[{"data":1,"prerenderedAt":112},["ShallowReactive",2],{"subject-zui-jiu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9752,"zui-jiu","醉酒","醉酒画高清赏析","精选中国历代醉酒题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd7d1bad3f365ab8f6eca3ad31bd356.jpg",0,6,[14,42,55,73,87,99],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},287862,"zui-ba-xian-tu-juan-yi-ming-287862","醉八仙图卷","明","佚名","藏地不详","此作以群仙醉态为骨，将八仙酣饮忘形之姿铺陈于卷：有人挥袖踉跄、醉舞不休，有人凭石颓坐、醺然欲眠，亦有二人相顾喟叹，将酒中疏狂放达描摹得淋漓尽致。衣纹线条圆劲流转，古雅沉厚设色带着唐风余韵，把仙人纵酒忘情、脱略形骸的逍遥意态尽数铺展。后拖题跋墨色苍润，诗画相映，衬出长卷林下高致，将酒中仙人们沉醉忘机、寄兴林泉的风流雅趣刻画得入木三分，是兼具笔墨意趣与传神功力的精妙之作。",[23,24,25,26,27,28,29,7,30,31,32,33,34],"高清","名画","国画","长卷","设色","人物画","醉八仙","饮酒","书法","酣醉","山石","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba07776ca72d646182cec9a7a2c09a7e.jpg","未知","Xcm*Xcm","",[],15,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":19,"museum":20,"description":47,"tags":48,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":41},253640,"shou-shan-shi-li-bai-zui-jiu-xiang-yi-ming-253640","寿山石李白醉酒像","清","这件圆雕以温润寿山石为材，巧用俏色，将红白石色自然晕染为衣装层次。雕刻出的诗仙醉卧榻侧，眉眼含醺，神情松弛恬然，将半醉半醒的疏狂气度刻画入微。右手轻托方酒盏，衣袍以阴刻细纹勾勒出繁复纹饰，线条流转雅致，衬出宽袍博带的慵懒写意。匠师以写实技法糅合文人意趣，把诗仙醉后放浪形骸、寄情诗酒的风骨凝于方寸石间，尽显工艺的精妙雅致，将诗酒风流的千古意韵定格于此。",[49,50,51,52,7],"清代","玉石","雕刻","人物",[],14,{"id":56,"slug":57,"title":58,"dynasty":46,"author":59,"museum":60,"description":61,"tags":62,"thumbUrl":68,"material":38,"size":38,"collection":69,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},202005,"zhong-kui-zui-jiu-tu-zhou-min-zhen-202005","钟馗醉酒图轴","闵贞","上海博物馆","钟馗醉意醺然，虬髯戟张却眉眼带憨，宽大衣袍泼墨写意，墨色浓淡交错间尽显洒脱。周围小鬼或搀扶或持灯，身形灵动神态各异，与钟馗的沉浑形成妙趣呼应。画家以简练有力的线条捕捉人物动态，水墨晕染恰到好处，将判官的威严与醉后的松弛巧妙融合——既保留驱邪者的凛凛气势，又添人间烟火的憨直意趣，让庄重形象多了几分鲜活生动的韵味。",[25,63,52,64,65,66,7,67,23],"水墨","写意","立轴","钟馗","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5317175e1d32d50efa0f63adccd2e841.jpg","人物画精选",[69],9,"a99889",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":83,"material":36,"size":37,"collection":38,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},289161,"goya-they-are-getting-drunk-yi-ming-289161","Goya--They Are Getting Drunk","不详","粗粝的水墨笔触晕开昏沉背景，将视线牢牢锁在纵情狂欢的人群中。有人亲昵拥吻，唇齿间浸着沉醉的情欲；旁人正举杯灌酒，喉间涌动着迷乱快意，裹巾身影仰头豪饮，将醉意一饮而尽，左侧男子噙着玩味笑意冷眼旁观。\n没有精致描摹，只用明暗铺陈出放纵迷乱的氛围，将市井酒馆里醉生梦死的瞬间凝固。褪去体面矫饰，直白袒露人性里原始的享乐欲念，潦草线条精准抓住沉醉神态，勾勒出沉沦狂欢的瞬间张力，粗野又真实。",[80,52,30,7,81,82],"油画","群像","风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef950e8bea650248ead848a5ddce8eba.jpg",[],1,"BDBDBD",{"id":88,"slug":89,"title":90,"dynasty":91,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":97,"material":36,"size":37,"collection":38,"collections":98,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},274025,"lu-yu-shan-zui-jiu-chang-pian-yi-ming-274025","路玉珊《醉酒》唱片","民国","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。",[94,95,7,96],"唱片","戏曲","公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca1394fe231cf76f6a02d81089f8b03.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":46,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":109,"material":36,"size":37,"collection":38,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},269244,"zhu-gen-diao-tai-bai-zui-jiu-shui-cheng-yi-ming-269244","竹根雕太白醉酒水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[105,51,106,107,7,108],"竹刻","文房用具","人物造像","李白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b1aa058da43765a1b3e4df03015507.jpg",[],"F48FB1",1777535747786]