[{"data":1,"prerenderedAt":1263},["ShallowReactive",2],{"subject-tuan-long-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3209,"tuan-long-wen","团龙纹","团龙纹画高清赏析","精选中国历代团龙纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1ce5c22a93866b4b7ada7fbd81bf51.jpg",0,145,[14,43,60,75,85,101,112,122,134,148,159,169,179,188,197,205,214,224,236,246,254,262,270,280,289,298,309,320,328,336,344,352,361,370,381,389,398,407,415,424,433,442,450,461,471,480,489,496,504,515,522,531,539,549,558,568,576,584,591,598,606,615,624,632,639,647,658,665,672,678,684,691,699,706,714,720,727,733,739,746,752,758,765,771,777,783,789,795,802,808,814,820,826,835,842,848,856,864,871,879,887,897,906,912,920,928,935,944,950,957,964,971,978,986,994,1002,1010,1019,1028,1035,1043,1051,1059,1068,1076,1085,1093,1101,1109,1117,1126,1137,1149,1158,1168,1175,1184,1191,1199,1207,1216,1222,1232,1244,1254],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},218454,"a-gui-xiang-shen-zhen-218454","阿桂像","清","沈贞","藏地不详","画中人物身着清代官服，团龙纹袍服纹饰精细，朝珠垂挂胸前，顶戴花翎彰显尊贵身份。面容刻画入微，眉眼间透着沉稳威严，胡须梳理整齐，尽显儒雅气度。整幅画作工笔细腻，设色庄重典雅，线条流畅利落，服饰的褶皱与纹饰皆栩栩如生，既展现出宫廷肖像画的严谨规制，又蕴含着画家对人物神态的精准捕捉，将清代重臣的威仪与风范跃然纸上。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"国画","名画","人物画","肖像画","工笔","设色","官服","朝珠","顶戴花翎","印章","沉稳威严","儒雅气度","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8176e3478d5b1dae651c81db0bcf7b0c.jpg","纸本,设色","","人物画精选",[38],35,1,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":18,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":54,"material":55,"size":56,"collection":37,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},264505,"zao-hong-se-tuan-long-za-bao-wen-an-hua-duan-yi-ming-264505","枣红色团龙杂宝纹暗花缎","佚名","沉敛枣红为底，暗花隐现明暗之间。团龙纹端庄威仪，环列排布尽显礼制尊崇；杂宝纹饰错落点缀，添几分灵动雅致。经暗花工艺晕染，纹样似藏非藏，触之可抚细腻肌理，光下才得见精巧构图经纬交织的妙处。丝缕之间将吉祥祈愿与织造匠心相融，静诉旧时工艺审美，是传统丝织技艺的精巧缩影，把华贵气韵悄然藏入日常织物之中，尽显低调雅致的东方美学意趣。",[50,51,7,52,53],"布料","暗花缎","杂宝纹","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2015e317a23bb8b6a0bc408eac3360.jpg","未知","Xcm*Xcm",[],10,"D50000",{"id":61,"slug":62,"title":63,"dynasty":18,"author":47,"museum":20,"description":64,"tags":65,"thumbUrl":72,"material":55,"size":56,"collection":37,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":42},266439,"lv-se-tuan-long-wen-an-hua-chou-yang-pi-li-nv-ji-fu-pao-yi-ming-266439","绿色团龙纹暗花绸羊皮里女吉服袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[66,50,67,7,68,69,70,71],"衣帽","羊皮","暗花","绿色","女装","吉服袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d2214b8b1dafa2f2a514695c3559be.jpg",[],7,{"id":76,"slug":77,"title":78,"dynasty":18,"author":47,"museum":20,"description":79,"tags":80,"thumbUrl":82,"material":55,"size":56,"collection":37,"collections":83,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":84},263736,"lan-se-er-ze-tuan-long-wen-xian-chou-yi-ming-263736","蓝色二则团龙纹线绸","以沉静肃穆的宝蓝色为底，通身铺陈二则团龙暗纹。团龙盘绕成团，龙身鳞爪、鬃须细节在提花工艺下若隐若现，华美却不张扬。整幅织物排布齐整，团龙交错对称，既有礼制纹样的规整威严，又借暗纹凸显出内敛雅致的质感，将精湛织造工法与宫廷审美藏入纱线经纬之间，于静谧蓝调里晕开端庄大气的制式美感，暗合旧时器物暗藏威仪又克制含蓄的审美意趣。",[50,81,53,7],"绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0707eb3c5f7db2081094d98e988f3b8e.jpg",[],"2A56C6",{"id":86,"slug":87,"title":88,"dynasty":18,"author":47,"museum":20,"description":89,"tags":90,"thumbUrl":98,"material":55,"size":56,"collection":37,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":42},267390,"xing-huang-se-duan-xiu-fu-shou-lian-jin-shi-tuan-long-wen-nv-pei-yi-ming-267390","杏黄色缎绣蝠寿莲金十团龙纹女帔","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[66,50,91,92,53,93,94,95,7,28,96,97],"刺绣","金绣","荷花","蝙蝠","寿纹","女帔","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350d910cb7f9e798f1da34cec83d4d3f.jpg",[],3,{"id":102,"slug":103,"title":104,"dynasty":18,"author":47,"museum":20,"description":105,"tags":106,"thumbUrl":109,"material":55,"size":56,"collection":37,"collections":110,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},265857,"shen-jia-zi-se-tuan-long-wen-an-hua-zhi-ma-sha-chang-yi-yi-ming-265857","深茄紫色团龙纹暗花芝麻纱氅衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[66,107,7,68,50,108],"氅衣","紫色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5559fa3fcd64e041233213467cb96f3f.jpg",[],"795548",{"id":113,"slug":114,"title":115,"dynasty":18,"author":47,"museum":20,"description":116,"tags":117,"thumbUrl":120,"material":55,"size":56,"collection":37,"collections":121,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},264019,"qing-se-di-tuan-long-ju-hua-wen-zhi-jin-jin-yi-ming-264019","青色地团龙菊花纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[118,50,7,119],"织金锦","菊花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56ff9ac354ba6ccd802fee20148c8a9.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":18,"author":47,"museum":20,"description":126,"tags":127,"thumbUrl":131,"material":55,"size":56,"collection":37,"collections":132,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":133},263865,"ming-huang-se-tuan-long-wen-an-hua-luo-wen-duan-yi-ming-263865","明黄色团龙纹暗花罗纹缎","明黄底色自带雍容贵气，尽显专属的无上威仪。团龙纹隐于罗缎肌理之间，唯有光影流转时，方能窥见龙身舒展的灵动身姿，纹路细腻规整，将皇权的庄重藏于含蓄雅致当中。缎面经纬交织密实匀净，触感平滑莹润，尽显织造工艺的炉火纯青，低调里暗藏礼制考究，于无声间诉说旧时宫廷的华贵底蕴。",[50,128,68,7,129,130],"龙纹","罗纹缎","明黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bbb7179a836fef9c91b2c98d6604efd.jpg",[],"FDD835",{"id":135,"slug":136,"title":137,"dynasty":18,"author":47,"museum":20,"description":138,"tags":139,"thumbUrl":146,"material":55,"size":56,"collection":37,"collections":147,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},259551,"xuan-tong-kuan-ji-lan-miao-jin-tuan-long-wen-shou-zi-pie-kou-ping-yi-ming-259551","宣统款祭蓝描金团龙纹“寿”字撇口瓶","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。",[140,141,7,142,143,144,145],"陶瓷","描金","寿字","撇口瓶","蓝釉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538879180adbce112aa3aceac82e3d89.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":47,"museum":20,"description":152,"tags":153,"thumbUrl":156,"material":55,"size":56,"collection":37,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":42},267543,"mei-gui-zi-se-tuan-long-yuan-shou-zi-wen-zhi-jin-duan-yi-ming-267543","玫瑰紫色团龙圆寿字纹织金缎","浓郁玫瑰紫底色沉稳华贵，织金团纹在其上熠熠生辉。团窠内祥龙盘绕，托举圆寿，辅以蝠纹点缀，暗合福寿双全的美好祈愿。\n\n金线穿梭缎面，光泽莹润灵动，织就出层次分明的细腻纹样，尽显织造工艺的精湛考究。纹样排布规整对称，疏密相宜，既有庄重威仪之气，又饱含吉庆绵长的隽永寓意，将传统丝织的华贵气韵与吉祥意趣融为一体，尽显旧时织造美学的精巧意涵。",[50,154,7,155,108,53],"织金缎","寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b7f26af5947c03f4fe83c2d310850c.jpg",[],2,{"id":160,"slug":161,"title":162,"dynasty":18,"author":47,"museum":20,"description":105,"tags":163,"thumbUrl":167,"material":55,"size":56,"collection":37,"collections":168,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":42},265826,"jia-zi-se-tuan-long-wen-an-hua-zhi-ma-sha-dan-chang-yi-yi-ming-265826","茄紫色团龙纹暗花芝麻纱单氅衣",[66,50,7,68,164,107,165,166],"芝麻纱","如意纹","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F174dc345ec78c33b5495ef2d6b74e7a9.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":18,"author":47,"museum":20,"description":173,"tags":174,"thumbUrl":176,"material":55,"size":56,"collection":37,"collections":177,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":178},265792,"shi-qing-se-tuan-long-wen-an-hua-sha-jia-chang-fu-gua-yi-ming-265792","石青色团龙纹暗花纱夹常服褂","整体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[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。",[140,1132,1133,7,1134,53],"矾红彩","盘","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac430bc31f56466cf01d84d8695a1efa.jpg",[],{"id":1138,"slug":1139,"title":1140,"dynasty":18,"author":47,"museum":20,"description":1141,"tags":1142,"thumbUrl":1147,"material":55,"size":56,"collection":37,"collections":1148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},259245,"qian-long-kuan-huang-you-zhui-gong-tuan-long-wen-wan-yi-ming-259245","乾隆款黄釉锥拱团龙纹碗","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。",[140,145,1143,1144,53,7,1145,1146],"碗","锥拱","日用具","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd8bdf9fb717ef34d868d330e0e546.jpg",[],{"id":1150,"slug":1151,"title":1152,"dynasty":18,"author":47,"museum":20,"description":1153,"tags":1154,"thumbUrl":1156,"material":55,"size":56,"collection":37,"collections":1157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":261},259219,"qian-long-kuan-huang-di-lv-cai-tuan-long-wen-wan-yi-ming-259219","乾隆款黄地绿彩团龙纹碗","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。",[140,145,53,7,1155,1145],"黄地绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bc843252dcbe0d0738f5a462d368e5.jpg",[],{"id":1159,"slug":1160,"title":1161,"dynasty":18,"author":47,"museum":20,"description":1162,"tags":1163,"thumbUrl":1166,"material":55,"size":56,"collection":37,"collections":1167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},259188,"yong-zheng-kuan-qing-hua-li-ba-bao-tuan-shou-wai-tuan-long-wen-pan-yi-ming-259188","雍正款青花里八宝团寿外团龙纹盘","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。",[140,1164,53,7,654,1165,1133],"青花","团寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2247d5e42889e4693838d7f0303449.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":18,"author":47,"museum":20,"description":1153,"tags":1172,"thumbUrl":1173,"material":55,"size":56,"collection":37,"collections":1174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},259102,"kang-xi-kuan-huang-di-lv-cai-tuan-long-wen-wan-yi-ming-259102","康熙款黄地绿彩团龙纹碗",[140,53,7,1155,1143,1145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F765608202ad1cb1dc3376f6467d765ef.jpg",[],{"id":1176,"slug":1177,"title":1178,"dynasty":18,"author":47,"museum":20,"description":1130,"tags":1179,"thumbUrl":1182,"material":55,"size":56,"collection":37,"collections":1183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},258352,"fan-hong-cai-chan-zhi-ba-bao-tuan-long-wen-pan-yi-ming-258352","矾红彩缠枝八宝团龙纹盘",[1180,140,1132,28,1181,7,1065,53],"清代","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9faa3c6ae084f1f9132c2ffe8da1241.jpg",[],{"id":1185,"slug":1186,"title":1178,"dynasty":18,"author":47,"museum":20,"description":1130,"tags":1187,"thumbUrl":1189,"material":55,"size":56,"collection":37,"collections":1190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":261},258351,"fan-hong-cai-chan-zhi-ba-bao-tuan-long-wen-pan-yi-ming-258351",[1180,140,145,1132,28,1188,7],"缠枝八宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47fdddfd95dc80920d643c9e5a414b69.jpg",[],{"id":1192,"slug":1193,"title":1194,"dynasty":18,"author":47,"museum":20,"description":1195,"tags":1196,"thumbUrl":1197,"material":55,"size":56,"collection":37,"collections":1198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":261},258053,"kang-xi-kuan-qing-hua-tuan-long-wen-bei-yi-ming-258053","康熙款青花团龙纹杯","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[140,1164,7,1180,53,1145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b914eb10931455f8eaea6b90628d13.jpg",[],{"id":1200,"slug":1201,"title":1194,"dynasty":18,"author":47,"museum":20,"description":1195,"tags":1202,"thumbUrl":1205,"material":55,"size":56,"collection":37,"collections":1206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":261},258052,"kang-xi-kuan-qing-hua-tuan-long-wen-bei-yi-ming-258052",[140,1164,1203,53,128,7,1180,1204],"青花瓷","杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7a6751f96e3b30681b0ea7de241689.jpg",[],{"id":1208,"slug":1209,"title":1210,"dynasty":18,"author":47,"museum":20,"description":1211,"tags":1212,"thumbUrl":1214,"material":55,"size":56,"collection":37,"collections":1215,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":261},258045,"kang-xi-kuan-you-li-hong-tuan-long-wen-wan-yi-ming-258045","康熙款釉里红团龙纹碗","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。",[1180,140,1213,7,145,53],"釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c942792307b0dca481b59178135adf6.jpg",[],{"id":1217,"slug":1218,"title":1210,"dynasty":18,"author":47,"museum":20,"description":1211,"tags":1219,"thumbUrl":1220,"material":55,"size":56,"collection":37,"collections":1221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},257824,"kang-xi-kuan-you-li-hong-tuan-long-wen-wan-yi-ming-257824",[18,140,1213,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7786b3679dc4c185261e7881b448af1c.jpg",[],{"id":1223,"slug":1224,"title":1225,"dynasty":18,"author":47,"museum":20,"description":1130,"tags":1226,"thumbUrl":1230,"material":55,"size":56,"collection":37,"collections":1231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},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",[140,1227,1228,53,1229,7,1180,145],"素三彩","黄地","双龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76953e687abbbae22db458b90fb8dd3f.jpg",[],{"id":1233,"slug":1234,"title":1235,"dynasty":1236,"author":47,"museum":20,"description":1237,"tags":1238,"thumbUrl":1242,"material":55,"size":56,"collection":37,"collections":1243,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":261},257290,"jia-jing-kuan-bai-you-an-hua-tuan-long-wen-wan-yi-ming-257290","嘉靖款白釉暗划团龙纹碗","明","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。",[140,1239,1240,1241,7,53,145],"明代","白釉","暗划","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1db1f8e4d7f520bad21f307c5cf1ff.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":18,"author":47,"museum":20,"description":1248,"tags":1249,"thumbUrl":1252,"material":55,"size":56,"collection":37,"collections":1253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},250041,"hua-fa-lang-tuan-long-wen-bo-shi-gang-yi-ming-250041","画珐琅团龙纹钵式缸","此器物形制饱满圆润，珐琅釉色鲜亮明快。明黄地色上缠枝花卉柔婉舒展，铺满器身，将团龙纹样衬托得尤为醒目。蓝料团龙纹饰精细繁复，龙身蜷曲尽显威严遒劲，朱红团花错落点缀，冷暖色调碰撞调和，层次分明。铜胎珐琅工艺精湛，釉面匀净莹润，纹饰布局疏密有致，既承载着华贵气度，又将装饰美学融于一体，尽显此工艺的精妙水准。",[1180,1250,1251,7,53,145],"画珐琅","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a34ab4a37fd96ab9dc9c1a910adaaf8.jpg",[],{"id":1255,"slug":1256,"title":1257,"dynasty":18,"author":47,"museum":20,"description":1258,"tags":1259,"thumbUrl":10,"material":55,"size":56,"collection":37,"collections":1262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},248675,"hei-qi-qian-luo-dian-tuan-long-wen-die-yi-ming-248675","黑漆嵌螺钿团龙纹碟","这只漆碟凝敛雅致，通体髹漆如夜潭映月，莹润乌亮。口沿包镶铜边，冷金与玄色相映，添了一份古朴坚韧的质感，护住器物边角，也让素净器型多了层次。隐于漆色间的螺钿团龙，在光影流转时才会漾出细碎华彩，将威仪藏于沉静，暗合中式含蓄之美。\n\n器型圆润舒展，线条柔和温婉，将匠意融于极简形制，曾于案头承托茶点或清供小物，把寻常时光晕染出雅致余韵，静静沉淀着旧时的闲雅意趣。",[1180,1260,1261,7,145],"漆器","嵌螺钿",[],1777535702700]