[{"data":1,"prerenderedAt":39},["ShallowReactive",2],{"artwork-cu-tao-cha-wan-yi-ming-231451":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":18,"material":19,"size":20,"collection":21,"collections":22,"showCount":23,"zanCount":24,"manualWeight":24,"mainColor":25,"tagLinks":26},231451,"cu-tao-cha-wan-yi-ming-231451","粗陶茶碗","宋","佚名","藏地不详","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[12,13,14,15,16,17],"陶瓷","器","粗陶","宋代","茶器","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2736b64b681f01df61707798b4338998.jpg","未知","Xcm*Xcm","",[],2,0,"BDBDBD",[27,29,31,33,35,37],{"name":12,"slug":28},"tao-ci",{"name":13,"slug":30},"qi",{"name":14,"slug":32},"cu-tao",{"name":15,"slug":34},"song-dai",{"name":16,"slug":36},"cha-qi",{"name":17,"slug":38},"gu-piao",1777535471576]