[{"data":1,"prerenderedAt":467},["ShallowReactive",2],{"subject-zhu-2704":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2704,"zhu-2704","猪","猪画高清赏析","精选中国历代猪题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7e6ec77e500c9946e8c0a82120ff79.jpg",0,51,[14,46,69,79,93,106,119,129,148,156,170,182,189,195,204,212,218,224,234,243,249,260,273,281,287,293,300,306,312,319,325,331,337,344,350,358,365,373,379,385,392,400,406,412,418,424,430,437,445,454,461],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","隋","佚名","藏地不详","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38],"隋代","铜制","青铜器","雕刻","鼠","牛","虎","兔","龙","蛇","马","羊","猴","鸡","狗","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg","未知","Xcm*Xcm","",[],23,"795548",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":20,"description":52,"tags":53,"thumbUrl":64,"material":65,"size":42,"collection":42,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},215103,"tui-bei-tu-ce-5-jiao-bing-zhen-215103","推背图册-5","清","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[54,55,56,57,58,59,60,61,62,7,37,27,63],"高清","名画","国画","册","工笔","设色","树","山石","草地","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6667ce90fb304c0134c02c613a0234dc.jpg","纸本,设色",[],6,"BDBDBD",{"id":70,"slug":71,"title":72,"dynasty":50,"author":51,"museum":20,"description":52,"tags":73,"thumbUrl":10,"material":65,"size":42,"collection":42,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":68},215078,"tui-bei-tu-ce-27-jiao-bing-zhen-215078","推背图册-27",[54,56,74,57,58,59,75,63,7,76],"书画","人物","衣帽",[],4,{"id":80,"slug":81,"title":82,"dynasty":50,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":90,"material":40,"size":41,"collection":42,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":68},251198,"qing-yu-shi-er-chen-zhu-yi-ming-251198","青玉十二辰-猪","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。",[85,86,26,87,7,88,75,89],"清代","玉石","十二生肖","动物","圆雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f75270d92f4e0665f986fdabe3523e.jpg",[],3,{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":20,"description":97,"tags":98,"thumbUrl":103,"material":40,"size":41,"collection":42,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":45},253785,"tao-zhu-yi-ming-253785","陶猪","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。",[23,99,63,7,100,101,102],"陶塑","古朴","彩绘","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621574646fb880429885e8a952650fa5.jpg",[],2,{"id":107,"slug":108,"title":109,"dynasty":110,"author":19,"museum":20,"description":111,"tags":112,"thumbUrl":117,"material":40,"size":41,"collection":42,"collections":118,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":68},253743,"shun-zi-geng-tian-zhuan-diao-yi-ming-253743","舜子耕田砖雕","宋","这方砖雕以浅浮雕铺陈画面，匠人以刀代笔，将山野牧歌凝于青砖之上。持杖农人神态温厚，垂目照看身旁牲畜。大象垂鼻敛足，温驯恭谨，牛羊缓步低首，小猪憨态游走，各循其态，满是乡野悠然生机。\n\n画面边框随形勾勒出林下郊野的幽然氛围，古朴圆融的刀法，把日常放牧的恬淡与古意孝义悄然结合。粗粝青砖之上，刻画出细腻的生活意趣，沉敛的人文内核藏在质朴图景里，尽显民间匠人的巧思，让佳话融于寻常烟火，满是沉静雅致的世俗诗意。",[26,113,114,75,28,7,115,116],"砖雕","浮雕","农耕","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F491e87e3cd0c4c3aaf4806f53580e161.jpg",[],{"id":120,"slug":121,"title":122,"dynasty":123,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":127,"material":40,"size":41,"collection":42,"collections":128,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":45},253716,"tao-hua-cai-zhu-yi-ming-253716","陶画彩猪","唐","唐三彩（Tang 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。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[123,126,59,63,7,99],"陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a6204a1150ccf1d3242014c66742aa.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":145,"material":40,"size":41,"collection":42,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":68},288606,"jonas-umbach-december-one-of-a-series-representing-the-labors-yi-ming-288606","Jonas 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labors","不详","这帧红粉笔素描以粗粝随性的笔触，定格乡野宰牲的日常图景。前景男女跪身合力制住生猪，紧绷的肩背肌肉线条，将蛮力拉扯的张力尽显。背景农舍下众人围忙，窗沿有人探首旁观，远处田舍错落、云绕疏林，乡野烟火气四下漫开。\n\n作者以利落排线铺陈体积光影，没有精雕细琢，却将村人协作的热络、劳作的憨直藏在笔痕中，把腊月农闲宰牲的鲜活瞬间凝在纸上，让乡土冬日的粗朴暖意顺着纸笔缓缓漫溢。",[136,137,138,139,140,7,141,142,143,144],"素描","人物画","风俗画","乡村","农舍","劳作","户外","冬季","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d94d609ae4ec1f5320d53e322b0b86.jpg",[],1,{"id":149,"slug":150,"title":96,"dynasty":151,"author":19,"museum":20,"description":97,"tags":152,"thumbUrl":154,"material":40,"size":41,"collection":42,"collections":155,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},255868,"tao-zhu-yi-ming-255868","南北朝",[151,99,63,7,26,153],"陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3413ae761a8a2e40bdfaefb9f654b393.jpg",[],{"id":157,"slug":158,"title":96,"dynasty":159,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":167,"material":40,"size":41,"collection":42,"collections":168,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":169},254279,"tao-zhu-yi-ming-254279","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[153,162,63,7,163,164,165,166],"俑","汉代陶塑","动物造型","陶制","塑形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7060c8ebb1edcbc3cfde7a64cd162f4d.jpg",[],"37474F",{"id":171,"slug":172,"title":173,"dynasty":174,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":180,"material":40,"size":41,"collection":42,"collections":181,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},254264,"qing-you-zhu-yi-ming-254264","青釉猪","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[177,153,178,63,7,102,88,179],"晋代","青釉","青瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F721d39cc64701390a46953dfb7570a8b.jpg",[],{"id":183,"slug":184,"title":96,"dynasty":159,"author":19,"museum":20,"description":160,"tags":185,"thumbUrl":187,"material":40,"size":41,"collection":42,"collections":188,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":169},254028,"tao-zhu-yi-ming-254028",[186,153,99,63,7,162],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc8aa993ed873d779c2acb99e402ace.jpg",[],{"id":190,"slug":191,"title":122,"dynasty":159,"author":19,"museum":20,"description":160,"tags":192,"thumbUrl":193,"material":40,"size":41,"collection":42,"collections":194,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},253984,"tao-hua-cai-zhu-yi-ming-253984",[159,153,59,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103ab01b6d7707416cde23b10d62f0f1.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":123,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":202,"material":40,"size":41,"collection":42,"collections":203,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":169},253983,"tao-huang-you-zhu-yi-ming-253983","陶黄釉猪","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。",[123,153,99,201,63,7],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee5384ff96f2b8dce69045d55f0a571.jpg",[],{"id":205,"slug":206,"title":96,"dynasty":159,"author":19,"museum":20,"description":160,"tags":207,"thumbUrl":210,"material":40,"size":41,"collection":42,"collections":211,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},253461,"tao-zhu-yi-ming-253461",[159,99,162,63,7,100,208,88,165,209],"写实","简练造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4defc48e1a4c8a9d8e17b22160139dd5.jpg",[],{"id":213,"slug":214,"title":96,"dynasty":159,"author":19,"museum":20,"description":160,"tags":215,"thumbUrl":216,"material":40,"size":41,"collection":42,"collections":217,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},253403,"tao-zhu-yi-ming-253403",[159,99,126,7,63,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd8357d27d776561669382617b019a1.jpg",[],{"id":219,"slug":220,"title":82,"dynasty":50,"author":19,"museum":20,"description":83,"tags":221,"thumbUrl":222,"material":40,"size":41,"collection":42,"collections":223,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},251446,"qing-yu-shi-er-chen-zhu-yi-ming-251446",[85,86,26,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22747937dc965a7e773710c89dd8d7.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":159,"author":19,"museum":20,"description":228,"tags":229,"thumbUrl":232,"material":40,"size":41,"collection":42,"collections":233,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":68},243967,"shi-er-chen-wen-jing-yi-ming-243967","十二辰纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[159,25,24,26,63,31,29,30,27,35,32,33,34,36,37,7,230,231],"纹饰","圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b8a02fe5129932613f3e87f91c6ec.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":159,"author":19,"museum":20,"description":238,"tags":239,"thumbUrl":241,"material":40,"size":41,"collection":42,"collections":242,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":45},243762,"zhu-xing-pai-shi-yi-ming-243762","猪形牌饰","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。",[159,25,24,26,240,63,7],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d43b71cb192a0397ca1dbc79eeaa52a.jpg",[],{"id":244,"slug":245,"title":237,"dynasty":159,"author":19,"museum":20,"description":238,"tags":246,"thumbUrl":247,"material":40,"size":41,"collection":42,"collections":248,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":68},243759,"zhu-xing-pai-shi-yi-ming-243759",[159,25,24,26,63,7,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c525af6e90b5adce967ebde5f437ed.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":50,"author":19,"museum":20,"description":253,"tags":254,"thumbUrl":257,"material":258,"size":42,"collection":42,"collections":259,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":68},215427,"bai-miao-jie-tou-mai-mai-hua-ce-129-yi-ming-215427","白描街头买卖画册-129","线条简练却张力十足，衣纹流转间勾勒出人物俯身的温柔姿态，一手扶桶，一手执具，似正与身前生灵低语。两只猪憨态毕露，一抬首探向桶沿，眸光灵动；一低首蹭向食槽，鼻尖微动，短绒般的线条晕染出鲜活质感。木桶直纹与衣袍曲褶相映成趣，虚实之间，市井烟火气漫溢开来。白描以线为骨、以情为魂，无需浓墨重彩，便定格平凡生活的生动瞬间。不经意的互动、质朴的神态藏在每笔细腻勾勒里，让人窥见旧日街头鲜活一角，静赏时仿佛听见桶沿轻响与猪崽哼唧，满是人间烟火的温度。",[54,56,74,57,255,75,7,256],"白描","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cff8de64591a72516747ec6b0e09d3.jpg","纸本",[],{"id":261,"slug":262,"title":263,"dynasty":50,"author":19,"museum":20,"description":264,"tags":265,"thumbUrl":271,"material":40,"size":41,"collection":42,"collections":272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},260537,"fen-cai-shi-er-chen-yuan-he-yi-ming-260537","粉彩十二辰圆盒","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",[266,153,38,87,267,268,269,270,27,28,29,30,31,32,33,34,35,36,37,7,256],"粉彩","太极","八卦","云纹","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d4f5efbcf4b804c18c0b9202545a3e.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":123,"author":19,"museum":20,"description":97,"tags":277,"thumbUrl":279,"material":40,"size":41,"collection":42,"collections":280,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},255963,"tao-lv-you-zhu-yi-ming-255963","陶绿釉猪",[123,153,278,63,7,26],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1a9f807b0c2ce5121dd157d0773bc9.jpg",[],{"id":282,"slug":283,"title":122,"dynasty":123,"author":19,"museum":20,"description":124,"tags":284,"thumbUrl":285,"material":40,"size":41,"collection":42,"collections":286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},255961,"tao-hua-cai-zhu-yi-ming-255961",[123,99,101,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671f8d43421a85ea71bb8f56f2bdc70e.jpg",[],{"id":288,"slug":289,"title":198,"dynasty":123,"author":19,"museum":20,"description":199,"tags":290,"thumbUrl":291,"material":40,"size":41,"collection":42,"collections":292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},255688,"tao-huang-you-zhu-yi-ming-255688",[123,153,201,7,162,99,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b82a6ba94bd48b8ff96697774745719.jpg",[],{"id":294,"slug":295,"title":96,"dynasty":123,"author":19,"museum":20,"description":124,"tags":296,"thumbUrl":298,"material":40,"size":41,"collection":42,"collections":299,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},255287,"tao-zhu-yi-ming-255287",[153,63,7,162,26,297],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed8822a1e339e2dd8587c75dd6d5b5.jpg",[],{"id":301,"slug":302,"title":96,"dynasty":159,"author":19,"museum":20,"description":160,"tags":303,"thumbUrl":304,"material":40,"size":41,"collection":42,"coll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