[{"data":1,"prerenderedAt":85},["ShallowReactive",2],{"subject-wo-shou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9934,"wo-shou","卧兽","卧兽画高清赏析","精选中国历代卧兽题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71978486804c10258256ec96d3faac45.jpg",0,5,[14,34,49,62,72],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},255615,"shi-wan-yao-qing-you-wo-shou-yi-ming-255615","石湾窑青釉卧兽","宋","佚名","藏地不详","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[18,23,24,25,7,26],"石湾窑","青釉","兽","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3583599dc5ebcb286dd79a31b200db.jpg","未知","Xcm*Xcm","瓷器精选",[30],2,"37474F",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":45,"material":28,"size":29,"collection":46,"collections":47,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},276473,"wo-shou-niu-jia-qing-yu-bi-zhang-yi-ming-276473","卧兽纽“嘉庆御笔”章","清","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[41,42,43,7,44],"印章","篆刻","玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6855c5172ec86716163bfb92e3d9c1.jpg","",[],"BDBDBD",{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":59,"material":28,"size":29,"collection":46,"collections":60,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},271528,"cheng-ni-wo-shou-shi-yan-yi-ming-271528","澄泥卧兽式砚","明","此砚取卧兽为形，浑朴古雅，将文房实用与审美意趣融于一身。兽身蜷伏憨拙，以阴刻线条勾勒鬃毛肌理，翻卷灵动，既留存瑞兽的威仪，又化身为研墨佳器。\n\n砚堂晕开一圈暖棕包浆，是岁月研磨沉淀下的痕迹，凝着旧时案头的笔墨余韵。兽首旁顺势设小水盂，与器身浑然一体，添取水随手续便，尽显匠人巧思。澄泥质地细腻温润，入手敦实厚重，褪去石雕生硬，于质朴间藏着雅致。它不饰浮华，以素雅古拙之态，静静叙说着旧时文房的笔墨日常。",[56,57,7,44,58],"砚","澄泥","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ad9915d491a2cfa55fc7e4f47d9da9.jpg",[],"795548",{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":70,"material":28,"size":29,"collection":46,"collections":71,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},255834,"hei-you-ci-wo-shou-yi-ming-255834","黑釉瓷卧兽","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。",[68,26,69,7,25,58],"宋代","黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa919063053e443678200bb58a6803d5a.jpg",[],{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":10,"material":28,"size":29,"collection":46,"collections":84,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},255585,"shi-wo-niu-yi-ming-255585","石卧牛","唐","此件卧牛匍匐方座之上，姿态安恬温顺，刀工洗练朴拙，却精准勾勒出犍牛敦实的身形肌理，将憨态尽显。石面晕染斑驳黄褐沁色，是岁月沉淀留下的痕迹。造像无繁复修饰，以极简线条捕捉牛只沉静松弛的神态，带着浑厚大气的特质，藏着匠人对日常生灵的细致体察，静穆间漾着质朴生机，是世俗审美与石雕技艺相融的隽永小品。",[79,80,44,7,81,82,83],"唐代","石雕","牛","兽类","石质",[],1777535755537]