[{"data":1,"prerenderedAt":69},["ShallowReactive",2],{"subject-xi-xiang-ji":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2945,"xi-xiang-ji","西厢记","西厢记画高清赏析","精选中国历代西厢记题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87dc14c374dc15e306754882fbb28350.jpg",0,3,[14,34,53],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},216350,"xi-xiang-ji-cha-ye-4-min-qi-ji-216350","西厢记插页-4","明","闵齐伋","藏地不详","双环交叠，圈定西厢幽微意绪。左圆内，案前身影凝坐，阶下之人低眉侍立，朱红几案与浅蓝衣袂相映，素净间藏着情愫暗涌。右圆里，二人相对，一躬身轻语，一抬袖含情，衣纹流转如溪，神态婉转动人。淡青环边缠蔓纹，与素纸底色相融，古雅温润。细劲线条勾出人物情态，清雅设色晕染古典韵味，交叠的圆影似将两处场景连缀，把西厢故事里的私语、沉思与心动，凝在方寸画幅中，如陈年墨香里的一段轻吟，耐人回味。",[23,24,25,26,27,7,28],"名画","国画","设色","人物","美人","册","纸本,设色","",[],11,"BDBDBD",{"id":35,"slug":36,"title":37,"dynasty":38,"author":39,"museum":20,"description":40,"tags":41,"thumbUrl":48,"material":49,"size":50,"collection":30,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":33},262119,"fen-cai-xi-xiang-ren-wu-tu-da-pan-yi-ming-262119","粉彩西厢人物图大盘","清","佚名","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。",[42,43,26,44,45,46,47,7],"陶瓷","粉彩","马","马车","柳树","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b0c6602a9a2377453c59433fff94448.jpg","未知","Xcm*Xcm",[],2,{"id":54,"slug":55,"title":56,"dynasty":38,"author":39,"museum":20,"description":57,"tags":58,"thumbUrl":65,"material":49,"size":50,"collection":30,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},262082,"kang-xi-kuan-qing-hua-xi-xiang-ji-wen-bi-tong-yi-ming-262082","康熙款青花西厢记文笔筒","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。",[42,59,60,61,62,63,64,7],"青花","笔筒","书法","楷书","印章","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44974c686ec6ebd2a0d481196cd4dc83.jpg",[],1,"37474F",1777535771670]