[{"data":1,"prerenderedAt":156},["ShallowReactive",2],{"subject-zhen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5786,"zhen","枕","枕画高清赏析","精选中国历代枕题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b5627a638032d2e286dec57e508f068.jpg",0,13,[14,35,50,61,72,82,91,99,109,119,127,136,148],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},260302,"shao-xing-wu-nian-kuan-ke-ren-wu-wen-san-cai-zhen-yi-ming-260302","绍兴五年款刻人物纹三彩枕","宋","佚名","藏地不详","敦实的长方枕身，绿釉如苍苔漫过石面，晕染出深浅错落的肌理，釉面的剥蚀是岁月镌下的痕迹，带着旧时光的温润质感。开光之内浅刻人物，线条简淡清逸，寥寥数笔便将人物情态勾勒宛然，藏着内敛雅致的意趣。\n\n侧边小圆孔暗合匠人之巧，既减胎透气，又添了几分灵动。它将纳凉实用与审美意趣相融，带着市井日常的鲜活温度，静静承载着千年前夏夜的悠然闲情，将俗世清欢凝在一方枕上。",[23,24,25,26,27,7],"陶瓷","三彩","刻纹","人物纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053dacc316ee3207912610296d3f6e5e.jpg","未知","Xcm*Xcm","",[],2,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":29,"size":30,"collection":31,"collections":48,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":49},256955,"san-cai-jia-lan-ke-hua-yuan-yang-wen-zhen-yi-ming-256955","三彩加蓝刻花鸳鸯纹枕","唐","此枕造型规整温婉，枕边以浓艳莹润的钴蓝勾描出回字边框，衬出枕面开光内的刻花鸳鸯。一对鸳鸯依偎戏水，线条舒展柔婉，尽显灵动生机。器身以黄褐釉为地，晕染出斑驳白斑，仿若虎皮肌理，野趣十足。\n钴蓝釉在唐三彩中尤为鲜见，与黄白斑斓的釉色碰撞，冷暖交织，尽显盛唐色彩美学的热烈奔放。整器将刻花雅致与随性釉色相融，朴拙又精巧，藏着唐人对和美生活的期许，尽显古陶瓷工艺的动人意趣。",[23,42,43,44,45,7,46],"唐三彩","加蓝","刻花","鸳鸯","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24af193a8159c111923a5263e476e0b2.jpg",[],"BDBDBD",{"id":51,"slug":52,"title":53,"dynasty":39,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":58,"material":29,"size":30,"collection":31,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":34},260479,"san-cai-shou-tou-zhen-yi-ming-260479","三彩兽头枕","它以狞厉瑞兽为形，跳脱常规枕具的温婉意趣。黄绿褐三色釉彩晕染交织，绿釉覆于眉睫如怒鬃倒竖，褐彩勾勒五官棱角，米黄铺就面肌，色泽古旧却层次分明。\n\n眉骨高凸，圆目凌厉如电，外翻獠牙搭配齐整利齿，将瑞兽的凶悍霸气凝于方寸。模塑肌理带着粗粝古拙质感，岁月晕开釉色斑驳，更添沧桑厚重。它既是纳凉寝具，亦是大唐匠师野性浪漫的造物，将神异瑞兽的威慑融于日常器物，尽显豪放雄健的盛唐审美风骨。",[23,24,56,7,57,27],"兽","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5682b7b961ee432268a23468f735513.jpg",[],1,{"id":62,"slug":63,"title":64,"dynasty":65,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":70,"material":29,"size":30,"collection":31,"collections":71,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262243,"lv-you-ke-ci-wen-zhen-yi-ming-262243","绿釉刻词文枕","元","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。",[23,27,7,68,57,69],"绿釉","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea168ce161dc4aac69e0be8240c5ca.jpg",[],{"id":73,"slug":74,"title":75,"dynasty":39,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":79,"material":29,"size":30,"collection":31,"collections":80,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},262225,"jiao-tai-xiao-fang-zhen-yi-ming-262225","绞胎小方枕","它以褐黄瓷土揉捻相融，纹理似暮霭翻涌过山峦，又像墨痕淌入黄绢，蜿蜒舒展浑然天成，不见刻意斧凿的匠气，尽是随性舒展的意趣。\n\n质朴温润的胎体搭配利落方正的枕形，将实用与审美揉为一体。每一道纹路都是独一份的流淌印记，把瓷土糅合时的流动瞬间凝在方寸之间，带着手作温度，藏着盛唐民间造物的浪漫，把寻常的休憩日常也晕染出诗意。",[23,78,27,7],"绞胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51637d77fb6a19260b6cd2f3d77e485d.jpg",[],"37474F",{"id":83,"slug":84,"title":85,"dynasty":39,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":89,"material":29,"size":30,"collection":31,"collections":90,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},261798,"huang-you-jiao-tai-zhen-yi-ming-261798","黄釉绞胎枕","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[23,78,88,27,7],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf642ef894fd77869f1626d134d6410.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":39,"author":19,"museum":20,"description":66,"tags":95,"thumbUrl":97,"material":29,"size":30,"collection":31,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},261696,"lv-you-hei-hua-zhen-yi-ming-261696","绿釉黑花枕",[23,27,68,96,7],"黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a1f688bd98e6a9463a86388d829676.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,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