[{"data":1,"prerenderedAt":251},["ShallowReactive",2],{"subject-xun-lu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8383,"xun-lu","熏炉","熏炉画高清赏析","精选中国历代熏炉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c397179a64939ea52d7b537c966aaf8.jpg",0,22,[14,35,54,69,75,88,103,112,120,128,135,147,159,165,174,185,196,207,216,224,233,241],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},243197,"cuo-jin-yin-xun-yi-ming-243197","错金银熏","宋","佚名","藏地不详","此瑞兽熏炉取甪端形制，昂首嘶吼，眉脊飞扬，鬃毛层叠翻卷，神态威严灵动。兽身通体错金饰满缠枝卷云纹，线条婉转流动，古雅华丽，与沉穆铜色相衬，包浆厚重莹润，尽显岁月质感。\n器身兽首即为炉盖，开合之间可纳燃香，青烟自兽口袅袅而出，兼具陈设雅趣与实用功能。整体融礼器的庄重工整与文房清韵于一身，复刻上古青铜意趣，尽显复古金石审美意涵，是造物工艺与美学构思合璧的精巧之作。",[23,24,25,26,27,28,7],"宋代","错金银","青铜器","兽形","雕刻","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9048fd1f453b7438928c561fbd8f647d.jpg","","青铜器精选",[31],27,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":48,"size":49,"collection":30,"collections":50,"showCount":51,"zanCount":52,"manualWeight":11,"mainColor":53},242951,"bo-shan-lu-yi-ming-242951","博山炉","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[25,42,27,43,44,7,45,46],"铜制","汉代风格","山峦纹饰","日用品","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a775ca860fe9d8f4aa7646db1c130b3.jpg","未知","Xcm*Xcm",[],14,1,"37474F",{"id":55,"slug":56,"title":57,"dynasty":58,"author":19,"museum":20,"description":59,"tags":60,"thumbUrl":66,"material":48,"size":49,"collection":30,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":34},270270,"xuan-de-kuan-tong-long-feng-hai-shou-wen-hai-tang-shi-xun-lu-yi-ming-270270","宣德款铜龙凤海兽纹海棠式熏炉","明","海棠式器身雅致隽秀，鎏金兽耳平添威严气势。炉盖透雕缠枝云海，游龙穿徊其间，身姿矫健灵动，烟云缭绕间尽显飘逸意境。炉身高浮雕龙凤海兽于惊涛中翻腾，线条苍劲利落，纹饰层次分明，将神兽雄健与浪涛汹涌刻画得淋漓尽致，尽显炉火纯青的铸造与雕刻工艺。整体沉稳古朴，古韵盎然，将龙凤呈祥的祥瑞寓意与精湛匠艺相融，尽显雄浑气度与雅致意蕴，是一件兼具审美与收藏价值的上乘铜制佳器。",[25,42,7,61,27,62,63,64,65],"海棠式","龙","凤","海兽","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64968f27c70ae0472a42176b27e3f11b.jpg",[],4,{"id":70,"slug":71,"title":7,"dynasty":39,"author":19,"museum":20,"description":40,"tags":72,"thumbUrl":10,"material":48,"size":49,"collection":30,"collections":74,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":53},243008,"xun-lu-yi-ming-243008",[25,42,7,27,65,73],"日用具",[],{"id":76,"slug":77,"title":78,"dynasty":79,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":85,"material":48,"size":49,"collection":30,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":53},270333,"xuan-de-kuan-tong-liu-jin-lou-kong-xun-lu-yi-ming-270333","宣德款铜鎏金镂空熏炉","清","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[42,82,7,83,27,84,62],"鎏金","器","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b90b09e199eb39be6272e8432d43599.jpg",[],3,{"id":89,"slug":90,"title":91,"dynasty":58,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":100,"material":48,"size":49,"collection":30,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":53},249152,"qia-si-fa-lang-pan-long-tian-ma-wen-xiang-zu-wei-jiao-xun-lu-yi-ming-249152","掐丝珐琅蟠龙天马纹象足委角熏炉","此炉八方委角，穹顶盖冠鎏金宝钮，盖面透雕缠枝纹，珐琅湖蓝与鎏金交映，明丽华贵。炉身开窗透雕蟠龙踏浪、天马凌云，掐丝走线灵动舒展，填色饱满鲜亮，瑞兽身姿矫健生动。下承象足台座，象首憨拙稳重，周身饰缠枝寿纹，暗合福寿绵长之吉意。整体将掐丝珐琅的明丽雅致与鎏金的厚重雍容相融，尽显古人工巧匠心，凝缩着明代造物的华贵气度。",[94,95,96,97,98,7,83,62,65,42,27,99],"明代","掐丝珐琅","蟠龙","天马纹","象足","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41de10240763c5b1ee1606506ae9d06f.jpg",[],2,{"id":104,"slug":105,"title":106,"dynasty":58,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":110,"material":48,"size":49,"collection":30,"collections":111,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":34},270389,"tong-he-shi-xun-lu-yi-ming-270389","铜鹤式熏炉","此作以水禽为形，昂首引颈，口部大开作为出烟之处，构思极尽巧思。器身羽翼纹理写实细腻，层层铺陈，将翎羽蓬松柔润的质感刻画入微，写实生动。双足稳健伫立，与带有卷云纹饰的台座完美相融，古雅端庄。整体铜色沉穆古拙，线条舒展流畅，将禽鸟的灵动与焚香雅器的沉静气质相合，尽显铸铜工艺的精妙，藏雅致意趣于古朴形制之中，是实用与审美兼具的古典造物。",[25,42,109,7,27,83],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc963d56b076f0868a89c8bd0f0e45b.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":58,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":118,"material":48,"size":49,"collection":30,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},270354,"xuan-de-kuan-tong-xun-lu-yi-ming-270354","宣德款铜熏炉","此炉以精铜铸就，铜色沉莹，包浆古醇温润。炉身圆浑饱满，口沿双桥耳挺拔舒展，下承三云足，柔婉雅致，稳稳托举炉体。盖面透雕缠枝瑞纹，中心团寿醒目，云纹花枝交缠往复，刀工细密入微，盖顶莲苞钮玲珑娇俏，轻烟自镂孔漫出，缠缠绕绕晕开雅致烟火意。整体刚柔并济，形制规整大气，将焚香雅趣融于匠心造物间，静静晕开中式古典雅器的隽永韵味。",[42,25,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c35bf6b69882b3e29450d91f03c859.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":58,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":126,"material":48,"size":49,"collection":30,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270312,"tong-shuang-er-shou-zu-xun-lu-yi-ming-270312","铜双耳兽足熏炉","此熏炉造型典雅庄重，盖顶瑞兽昂首蹲踞，气势凛然。盖身透雕缠枝卷草，烟气可穿隙漫出，意境悠然。两侧出戟耳作卷云灵兽形，线条舒展灵动，衔炉而立，兼顾装饰与置物之便。腹部以回纹衬底，浮雕缠枝宝相花，柔婉富丽，尽显匠心。下承三兽足，兽首怒目圆睁，蹄足稳健，稳稳承托炉身，威仪尽显。周身包浆厚重沉凝，红铜色泽古朴温润，带着岁月摩挲的质感，焚香时青烟袅袅穿镂而出，融古雅形制与日常雅用于一体，尽显旧时文人雅室焚香清趣。",[25,42,27,65,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c0f62f52a8058d0270cde6442e3bc8.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":79,"author":19,"museum":20,"description":80,"tags":132,"thumbUrl":133,"material":48,"size":49,"collection":30,"collections":134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},270307,"tong-lou-kong-long-feng-wen-gai-shou-er-chang-fang-xun-lu-yi-ming-270307","铜镂空龙凤纹盖兽耳长方熏炉",[25,42,27,84,7,62,63,65,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb9a76f54c7ea3ec0e0deb1b5906e40.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":79,"author":19,"museum":20,"description":80,"tags":139,"thumbUrl":145,"material":48,"size":49,"collection":30,"collections":146,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270257,"xuan-de-kuan-tong-hui-er-quan-zu-xun-lu-yi-ming-270257","宣德款铜虺耳圈足熏炉",[42,25,7,140,141,142,143,144,83],"虺耳","圈足","镂空纹饰","卍字纹","香具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc816a812041a6ec156518cdec50b0bd9.jpg",[],{"id":148,"slug":149,"title":150,"dynasty":151,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":157,"material":48,"size":49,"collection":30,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},261833,"qing-you-xun-lu-yi-ming-261833","青釉熏炉","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[154,7,155,84,156,83,73,144],"陶瓷","青釉","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face4a7ce60cd4f492e9e71fda37b2726.jpg",[],{"id":160,"slug":161,"title":150,"dynasty":151,"author":19,"museum":20,"description":152,"tags":162,"thumbUrl":163,"material":48,"size":49,"collection":30,"collections":164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},261822,"qing-you-xun-lu-yi-ming-261822",[154,7,73,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19fbfec188914c0cabed061b163664c.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":151,"author":19,"museum":20,"description":152,"tags":169,"thumbUrl":172,"material":48,"size":49,"collection":30,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},259741,"qing-you-lou-kong-shuang-xi-xun-lu-yi-ming-259741","青釉镂孔双系熏炉",[154,83,7,155,170,171],"镂孔","双系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9211d452575dff779a14dc7f1c24e3f0.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":58,"author":19,"museum":20,"description":178,"tags":179,"thumbUrl":182,"material":48,"size":49,"collection":30,"collections":183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":184},250801,"qing-yu-kui-wen-shuang-er-huo-huan-xun-lu-yi-ming-250801","青玉夔纹双耳活环熏炉","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[180,27,83,62,181,7],"玉石","夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d630341c97e6e7dbcac9d08f556c4d9.jpg",[],"BDBDBD",{"id":186,"slug":187,"title":188,"dynasty":79,"author":19,"museum":20,"description":80,"tags":189,"thumbUrl":194,"material":48,"size":49,"collection":30,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":184},249521,"hua-fa-lang-hua-hui-san-zu-xun-lu-yi-ming-249521","画珐琅花卉三足熏炉",[79,99,190,7,191,156,192,193],"画珐琅","花卉","兽足","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fda5ff5b267f3e694f20176c6d236f3.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":79,"author":19,"museum":20,"description":200,"tags":201,"thumbUrl":205,"material":48,"size":49,"collection":30,"collections":206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},249357,"qia-si-fa-lang-gou-lian-wen-hai-tang-shi-xiang-shou-si-zu-xun-lu-yi-ming-249357","掐丝珐琅勾莲纹海棠式象首四足熏炉","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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