[{"data":1,"prerenderedAt":262},["ShallowReactive",2],{"subject-zhu-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8239,"zhu-wen","竹纹","竹纹画高清赏析","精选中国历代竹纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb05512ffd9a0bfeea16d2749020503f.jpg",0,21,[14,37,53,66,75,88,103,110,122,131,144,155,165,172,181,194,206,218,228,240,248],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},268819,"bai-se-duan-xiu-zhu-pi-qiu-hua-wen-guan-yin-pei-yi-ming-268819","白色缎绣竹皮球花纹观音帔","清","佚名","藏地不详","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[23,24,25,7,26,27,28,29],"衣帽","刺绣","缎绣","皮球花纹","宗教","观音","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018092adfa269c1af91fc400e2c5113a.jpg","未知","Xcm*Xcm","",[],13,"BDBDBD",{"id":38,"slug":39,"title":40,"dynasty":18,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":49,"material":31,"size":32,"collection":33,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},241926,"yin-du-jin-qian-zhu-cui-mei-zhu-wen-tou-hua-yi-ming-241926","银镀金嵌珠翠梅竹纹头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[43,44,45,46,47,7,48],"清代","银镀金","镶嵌","珠翠","梅纹","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ac8acbe6641a62841d948332793a58.jpg",[],10,"FFFFFF",{"id":54,"slug":55,"title":56,"dynasty":18,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":62,"material":31,"size":32,"collection":33,"collections":63,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":36},264317,"yue-bai-se-ke-si-er-se-jin-zhu-zi-wen-pao-liao-yi-ming-264317","月白色缂丝二色金竹子纹袍料","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,29,59,7,60,61],"缂丝","金纹","袍料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a69e10d7445872401a8e3f34f08f2f.jpg",[],8,1,{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":57,"tags":70,"thumbUrl":72,"material":31,"size":32,"collection":33,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":36},268890,"jiang-se-ke-si-zhu-shou-wen-pao-chai-pian-yi-ming-268890","酱色缂丝竹寿纹袍拆片",[23,59,7,71,29],"寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6a29635487a532fda71cb51d5a2d9f.jpg",[],7,{"id":76,"slug":77,"title":78,"dynasty":18,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":84,"material":31,"size":32,"collection":33,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":87},266521,"xue-hui-se-ke-jin-zhu-zi-wen-diao-ling-yan-pi-pi-pa-jin-kan-jian-yi-ming-266521","雪灰色缂金竹子纹貂翎眼皮琵琶襟坎肩","湖蓝地子之上缂金缠枝纹蜿蜒流转，自带华贵灵动的光泽。琵琶襟沿镶饰油亮貂毛，将织绣的精巧柔腻与皮草的厚重暖润撞出别致层次。\n\n留白仿似薄雪覆身，其上缂织苍松修竹，苍劲虬枝与疏朗竹影自带清冷文人意趣，把闺阁冬装晕染出雅致书卷气。盘金走线匀净利落，绒毛顺滑亮泽，将重工技法与清雅意境相融，尽显晚清女装精工雅致的审美意韵。",[23,81,7,82,83,29],"缂金","貂饰","琵琶襟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96e7ad469d71437df5ff28b101c9acb.jpg",[],3,"795548",{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":99,"material":31,"size":32,"collection":33,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":102},268593,"yin-du-jin-dian-cui-chuan-zhu-tiao-gan-yi-ming-268593","银镀金点翠串珠挑杆","取新竹垂条为形，银镀金塑出竹骨清姿，点翠晕开竹叶的碧色柔光，仿若将春庭新竹裁作鬓边风景。米珠串作流苏垂挂，随步履轻摇时，似竹梢凝露簌簌欲落，把文人慕竹的高洁意趣，藏入闺阁妆奁的华贵精巧里。细处见工，每一片点翠竹叶皆匀净鲜亮，金骨托着翠色，配着莹润米珠，将自然清雅与花丝细作的匠心相融，摇曳间尽露旧时闺秀的温婉风华。",[48,94,95,96,97,7,98],"银器","镀金","点翠","串珠","发簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde00cbd9a9bc6dddb1eb90ff8d5894b.jpg",[],2,"37474F",{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":57,"tags":107,"thumbUrl":108,"material":31,"size":32,"collection":33,"collections":109,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":87},264296,"lan-se-ke-si-mo-zhu-wen-chang-yi-liao-yi-ming-264296","蓝色缂丝墨竹纹氅衣料",[23,29,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3caf993beaf1519efb284c2e318109.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":120,"material":31,"size":32,"collection":33,"collections":121,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":102},258874,"guang-xu-kuan-fan-hong-di-ba-bai-zhu-wen-wan-yi-ming-258874","光绪款矾红地拔白竹纹碗","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。",[116,117,7,118,119,43],"陶瓷","矾红地拔白","碗","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a2a9d9c0ebe9f832f59c9a1b7eaa03.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":18,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":129,"material":31,"size":32,"collection":33,"collections":130,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":102},266225,"ming-huang-se-jiang-chou-xiu-san-lan-zhu-zi-wen-chang-yi-chai-pian-yi-ming-266225","明黄色江绸绣三蓝竹子纹氅衣拆片","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[23,29,24,7,128],"氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc459ad93ea496b7344803201e7e74b83.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":18,"author":19,"museum":20,"description":135,"tags":136,"thumbUrl":142,"material":31,"size":32,"collection":33,"collections":143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},272778,"mu-xiang-zhu-diao-duo-bao-ge-yi-ming-272778","木镶竹雕多宝格","整体格位错落排布，打破对称却尽显协调。边框透雕缠枝卷草，线条柔婉灵动，为沉敛木色添了几分娇俏鲜活。\n\n镶配竹板面浅刻山水苍松，刀意朴拙古雅，竹色温润与木材质感相映成趣。匠师巧思布局，格位宽窄不一，可纳各式雅玩清供，将收纳之用融于陈设之美。\n\n刀工圆熟细腻，虚实疏密间尽显中式雅致意趣，藏纳着旧时文房的闲情审美，是兼具实用与赏玩价值的雅室佳器。",[137,138,139,140,141,7],"多宝格","木质","竹雕","雕刻","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad9694e963576db8dbc5c3bf6e45fcc9.jpg",[],{"id":145,"slug":146,"title":147,"dynasty":18,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":153,"material":31,"size":32,"collection":33,"collections":154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},271324,"duan-shi-zhu-jie-shi-yan-yi-ming-271324","端石竹节式砚","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。",[150,151,7,152,140,138],"砚","端石","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e50f20c3ed7ce70e6eb34080abbb92.jpg",[],{"id":156,"slug":157,"title":158,"dynasty":18,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":163,"material":31,"size":32,"collection":33,"collections":164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},271250,"li-wen-lv-zhu-mo-yi-ming-271250","丽文绿竹墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[161,162,7],"墨","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93df95884610b5f783720b909156e5a.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":159,"tags":169,"thumbUrl":170,"material":31,"size":32,"collection":33,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},271164,"yi-yi-shi-fang-gu-qing-lang-gan-mo-yi-ming-271164","漪漪室仿古青琅玕墨",[161,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90e8c2937f2579091ac03bf1612218.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":18,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":179,"material":31,"size":32,"collection":33,"collections":180,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},269763,"zi-tan-diao-zhu-wen-qian-yu-shu-shi-he-yi-ming-269763","紫檀雕竹纹嵌玉书式盒","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。",[138,140,7,178,119],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085c852241400d5f4d8f17d0b799743d.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":192,"material":31,"size":32,"collection":33,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},268077,"pin-yue-se-duan-di-mei-zhu-wen-tao-yi-ming-268077","品月色缎地梅竹纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[29,187,188,189,47,7,190,191],"绦带","缎面","织绣","花卉","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc26a2877e805d0e24a320b138498373.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":18,"author":19,"museum":20,"description":198,"tags":199,"thumbUrl":204,"material":31,"size":32,"collection":33,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},263932,"jiang-se-xie-wan-zi-ling-zhu-tao-wen-zhi-jin-duan-yi-ming-263932","绛色斜万字灵竹桃纹织金缎","以绛色为底，金线织就暗纹，色调沉敛华贵，光影流转间金线泛起柔光，尽显雅致光泽。斜万字纹连绵铺展，携福寿绵长之愿，灵竹清隽、桃纹娇妍，纹样排布疏密相宜，将清雅意趣与吉祥寓意织入寸缣。针脚妥帖细致，拼接处工整不显杂乱，历经岁月仍色泽匀净，金线光泽依旧动人，尽显旧时织锦工艺的精妙匠思，将传统吉庆意涵与织造技艺融于一体，静述往昔雅致审美。",[29,200,201,202,7,203,189],"织金缎","绛色","万字纹","桃纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032b58b4b0b183c7ea8808bacaab92c4.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":216,"material":31,"size":32,"collection":33,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},261120,"dou-cai-li-wai-zhu-feng-wen-xiao-bei-yi-ming-261120","斗彩里外竹凤纹小杯","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。",[116,212,213,7,214,215],"斗彩","凤纹","饮酒器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff761b10a32e5f134ff3a91be49a7f58d.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":226,"material":31,"size":32,"collection":33,"collections":227,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},260804,"dou-qing-you-zhu-jie-bi-tong-yi-ming-260804","豆青釉竹节笔筒","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。”",[116,224,225,7,152],"笔筒","豆青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021b050e39ee5a5cc17f2cf5e96b6550.jpg",[],{"id":229,"slug":230,"title":231,"dynasty":18,"author":19,"museum":20,"description":232,"tags":233,"thumbUrl":238,"material":31,"size":32,"collection":33,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},259488,"guang-xu-kuan-fan-hong-di-ba-bai-zhu-wen-pan-yi-ming-259488","光绪款矾红地拔白竹纹盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[116,215,234,7,235,236,237],"瓷盘","蝙蝠纹","拔白技法","矾红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23565d586d95f52577de8c63fb6cb14.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":18,"author":19,"museum":20,"description":114,"tags":244,"thumbUrl":246,"material":31,"size":32,"collection":33,"collections":247,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":102},259371,"dao-guang-kuan-fan-hong-di-ba-bai-zhu-wen-wan-yi-ming-259371","道光款矾红地拔白竹纹碗",[116,118,7,245,215],"拔白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f662034471228d57471674da189c1b.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":252,"author":19,"museum":20,"description":253,"tags":254,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},257590,"qing-hua-ling-zhu-wen-shuang-er-bei-yi-ming-257590","青花灵竹纹双耳杯","明","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。",[255,116,256,7,257,214,258,259,260],"明代","青花","双耳","白釉","纹饰","器型",[],1777535720091]