[{"data":1,"prerenderedAt":62},["ShallowReactive",2],{"subject-wan-shou-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10337,"wan-shou-zi","万寿字","万寿字画高清赏析","精选中国历代万寿字题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8322c9cf284459fe29811e7709608526.jpg",0,3,[14,36,49],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":35},266860,"qian-liao-shi-wan-shou-zi-hua-pen-di-nv-xie-yi-ming-266860","嵌料石万寿字花盆底女鞋","清","佚名","藏地不详","鞋面以绣线晕染花鸟灵姿，撞色镶边勾勒柔婉轮廓，鞋头作拟态雀形，朱缨点睛，鲜活俏皮。盆底以彩石错落铺就万寿纹样，宝色流光间暗纳福寿吉愿。\n\n一针一线尽显女红匠心，一珠一石晕开雅致华彩，浓妍配色却丝毫不显俗艳，将闺阁审美与吉祥意趣融于方寸履间，藏着传统服饰工艺里的精巧意趣，尽显晚清服饰工艺的雅致考究。",[23,24,25,7,26,27,28,29],"女鞋","花盆底","嵌料石","刺绣","布料","衣帽","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2726b89b1fed7ea4e012aee80b73ceaa.jpg","未知","Xcm*Xcm","",[],"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":47,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},264294,"huang-se-ke-si-wan-shou-zi-yun-long-wen-long-pao-liao-yi-ming-264294","黄色缂丝万寿字云龙纹龙袍料","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[42,28,27,43,44,7,45,46],"缂丝","龙","云龙纹","织物","服饰",[],"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":59,"material":31,"size":32,"collection":33,"collections":60,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},257952,"wu-cai-wan-shou-zi-zhe-zhi-tao-wen-pan-yi-ming-257952","五彩万寿字折枝桃纹盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[55,56,57,58,7],"陶瓷","五彩","设色","折枝桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b02787688a7d65c4ca865308f693a41.jpg",[],"795548",1777535774262]