[{"data":1,"prerenderedAt":178},["ShallowReactive",2],{"subject-zhu-jie":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5980,"zhu-jie","竹节","竹节画高清赏析","精选中国历代竹节题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e919319b970a2e2800b6c23c812dd4.jpg",0,15,[14,34,48,61,72,80,88,99,109,118,130,137,148,160,169],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},272274,"zi-shi-diao-zhu-jie-chang-fang-yan-yi-ming-272274","紫石雕竹节长方砚","清","佚名","藏地不详","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[23,24,25,7,26],"砚","紫石","雕刻","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d312e3b1bcd63778b551b78bc37662.jpg","未知","Xcm*Xcm","",[],1,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":45,"material":28,"size":29,"collection":30,"collections":46,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":47},269890,"huang-yang-mu-diao-zhu-jie-shi-bi-ge-yi-ming-269890","黄杨木雕竹节式臂搁","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[40,25,7,41,42,26,43,44],"木质","竹叶","蜥蜴","木刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618327799baa3163d8bb8befb18c3216.jpg",[],"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":59,"material":28,"size":29,"collection":30,"collections":60,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},278027,"zhu-jie-mei-niu-zun-xian-tang-yin-yi-ming-278027","竹节梅纽“遵宪堂”印","明","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[55,56,7,57,58],"印章","篆刻","梅","陶瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cafc632cbb31e4c56d879fb932e40f.jpg",[],{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":70,"material":28,"size":29,"collection":30,"collections":71,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},275505,"tie-chu-shi-bing-zhu-jie-bian-yi-ming-275505","铁杵式柄竹节鞭","此鞭以铁铸为材，通体摹仿竹节错落分段，骨棱分明，如苍劲老竹拔节而上，冷峻质朴间自带铮铮武骨。柄首圆雕瑞兽，鬃毛卷曲神态威肃，既贴合掌型便于发力攥握，亦以瑞相镇慑，暗合护持之意。\n\n经年摩挲，器身凝出厚重包浆，将冷兵器的杀伐之气揉进了岁月温痕里。它不单是克敌的兵刃，更藏着旧时武人的精神底色，把节节向上的期许融在每一处棱节里，是实用与匠心、武艺与意趣结合的精妙之作。",[67,68,25,69,7],"兵器","铁器","鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e721873178250adcd19adeca265b80b.jpg",[],{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":20,"description":21,"tags":76,"thumbUrl":78,"material":28,"size":29,"collection":30,"collections":79,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},271533,"duan-shi-diao-zhu-jie-sui-xing-yan-yi-ming-271533","端石雕竹节随形砚",[23,77,7,25,26],"端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e2719f83a95ff144205d0d33c8b9365.jpg",[],{"id":81,"slug":82,"title":83,"dynasty":18,"author":19,"museum":20,"description":38,"tags":84,"thumbUrl":86,"material":28,"size":29,"collection":30,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},269390,"huang-yang-mu-diao-zhu-jie-shi-he-yi-ming-269390","黄杨木雕竹节式盒",[40,25,7,85,43],"盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe143f8a0d9100353281e896d5a00f4d6.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":97,"material":28,"size":29,"collection":30,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},269162,"zhu-gen-diao-zhu-jie-shi-san-ceng-he-yi-ming-269162","竹根雕竹节式三层盒","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",[25,94,95,85,96,7],"根雕","竹质","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59061c14f16598a8fdd974743ca12517.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":107,"material":28,"size":29,"collection":30,"collections":108,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},261710,"yang-xing-xuan-kuan-song-shi-lv-you-zhu-jie-shi-pen-yi-ming-261710","养性轩款松石绿釉竹节式盆","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。",[105,44,7,106],"陶瓷","绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F037f88801ce8a80320d813e2b31e8646.jpg",[],{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":20,"description":103,"tags":113,"thumbUrl":115,"material":28,"size":29,"collection":30,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":117},260949,"sa-lan-you-zhu-jie-duo-mu-hu-yi-ming-260949","洒蓝釉竹节多穆壶",[105,114,7,44,96],"洒蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1230fed781e83d400c06216290ac4c.jpg",[],"37474F",{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":122,"tags":123,"thumbUrl":127,"material":28,"size":29,"collection":128,"collections":129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},258979,"yi-xing-yao-zi-sha-liu-fang-zhu-jie-cha-hu-yi-ming-258979","宜兴窑紫砂六方竹节茶壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[124,105,125,126,7,25,44],"清代","紫砂","六方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f78b4c70bbc6dcdff3f01c79714046.jpg","瓷器精选",[128],{"id":131,"slug":132,"title":121,"dynasty":18,"author":19,"museum":20,"description":122,"tags":133,"thumbUrl":135,"material":28,"size":29,"collection":128,"collections":136,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},258978,"yi-xing-yao-zi-sha-liu-fang-zhu-jie-cha-hu-yi-ming-258978",[105,125,126,7,134,124],"茶壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94df4af45d1069e6af59143ee8f36f5.jpg",[128],{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":146,"material":28,"size":29,"collection":30,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":117},258784,"jia-qing-kuan-huang-you-fang-diao-zhu-wen-zhu-jie-bi-ping-yi-ming-258784","嘉庆款黄釉仿雕竹纹竹节壁瓶","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。",[124,105,143,25,144,7,145,44],"黄釉","仿竹纹","壁瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a76887db1ed1db4d5f23cf846e1a25d.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":157,"material":28,"size":29,"collection":30,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":159},245735,"yin-ka-fei-ju-zhu-jie-bing-guan-yi-ming-245735","银咖啡具-竹节柄罐","器身丰腴圆润，下承三足沉稳端庄。竹节形执柄摹刻天然竹枝肌理，古拙清雅。器面开光錾刻文人雅集图景，亭台花木错落排布，人物神态灵动鲜活，浮雕工艺尽显细腻精湛。\n\n器物融合西式奶罐形制，植入中式传统文人意趣，是晚清中西合璧的匠心之作。岁月晕染出的厚重包浆晕开旧时光晕，静静诉说着过往的雅致日常，将银作工艺之美与生活雅趣相融无间。",[124,154,25,7,155,156],"银器","山水人物","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa6615ee7173ab825c10f3f5ef8fd69.jpg",[],"F48FB1",{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":20,"description":164,"tags":165,"thumbUrl":167,"material":28,"size":29,"collection":30,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},245734,"yin-ka-fei-ju-zhu-jie-bing-bei-yi-ming-245734","银咖啡具-竹节柄杯","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。",[154,96,7,25,166],"人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b8f510c31df39af7c3f6acf31ff80a.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":52,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},228575,"tian-bai-san-xi-zhu-jie-ba-hu-yi-ming-228575","甜白三系竹节把壶","单把壶的壶身呈半球形，小口、短直颈、圆肩、器腹略内敛、平底、浅凹足。器肩上有三个环形系钮，器身一侧带曲流，另一侧带竹节把手，并有一平顶直璧圆形盖罩住口颈。全器除足底露胎外，均施以白釉。全器光素无纹，釉色洁白莹润。相同器形之瓷壶存世不多，本院另藏有一件器形相同，器身饰以凤凰一对的青花三系竹节把壶，有学者推测两者皆为明初宫廷用茶器。广东台山南宋沉船中，曾出水有类似造型的锡壶，也有学者据以推测其为穆斯林使用的汤瓶。",[175,105,176,7,44],"明代","甜白釉",[],1777535725885]