[{"data":1,"prerenderedAt":144},["ShallowReactive",2],{"subject-zi-hong-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},11236,"zi-hong-se","紫红色","紫红色画高清赏析","精选中国历代紫红色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf15d110cbd1bb9be3ebe45e3a0fa81.jpg",0,12,[14,34,46,54,70,78,87,96,105,115,126,134],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":11,"mainColor":33},264159,"zi-hong-se-di-fo-shou-wen-hui-hui-jin-yi-ming-264159","紫红色地佛手纹回回锦","清","佚名","藏地不详","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[23,24,25,7],"布料","织锦","佛手纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf032c29bbef27be64cdc62f461fc5b.jpg","未知","Xcm*Xcm","",[],8,1,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":42,"material":27,"size":28,"collection":29,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},264186,"zi-hong-se-yin-ji-guan-hua-wen-hui-hui-zhuang-hua-duan-yi-ming-264186","紫红色银鸡冠花纹回回妆花缎","底色如揉碎的霞色绛紫，沉艳饱满。银线织就的鸡冠花以四方连续铺陈，规整排布间晕开柔婉生机，银辉随光线流转，将清霜似的光泽凝在瓣蕊之上。妆花缎的织法让纹样立体鲜活，鸡冠花的绒感仿若触手可及，回回纹暗藏骨架，将异域意趣糅入中式雅致。配色浓而不艳，静穆华贵，经纬之间藏着匠人的巧思，把日常织物晕染出旧时精致的审美意韵，是传统织绣工艺里静美的一抹剪影。",[23,40,41,7],"妆花缎","鸡冠花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ee2d1f25b928bb5570b99866851184.jpg",[],4,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":18,"author":19,"museum":20,"description":21,"tags":50,"thumbUrl":52,"material":27,"size":28,"collection":29,"collections":53,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},264163,"zi-hong-se-di-chan-zhi-lian-hua-wen-hui-hui-jin-yi-ming-264163","紫红色地缠枝莲花纹回回锦",[23,24,51,7],"缠枝莲花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f2815f1bdc6a0cf21844cc8bf37764.jpg",[],{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":67,"material":27,"size":28,"collection":29,"collections":68,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":33},273744,"zi-hong-se-long-feng-wen-xi-zi-yuan-la-yi-ming-273744","紫红色龙凤纹喜字圆蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[60,61,62,63,64,65,7,66],"蜡","龙","凤纹","喜字","雕刻","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F010b80d53cdaf98772d6fbe069d4f194.jpg",[],2,{"id":71,"slug":72,"title":73,"dynasty":18,"author":19,"museum":20,"description":21,"tags":74,"thumbUrl":76,"material":27,"size":28,"collection":29,"collections":77,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":33},264171,"zi-hong-se-di-qian-niu-hua-tao-wen-hui-hui-jin-yi-ming-264171","紫红色地牵牛花绦纹回回锦",[23,24,75,7],"牵牛花纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ff0a4f957d165d4906456305be0e16.jpg",[],{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":21,"tags":82,"thumbUrl":85,"material":27,"size":28,"collection":29,"collections":86,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},264169,"zi-hong-se-di-gou-yun-tao-wen-hui-hui-jin-yi-ming-264169","紫红色地勾云绦纹回回锦",[23,24,83,84,7],"勾云纹","绦纹","https:\u002F\u002Foss.chuangqi.store\u002Ft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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。",[7,23,111,112],"织金","玉磬纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3680ad4664a4fae749eb27950596f037.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":124,"material":27,"size":28,"collection":29,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},264177,"zi-hong-se-xiao-duo-ju-wen-hui-hui-zhi-jin-chou-yi-ming-264177","紫红色小朵菊纹回回织金绸","红底如凝脂落霞，匀净端庄，细密的小朵菊纹铺陈满幅，排布规整却不失灵动。织金的光泽晕染花心与瓣边，让柔婉的菊色在沉郁底色里跳脱出来，似将秋日清霜缀在了红绸之上。回回织金的工艺带着异域巧思，揉合中式菊纹的清雅意趣，明暗交织间尽显雅致古拙的韵味，既有端方规整的质感，又藏着柔婉生机，经纬之间尽显旧时织造的匠心巧思。",[23,121,122,7,123],"织金绸","菊纹","小朵菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401b7966cbe07ccaf233f187f1537bd9.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":18,"author":19,"museum":20,"description":21,"tags":130,"thumbUrl":132,"material":27,"size":28,"collection":29,"collections":133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},264167,"zi-hong-se-di-ling-jiao-chan-zhi-tiao-wen-hui-hui-jin-yi-ming-264167","紫红色地菱角缠枝条纹回回锦",[23,24,131,7],"菱角缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426f602429e4e34bb9c2969e6869c8cf.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":21,"tags":138,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},264147,"zi-hong-se-di-heng-tiao-jin-shuang-yan-wen-hui-hui-jin-yi-ming-264147","紫红色地横条金双燕纹回回锦",[23,24,139,140,141,7,142],"飞鸟","花卉","设色","纹饰",[],1777535730701]