[{"data":1,"prerenderedAt":381},["ShallowReactive",2],{"subject-ya-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},418,"ya-zi","鸭子","鸭子画高清赏析","精选中国历代鸭子题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa612682152b5052e292541a9c8ca0d.jpg",0,23,[14,44,62,76,95,124,139,151,164,181,191,205,224,238,263,273,292,303,321,331,339,351,370],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","元","任仁发","上海博物馆","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35],"高清","国画","工笔","设色","花鸟","飞鸟","水禽","孤石","菊花","树枝","花叶","水波","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg","绢本,设色","","花鸟画精选",[39],1515,25,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":57,"material":37,"size":58,"collection":39,"collections":59,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":43},216730,"hua-niao-tu-lv-ji-216730","花鸟图","明","吕纪","大英博物馆","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,24,25,26,27,53,7,28,54,55,56],"柳树","水面","花枝","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[39],185,1,{"id":63,"slug":64,"title":65,"dynasty":48,"author":49,"museum":66,"description":67,"tags":68,"thumbUrl":71,"material":72,"size":73,"collection":38,"collections":74,"showCount":75,"zanCount":61,"manualWeight":11,"mainColor":43},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,25,26,27,56,69,54,28,70,7],"石头","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","绢本设色","176.0×100.8",[],114,{"id":77,"slug":78,"title":79,"dynasty":18,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":90,"material":37,"size":91,"collection":39,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":43},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","佚名","台北故宫博物院","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[84,24,85,86,25,72,27,87,7,29,88,89],"名画","书画","立轴","芙蓉","花卉","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[39],108,3,{"id":96,"slug":97,"title":98,"dynasty":48,"author":99,"museum":81,"description":100,"tags":101,"thumbUrl":117,"material":118,"size":119,"collection":39,"collections":120,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":123},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,86,102,26,103,27,104,105,7,106,107,108,109,110,88,111,112,113,114,115,116],"水墨","写意","荷花","莲蓬","水草","芦苇","明代","秋景","禽鸟","植物","淡彩","文人画","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","纸本设色","90.8x36.2厘米",[39,121],"设色画精选",95,"BDBDBD",{"id":125,"slug":126,"title":127,"dynasty":128,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":134,"material":135,"size":136,"collection":38,"collections":137,"showCount":138,"zanCount":61,"manualWeight":11,"mainColor":123},231849,"he-hua-ya-zi-tu-huang-ju-cai-231849","荷花鸭子图","五代十国","黄居寀","美国弗瑞尔美术馆","这是一幅以渲染为主的没骨法作品。画上两朵白色莲花，一片荷叶，一只机灵的鸭子，构图不可谓不简洁。鸭子的画法极尽写实之能事，以极工细的手法细心渲染出每一个细节。虽然荷叶和荷花的画法是没骨法，但近景的坡石和小草却是写意画法，或许正是这微小的细节，把这幅画扔到了元代。不过构图的仰视和几乎无延伸的局部感觉，也是和宋代画家拉开距离的显著特点。",[24,84,25,26,27,133,7],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e9d5a6b846c9f5cabd99ac03c39dab.jpg","纸本","87x55.7cm",[],83,{"id":140,"slug":141,"title":142,"dynasty":143,"author":144,"museum":50,"description":145,"tags":146,"thumbUrl":147,"material":37,"size":148,"collection":39,"collections":149,"showCount":150,"zanCount":61,"manualWeight":11,"mainColor":43},219060,"lu-ya-tu-sun-yi-219060","芦鸭图","清","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[23,24,85,86,25,26,27,107,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[39],55,{"id":152,"slug":153,"title":154,"dynasty":155,"author":80,"museum":81,"description":156,"tags":157,"thumbUrl":159,"material":37,"size":160,"collection":161,"collections":162,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":43},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","宋","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[23,24,85,27,86,25,26,107,7,54,158],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4","宋画精选",[161],54,{"id":165,"slug":166,"title":167,"dynasty":155,"author":168,"museum":81,"description":169,"tags":170,"thumbUrl":177,"material":37,"size":38,"collection":178,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":123},218699,"chun-hu-fang-ya-tu-hui-chong-218699","春湖放鸭图","惠崇","粼粼春波轻漾，岸畔丛树新绿初绽，枝桠间似有柔风拂过。群鸭悠游于浅滩，或潜或浮，打破湖面静谧却更衬出天地清旷。画面以淡墨晕染水色，赭石轻点岸坡，色调温润如春日暖阳。构图虽简，却于留白处藏无限悠远——似可闻水声潺潺，嗅草木清香。那份恬淡自在，恰是小景山水的妙处：不追磅礴气势，只撷自然一角生机与意趣，让观者心随水禽，飘向春日烟水深处。笔墨细腻处见雅致，清寂中藏灵动，尽展宋人对自然的细腻感知与诗意情怀。",[23,24,85,171,102,26,172,173,174,7,175,176],"册","山水","树木","湖水","河岸","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611f2359fee40bf129bb4fc8e4c89e36.jpg","山水画精选",[178],50,{"id":182,"slug":183,"title":184,"dynasty":155,"author":80,"museum":81,"description":185,"tags":186,"thumbUrl":187,"material":37,"size":188,"collection":161,"collections":189,"showCount":190,"zanCount":61,"manualWeight":11,"mainColor":123},218858,"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[23,24,84,85,171,27,25,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[161,121],44,{"id":192,"slug":193,"title":194,"dynasty":155,"author":195,"museum":196,"description":197,"tags":198,"thumbUrl":202,"material":38,"size":38,"collection":38,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":43},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","藏地不详","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[23,24,85,27,26,25,7,199,200,201],"竹","印章","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],43,{"id":206,"slug":207,"title":208,"dynasty":48,"author":209,"museum":210,"description":211,"tags":212,"thumbUrl":220,"material":26,"size":221,"collection":178,"collections":222,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":43},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","周臣","美国普林斯顿大学美术馆","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 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title":334,"dynasty":307,"author":80,"museum":196,"description":335,"tags":336,"thumbUrl":337,"material":38,"size":38,"collection":38,"collections":338,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":123},225514,"fu-shi-hui-272-yi-ming-225514","浮世绘272","这幅花鸟绘以雅致留白铺就水岸闲景，斜伸的花枝缀满柔黄繁花，墨色叶片相衬，晕染出春日融融的雅致生机。\n\n水面之上两只水鸭悠然游弋，羽色层次丰富细腻，绒毛质感呼之欲出，一昂首回望、一理羽小憩，动静相映尽显野恬之趣。浅淡墨纹勾勒水波轻漾，晕开清灵水色。整体色调温婉古雅，浅棕底纸晕开柔和古韵，将郊野水岸的悠然意趣缓缓铺陈，把自然的恬适安宁定格在尺幅间，尽显和风花鸟绘的静美意韵。",[310,26,311,27,7,232,111,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd264bdd79f084808011e5f8399730.jpg",[],{"id":340,"slug":341,"title":342,"dynasty":143,"author":80,"museum":196,"description":343,"tags":344,"thumbUrl":349,"material":135,"size":38,"collection":38,"collections":350,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":123},215295,"bai-miao-jie-tou-mai-mai-hua-ce-262-yi-ming-215295","白描街头买卖画册-262","线条是旧时光的低语者。挑担商贩的身影在素净纸页上鲜活起来：扁担横肩的弧度藏着街头奔波的节奏，衣袂褶皱如流云舒展，步履间透着从容。一头竹笼里，鸭子探头张望的憨态被精准勾勒，羽翼的细绒似能触到；另一头布袋轻晃，似载着待售的细碎暖意。白描笔触不施粉黛，却以极简之力捕捉市井烟火——仿佛能听见他的吆喝声漫过巷弄，竹笼晃动的轻响，还有那些平凡日子里的鲜活气息，随线条起伏缓缓流淌。每一笔都带着温度，将街头买卖的日常，凝作可触可感的生活剪影。",[23,345,171,214,346,347,7,348],"白描","担子","篮子","街头买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4200964650fc8a1cab1e3b3a2d8cc2.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":143,"author":80,"museum":196,"description":355,"tags":356,"thumbUrl":366,"material":367,"size":368,"collection":38,"collections":369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},275108,"hui-you-shuang-er-san-zu-ci-lu-yi-ming-275108","灰釉双耳三足瓷炉","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。",[357,358,359,360,361,362,363,7,364,365],"陶瓷","灰釉","开片","双耳","三足","瓷炉","玉石","雕刻","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85094beaf01a0a77ab9200ef5ed87f2f.jpg","未知","Xcm*Xcm",[],{"id":371,"slug":372,"title":373,"dynasty":48,"author":80,"museum":196,"description":374,"tags":375,"thumbUrl":379,"material":367,"size":368,"collection":38,"collections":380,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},256440,"dou-cai-gao-shi-bei-yi-ming-256440","斗彩高士杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[48,357,376,26,214,377,7,378],"斗彩","松树","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4bf3f2364b237e4153c471166f53a8.jpg",[],1777535718405]