[{"data":1,"prerenderedAt":79},["ShallowReactive",2],{"subject-xiang-qian-zhuang-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},11908,"xiang-qian-zhuang-shi","镶嵌装饰","镶嵌装饰画高清赏析","精选中国历代镶嵌装饰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51b4010362e382d2836eb841681ad0.jpg",0,6,[14,33,41,49,56,67],{"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":11,"zanCount":11,"manualWeight":11,"mainColor":32},275132,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275132","乾隆款金釉五彩瓷法轮","清","佚名","藏地不详","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[23,24,25,26,7],"宗教","陶瓷","金器","法轮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd772c4a0306c94b8af63b4bbf067a40c.jpg","未知","Xcm*Xcm","",[],"795548",{"id":34,"slug":35,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":36,"thumbUrl":38,"material":28,"size":29,"collection":30,"collections":39,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},275131,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275131",[23,37,26,25,24,7],"法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87476693d5110a04797686189664433e.jpg",[],"BDBDBD",{"id":42,"slug":43,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":44,"thumbUrl":47,"material":28,"size":29,"collection":30,"collections":48,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},275119,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275119",[23,24,25,45,26,46,7],"礼器","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc9d0a5ee88a9cc20405e104a2e20ab.jpg",[],{"id":50,"slug":51,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":52,"thumbUrl":54,"material":28,"size":29,"collection":30,"collections":55,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},275115,"qian-long-kuan-jin-you-wu-cai-ci-fa-lun-yi-ming-275115",[24,23,37,53,46,7],"金釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe87373c0c464280212b859772ebb7945.jpg",[],{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":20,"description":60,"tags":61,"thumbUrl":65,"material":28,"size":29,"collection":30,"collections":66,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},274615,"tong-du-jin-zhuan-pi-qiu-hua-zhong-yi-ming-274615","铜镀金转皮球花钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[62,25,63,64,7],"铜制","钟表","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a871d9a3cfa9e5467978ca5bcccc3b8.jpg",[],{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":77,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},268548,"dian-cui-fu-shuang-xi-wen-tou-hua-yi-ming-268548","点翠蝠双喜纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[73,25,74,75,76,7],"饰品","点翠","蝠纹","双喜纹",[],"37474F",1777535750338]