[{"data":1,"prerenderedAt":172},["ShallowReactive",2],{"subject-yin-liu-jin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8634,"yin-liu-jin","银鎏金","银鎏金画高清赏析","精选中国历代银鎏金题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e06f3637bf8adc3ada86bec458b262.jpg",0,13,[14,40,54,65,78,91,100,111,121,128,140,150,159],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},245418,"yin-liu-jin-qian-mi-zhu-dian-cui-tuo-yu-yi-ming-245418","银鎏金嵌米珠点翠唾盂","清","佚名","藏地不详","葫芦形器身雅致圆润，鎏金银胎尽显华贵底色。口沿回纹周正古朴，器身以米珠攒簇出寿字纹样，颗颗米珠细密排布，勾勒出饱满规整的吉庆纹饰，红、绿宝石点缀其间，鲜亮色泽打破鎏金的沉敛，让器物更显灵动富丽。\n\n整器纹饰对称排布，将长寿祈福的美好寓意融于日用之中，工艺繁复精巧，尽显晚清奢华雅致的审美意趣，是实用与装饰性兼具的匠心之作。",[23,7,24,25,26,27,28,29,30,31,32],"清代","嵌米珠","点翠","日用具","银器","金器","嵌饰","珠宝镶嵌","寿字纹","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57197f1632e6a12e37d5a65701ded085.jpg","未知","Xcm*Xcm","",[],4,"795548",{"id":41,"slug":42,"title":43,"dynasty":18,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":50,"material":34,"size":35,"collection":36,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},245421,"qian-long-kuan-yin-liu-jin-long-bing-hu-yi-ming-245421","乾隆款银鎏金龙柄壶","此壶鎏金莹润，华贵雍容。壶嘴与执柄皆塑龙形，龙首威严肃穆，鳞爪刻画细密灵动，霸气尽显。壶肩錾饰繁丽纹样，糅合藏地装饰意趣，细节处见匠心。顶盖以花苞为钮，锁链衔连壶身，精巧实用。圈足作莲瓣造型，呼应器物庄重佛韵。\n\n它将中原龙纹审美与雪域造器工艺相融，器型饱满圆融，鎏金厚重匀净，既具皇家器物的规整华贵，又带着浓郁民族特色，是汉藏工艺合璧的精巧之作，静静诉说着彼时多元工艺交融的盛景。",[23,7,46,47,48,49,28,27],"雕刻","龙","器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6a3c127bdb9f485d172d6ef8abbd7b.jpg",[],3,"BDBDBD",{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":62,"material":34,"size":35,"collection":36,"collections":63,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":64},245419,"yin-liu-jin-shao-lan-gao-zu-pan-yi-ming-245419","银鎏金烧蓝高足盘","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。",[23,60,7,61,48],"珐琅器","烧蓝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bda46ed7bef4ce6a66a3d127adacf5b.jpg",[],"37474F",{"id":66,"slug":67,"title":68,"dynasty":18,"author":19,"museum":20,"description":69,"tags":70,"thumbUrl":75,"material":34,"size":35,"collection":36,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":64},245429,"yin-liu-jin-yuan-bao-shi-he-yi-ming-245429","银鎏金元宝式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[18,7,71,48,72,73,74],"鎏金工艺","金属器","盒","元宝造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9254440d1279d1e8e3e5b2f33e75df09.jpg",[],2,{"id":79,"slug":80,"title":81,"dynasty":82,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":88,"material":34,"size":35,"collection":36,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":64},245458,"song-shan-kuan-yin-liu-jin-zan-ke-yun-feng-wen-yu-hu-chun-ping-yi-ming-245458","松山款银鎏金錾刻云凤纹玉壶春瓶","元","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。",[7,85,86,87,48,27,28],"錾刻","云纹","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a4f9eb9e9c2587ea308d7978f3ebb0.jpg",[],1,{"id":92,"slug":93,"title":94,"dynasty":18,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":98,"material":34,"size":35,"collection":36,"collections":99,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":39},245441,"yin-liu-jin-hu-yi-ming-245441","银鎏金壶","此壶素银为骨，鎏金作饰，冷灰与明黄撞色，华贵沉稳兼具。流口龙首怒目衔沿，肌理遒劲威严；执柄龙身蜿蜒，拿捏趁手之余更添祥瑞之气。\n\n壶肩与盖面錾刻缠枝宝相花，纹路细密婉转，莲苞盖顶圆润饱满，尽显雅致。将瑞兽意象融于日用器型，錾刻鎏金工艺炉火纯青，于细节处尽显匠心，兼具实用价值与祈福纳祥的美好寓意。",[23,7,46,47,48,27,28,72,97],"纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49bfe53dc8e8b7b7b8ef78d155ce7a5c.jpg",[],{"id":101,"slug":102,"title":103,"dynasty":82,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":109,"material":34,"size":35,"collection":36,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245466,"yin-liu-jin-zan-ke-shuang-feng-wen-yi-yi-ming-245466","银鎏金錾刻双凤纹匜","该器物四出莲瓣形，盖面弧凸，以子母口与盒身扣合。",[106,7,85,107,27,28,108],"元代","双凤纹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dc0686e3acecfedace2ae7ea24778f.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":82,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":119,"material":34,"size":35,"collection":36,"collections":120,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245461,"yin-liu-jin-zan-ke-liu-fang-bei-yi-ming-245461","银鎏金錾刻六方杯","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。",[106,7,85,49,117,97,118,46],"六方造型","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb8a8131af3b3955f16611f1e3d0128.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":82,"author":19,"museum":20,"description":115,"tags":125,"thumbUrl":126,"material":34,"size":35,"collection":36,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245456,"yin-liu-jin-zan-ke-gua-shi-bei-yi-ming-245456","银鎏金錾刻瓜式杯",[106,7,85,49,48,27,28,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474cfc8abb93de1b0cfb976699b7f9b1.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":18,"author":19,"museum":20,"description":132,"tags":133,"thumbUrl":138,"material":34,"size":35,"collection":36,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245415,"yin-liu-jin-dai-gai-hu-lu-shi-zhi-hu-yi-ming-245415","银鎏金带盖葫芦式执壶","此器取葫芦形，暗合福禄祥瑞之吉意，体态丰腴饱满，线条流转柔和。盖顶以宝莲承托圆钮，雅致端庄。通体鎏金莹润厚重，满饰錾刻缠枝莲纹，游转于卷云之间，细密繁丽却疏密得宜，不见拥塞之感。长流弧柄错落排布，流首錾刻兽纹，添几分灵动威严，执握称手合宜。\n它融实用与礼制意蕴为一体，既藏祈福纳祥的美好寄寓，又尽显雍容华贵的气度，每一处錾刻都凝结着匠人巧思，将金工细作的精妙诠释尽致，是金属工艺中的上乘佳器。",[23,7,46,48,134,135,136,137,97],"葫芦式","盖","流","柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3401939d755f3d48b98dd9d2f7525bfb.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":34,"size":35,"collection":36,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245413,"guang-xu-er-shi-er-nian-kuan-yin-liu-jin-dai-gai-duo-mu-hu-yi-ming-245413","光绪二十二年款银鎏金带盖多穆壶","此器仿竹节形制，鎏金银质温润古雅，器身层层分段如竹拔高，嵌饰铜钱回纹暗合吉祥寓意。花口敞沿，兽首雕琢的曲壶嘴灵动传神，系带垂悬双铃，动静之间清声泠然。\n\n鎏金虽经岁月晕染出斑驳旧色，却更衬器物的古朴厚重，将蒙藏礼器的庄重与日常用度的巧思相融，尽显手作的精巧匠心，把宗教仪轨的肃穆与生活雅趣揉合为一，是民族文化交融的器物缩影。",[23,27,28,7,46,49,108,146,147],"多穆壶","款识","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec958aed2f800ff91b50a1902534d1e0.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":154,"tags":155,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245412,"yin-liu-jin-qian-mi-zhu-shou-zi-tuo-yu-yi-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