[{"data":1,"prerenderedAt":220},["ShallowReactive",2],{"subject-zhe-zhi-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8888,"zhe-zhi-wen","折枝纹","折枝纹画高清赏析","精选中国历代折枝纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0afc3352f47667cc345842eb70ace93a.jpg",0,18,[14,37,53,64,78,90,99,111,123,132,141,149,161,171,182,190,200,210],{"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":12,"zanCount":11,"manualWeight":11,"mainColor":36},257108,"qing-hua-zhe-zhi-hua-guo-wen-gai-guan-yi-ming-257108","青花折枝花果纹盖罐","明","佚名","藏地不详","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[23,24,25,26,27,28,29,7,30],"陶瓷","青花","明代","折枝花果","器","纹饰","釉下彩","花果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf90d7e498aa537c48f5149e692561cb.jpg","未知","Xcm*Xcm","",[],"BDBDBD",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":49,"material":32,"size":33,"collection":34,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},266237,"zi-se-duan-xiu-zhe-zhi-lan-hua-die-wen-jia-chen-yi-yi-ming-266237","紫色缎绣折枝兰花蝶纹夹衬衣","清","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[44,45,46,47,48,7],"衣帽","布料","刺绣","兰花","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a2113d4e2f4a714d23f5742f34d292.jpg",[],12,"795548",{"id":54,"slug":55,"title":56,"dynasty":41,"author":19,"museum":20,"description":42,"tags":57,"thumbUrl":61,"material":32,"size":33,"collection":34,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":36},266219,"ming-huang-se-chou-xiu-san-lan-zhe-zhi-tao-hua-wen-dan-chen-yi-yi-ming-266219","明黄色绸绣三蓝折枝桃花纹单衬衣",[44,45,46,58,7,59,60],"桃花","明黄色","三蓝绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673dc150969215640b2335f1faa3bb8a.jpg",[],5,{"id":65,"slug":66,"title":67,"dynasty":41,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":75,"material":32,"size":33,"collection":34,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":52},264113,"tao-hong-se-wan-zi-di-zhe-zhi-mu-dan-wen-jin-yi-ming-264113","桃红色万字地折枝牡丹纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[70,45,71,72,7,73,74],"桃红色","锦","牡丹","万字纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf26fcbd3c3df2fb67ce47d303ec8fbd.jpg",[],2,{"id":79,"slug":80,"title":81,"dynasty":41,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":88,"material":32,"size":33,"collection":34,"collections":89,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":52},261604,"wu-cai-zhe-zhi-mu-dan-ju-hua-tu-guan-yi-ming-261604","五彩折枝牡丹菊花图罐","此罐造型饱满挺括，颈部以缠枝莲纹铺底，器身折枝花卉错落舒展。矾红牡丹妍丽饱满，尽显雍容华贵；黄褐、矾红二色菊花并置，花瓣脉络勾勒细致入微，瓣层舒展自然，生机盎然。苍绿叶片点缀其间，晕染鲜亮色泽，铺展出秋日花苑的繁盛意趣。\n\n五彩发色沉稳厚重，浓淡搭配相宜，釉面莹润亮泽，将工笔花鸟的雅致意蕴融于瓷面，古拙中透着秀润雅致，尽显彩瓷装饰里的国风美学意趣，是颇具观赏性的彩瓷佳作。",[23,84,72,85,86,87,7],"五彩","菊花","花鸟","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902779aa06be002d588447234624813c.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":21,"tags":94,"thumbUrl":97,"material":32,"size":33,"collection":34,"collections":98,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":52},256796,"qing-hua-zhe-zhi-mu-dan-shi-liu-wen-wan-yi-ming-256796","青花折枝牡丹石榴纹碗",[18,23,24,29,7,72,95,74,96],"石榴","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca719815a30f68e868e29af5f23a1a21.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":41,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":108,"material":32,"size":33,"collection":34,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":52},264466,"tao-hong-se-shi-di-sha-xiu-zhe-zhi-he-hua-wen-pao-liao-yi-ming-264466","桃红色实地纱绣折枝荷花纹袍料","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[45,44,46,105,7,106,107],"荷花","纱料","袍料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733edcb60df51e5af246b8244b872631.jpg",[],1,{"id":112,"slug":113,"title":114,"dynasty":18,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":120,"material":32,"size":33,"collection":34,"collections":121,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":122},256438,"dou-cai-zhe-zhi-hua-hui-wen-jiu-bei-yi-ming-256438","斗彩折枝花卉纹酒杯","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。",[23,117,118,119,25,7,74],"斗彩","折枝花卉","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c1748958f917f999f078ad3f6aca17.jpg",[],"37474F",{"id":124,"slug":125,"title":126,"dynasty":41,"author":19,"museum":20,"description":68,"tags":127,"thumbUrl":130,"material":32,"size":33,"collection":34,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},264108,"huang-se-di-xie-wan-zi-zhe-zhi-mu-dan-wen-zhi-jin-jin-yi-ming-264108","黄色地斜万字折枝牡丹纹织金锦",[45,128,129,72,7,73],"织锦","织金工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f407a39276fe44747e04d1cb204b91.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":41,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":139,"material":32,"size":33,"collection":34,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},263927,"jiang-se-zhe-zhi-mu-dan-wen-zhi-jin-duan-yi-ming-263927","绛色折枝牡丹纹织金缎","绛红底色沉敛华贵，以金线织就折枝牡丹，柔枝舒展、花叶扶疏，将国色雍容藏于细密针脚。纹样排布匀整对称，织金光泽与暖红底色相映，晕开雅致堂皇的气韵。匠者以精妙织绣工艺，让牡丹风骨宛然如生，既有规整端庄的制式美感，又将中式美学中含蓄富丽的意趣诠释尽致，暗合旧时造物里的雅致考究，于方寸间尽显织绣工艺的绝妙造诣。",[45,138,72,7],"织金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34968ca30ed4cec9456b846fda8c4d0d.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":41,"author":19,"museum":20,"description":68,"tags":145,"thumbUrl":147,"material":32,"size":33,"collection":34,"collections":148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},263824,"dou-qing-se-di-zhe-zhi-ju-hua-wen-er-chong-jin-yi-ming-263824","豆青色地折枝菊花纹二重锦",[45,71,85,7,146],"豆青色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6cfb96e979df4e4134adcf9569a087.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":41,"author":19,"museum":20,"description":153,"tags":154,"thumbUrl":158,"material":32,"size":33,"collection":34,"collections":159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":160},261220,"fen-cai-zhe-zhi-hua-wen-zun-yi-ming-261220","粉彩折枝花纹尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[23,155,156,157,7,87],"粉彩","菊","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78187b1ff22246758b11d3d4707427e5.jpg",[],"F48FB1",{"id":162,"slug":163,"title":164,"dynasty":41,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":169,"material":32,"size":33,"collection":34,"collections":170,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259156,"yong-zheng-kuan-qing-hua-zhe-zhi-jiu-tao-wen-pan-yi-ming-259156","雍正款青花折枝九桃纹盘","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。",[23,24,167,7,168],"桃纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0852e0228a721327593823db3072b2de.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":41,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":180,"material":32,"size":33,"collection":34,"collections":181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":122},258485,"qian-long-kuan-dou-cai-zhe-zhi-lian-wen-wan-yi-ming-258485","乾隆款斗彩折枝莲纹碗","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。",[177,117,23,178,7,27,179],"清代","莲花","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba23b1352cf46e99d15d824347842d0.jpg",[],{"id":183,"slug":184,"title":185,"dyn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