[{"data":1,"prerenderedAt":87},["ShallowReactive",2],{"subject-zhuang-shi-ji-fa":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5857,"zhuang-shi-ji-fa","装饰技法","装饰技法画高清赏析","精选中国历代装饰技法题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123dfc97f7889bf7fa43586f32fa6a0f.jpg",0,4,[14,37,52,68],{"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},256696,"yue-yao-xi-qing-you-he-ban-si-xi-hu-yi-ming-256696","越窑系青釉褐斑四系壶","晋","佚名","藏地不详","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[23,24,25,26,27,28,29,7],"陶瓷","晋代","青釉","褐斑","四系","器","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799c27e50a0eadb77cd49c01d6e1bbfa.jpg","未知","Xcm*Xcm","瓷器精选",[33],2,"BDBDBD",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":49,"material":31,"size":32,"collection":50,"collections":51,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},256549,"kong-que-lv-you-an-hua-jiao-ye-tao-tie-wen-zun-yi-ming-256549","孔雀绿釉暗划蕉叶饕餮纹尊","清","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。",[23,44,45,46,47,28,29,7,48],"孔雀绿釉","暗划","蕉叶纹","饕餮纹","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792a12f9dddc5f19db84ae6272a83a55.jpg","",[],{"id":53,"slug":54,"title":55,"dynasty":41,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":10,"material":31,"size":32,"collection":50,"collections":66,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},245440,"yin-liu-kai-guang-shan-shui-ren-wu-hua-hui-tu-zhi-hu-yi-ming-245440","银六开光山水人物花卉图执壶","此壶银胎鎏金，龙首为盖钮、为执柄，龙威灵动，首尾呼应。六棱瓜腹分设开光，浅錾山水人物与折枝花卉。开光内，林泉间高士围坐晤谈，松石层峦衬出雅聚闲情，另一面缠枝花卉柔蔓舒展，花叶鲜活饱满。\n\n弯长鎏金壶流与卷云壸门足台相衬，刚柔并济。银色沉敛古雅，鎏金部分灿然明丽，明暗交错间尽显錾刻细作的精湛工艺，将瑞兽威仪与文人情趣融于一壶，尽显旧时手作的精妙意韵，是兼具雅玩意趣与匠造匠心的银作精品。",[58,59,60,61,62,63,64,65,48,7],"银器","雕刻","开光","山水","人物","花卉","龙","执壶",[],"795548",{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":84,"material":31,"size":32,"collection":50,"collections":85,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},228007,"qing-bai-you-ci-ping-yi-ming-228007","青白釉瓷瓶","元","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[23,75,76,77,78,79,80,81,82,7,83],"青白釉","元代","贴塑","瓷器","器物","兽形","立器","白釉系","陶瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd709d7cdf9b4bc85cd13f081a3233d85.jpg",[],"FFFFFF",1777535763505]