址，位于河北省曲阳县，即北宋初年的宋、辽边境上；辽人喜好中原文物，因此比邻的定窑作品常成为辽国贵族的珍品，甚或有掳掠窑工至辽地烧造瓷器的情事；另一方面，辽民族所擅长的金银器、皮雕器造型，或砑花、贴饰的技巧，也常启迪定窑工匠创作的灵感。",[81,82,83,7,84,85],"陶瓷","器","瓜式","白釉","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96f34f5d607e2453166a2c4d407ac13.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":92,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":96,"material":32,"size":33,"collection":97,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},258994,"yi-xing-yao-zi-sha-ti-liang-hu-yi-ming-258994","宜兴窑紫砂提梁壶","清","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。",[92,95,81,82,7],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942f0ad4dde1c7aa9f9f5238bc74edaf.jpg","瓷器精选",[97],"BDBDBD",{"id":101,"slug":102,"title":103,"dynasty":92,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":110,"material":32,"size":33,"collection":34,"collections":111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},251914,"ma-nao-dai-gai-ti-liang-you-yi-ming-251914","玛瑙带盖提梁卣","此件以黄玛瑙精心雕琢，质地匀净莹润，色泽如蜜似蜡，温婉柔润。\n\n最为精妙的当属一体链雕的提梁，数十道链环丝丝相扣，无一处拼接凿痕，与瓶身完美衔合，尽显镂雕工艺之极致。器身饱满丰腴，盖钮圆润小巧，器身浅刻纹饰婉转细腻，古意盎然。提梁悬空垂挂于木架之上，静穆中暗含灵动韵味，将玉雕的雅致与工艺的精巧融为一体，尽显清代工艺的匠心独运，是文房清供的雅致佳器。",[106,107,27,65,7,82,108,109],"清代","玛瑙","饮酒器","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa71dd46b373368b8574a3aced0dc1a.jpg",[],"37474F",{"id":114,"slug":115,"title":116,"dynasty":92,"author":19,"museum":20,"description":117,"tags":118,"thumbUrl":124,"material":32,"size":33,"collection":34,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},251497,"bi-yu-tou-diao-he-bao-shi-dai-ti-liang-hua-xun-yi-ming-251497","碧玉透雕荷包式带提梁花熏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[119,120,121,27,82,122,123,7],"玉石","碧玉","透雕","花熏","荷包式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa926bd4326ef1c498a4031aa709ecc51.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":92,"author":19,"museum":20,"description":117,"tags":130,"thumbUrl":133,"material":32,"size":33,"collection":34,"collections":134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},251423,"qian-long-kuan-qing-yu-yun-wen-ti-liang-gai-you-yi-ming-251423","乾隆款青玉云纹提梁盖卣",[106,119,27,131,82,7,132],"云纹","盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e9cab544c5344f44b2351df296315c.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":92,"author":19,"museum":20,"description":117,"tags":139,"thumbUrl":143,"material":32,"size":33,"collection":34,"collections":144,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},251213,"he-ban-qing-yu-shou-mian-tiao-wen-ti-liang-you-yi-ming-251213","褐斑青玉兽面条纹提梁卣",[119,27,140,141,7,60,51,142],"兽面","条纹","褐斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0427de756ad95e9362b0841a3b30684.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":92,"author":19,"museum":20,"description":149,"tags":150,"thumbUrl":155,"material":32,"size":33,"collection":34,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},250194,"tou-ming-fa-lang-ti-liang-hu-yi-ming-250194","透明珐琅提梁壶","它以深邃霁蓝为底，如同揉碎了暮色里的幽邃夜空，鎏金纹饰恰似碎金跃然其上。四方壶身轮廓规整内敛，铜制提梁古拙持重，刚柔线条相映成趣。开光之中折枝花卉舒展灵动，缠枝纹蜿蜒环绕勾勒边框，边角回纹端庄周正，晕染出清雅娴静的中式意趣。莹润釉面如镜，将金彩衬得愈发明媚亮眼，华贵却不显张扬，把旧时造器的精巧工致藏于每一处细节，将东方造物的雍容雅致凝于一壶之间，静静晕开旧时光里的温婉韵致。",[106,151,152,153,154,82,7],"珐琅器","透明珐琅","描金","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c15642c93625235027347fb3183d5c5.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":92,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":165,"material":32,"size":33,"collection":34,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},250164,"qia-si-fa-lang-shou-mian-wen-ti-liang-you-yi-ming-250164","掐丝珐琅兽面纹提梁卣","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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