[{"data":1,"prerenderedAt":168},["ShallowReactive",2],{"subject-zhang-jing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4239,"zhang-jing","长颈","长颈画高清赏析","精选中国历代长颈题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5476c00f5d0df97119e178cf8372941.jpg",0,9,[14,38,57,72,92,103,115,132,157],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},226975,"suan-tou-ping-yi-ming-226975","蒜头瓶","汉","佚名","藏地不详","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。",[23,24,25,26,27,7,28,29,30],"汉代","青铜器","铜制","铸造","蒜头口","鼓腹","圈足","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85af65b0ed744f39a0109dcde8fef98a.jpg","未知","Xcm*Xcm","",[],8,"795548",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":52,"material":32,"size":33,"collection":34,"collections":53,"showCount":54,"zanCount":55,"manualWeight":11,"mainColor":56},227032,"suan-tou-hu-yi-ming-227032","蒜头壶",[23,24,25,27,7,28,29,43,44,45,46,47,48,49,50,51],"古铜色","器物","古董","传统器物","青铜","金属器","古代器物","铜器工艺","器物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fb481fa7270cdf947580ec3e503f45.jpg",[],7,1,"BDBDBD",{"id":58,"slug":59,"title":60,"dynasty":61,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":68,"material":32,"size":33,"collection":34,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},242896,"zhang-jing-hu-yi-ming-242896","长颈壶","唐","此器造型舒展柔婉，敞口敛颈，弧腹饱满如圆月，圈足稳稳承托，线条恰似盛唐仕女袅娜的身形。铜身被时光晕染出深浅不一的青绿锈色，间杂赭色斑痕，仿佛将长安旧巷的烟雨风尘凝于其上。\n\n通体素净无饰，凭藉形制尽显简约大气的审美意趣，将日用器物化作东方雅致的载体，静默定格住千年前的风雅日常，带着旧时光的厚重温度，静静流淌出独属那个时代的从容风骨。",[64,24,25,65,7,66,67,44],"唐代","雕刻","锈迹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F898525c5e5e3d61dca97a02d808b0a70.jpg",[],6,"37474F",{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":89,"material":32,"size":33,"collection":34,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":71},258163,"yong-zheng-kuan-ji-hong-you-zhang-jing-pan-kou-ping-yi-ming-258163","雍正款祭红釉长颈盘口瓶","清","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[79,80,7,81,82,83,84,85,86,87,88],"陶瓷","祭红釉","盘口","瓶","清代","官窑","高温釉烧","器形规整","单色釉","清代陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934cb0a7fd9116a290ab68abebb93f64.jpg",[],3,{"id":93,"slug":94,"title":95,"dynasty":18,"author":19,"museum":20,"description":21,"tags":96,"thumbUrl":101,"material":32,"size":33,"collection":34,"collections":102,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":71},242892,"zhong-shi-liu-jin-suan-tou-hu-yi-ming-242892","重十六斤蒜头壶",[23,24,25,97,30,98,99,100,7,28,29],"器","厚重","铜锈","蒜头形口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914768e99f939ce1ca031dcc3f34d89e.jpg",[],{"id":104,"slug":105,"title":106,"dynasty":76,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":113,"material":32,"size":33,"collection":34,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},258198,"bai-you-su-tie-ying-hai-er-zhang-jing-xi-kou-ping-yi-ming-258198","白釉塑贴婴孩耳长颈洗口瓶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[76,79,109,110,111,7,112],"白釉","塑贴","婴孩","洗口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0791811aa9fc58f637a8f396cfad9bbb.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":119,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":130,"material":32,"size":33,"collection":34,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},257489,"wu-cai-lu-lian-wen-zhang-jing-ping-yi-ming-257489","五彩鹭莲纹长颈瓶","明","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[122,79,123,124,125,126,127,128,97,7,129],"明代","五彩","设色","鹭","莲","飞鸟","荷花","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84e64ee75039f811d0e83438671d6b0.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":119,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":155,"material":32,"size":33,"collection":34,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},228587,"tian-bai-ru-yi-er-bian-hu-yi-ming-228587","甜白如意耳扁壶","器仿葫芦形，敛口，短颈，腹圆体扁，侧面平阔，颈旁两方形耳，长方浅圈足。通体施釉，色白莹润略青，口膨大处印有一圈转枝花纹，器腹双钩细刻几何花卉，以长叶与如意首交错排列成一轮形，外有一圈卷叶纹；侧边浅划两道弦纹，耳缘与中脊作细棱，线条细腻雅致。长方圈足底端露胎",[79,138,122,139,140,109,141,142,143,144,145,146,51,147,87,148,149,150,151,7,152,153,154],"甜白釉","扁壶","如意耳","瓷器","器型","装饰工艺","白瓷","陶瓷器","釉色","传统陶瓷","明代陶瓷","如意纹饰","耳饰装饰","扁圆形器身","瓷壶","釉面","陶瓷技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f0f579c5558def59f0579d50605272.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":161,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},223768,"qing-ci-zhang-jing-ping-yi-ming-223768","青瓷长颈瓶","宋","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。",[161,79,164,82,7,146,165,166],"青瓷","素面","宋代陶瓷风格",[],1777535737097]