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[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。",[23,24,7,25,26,27,28],"陶瓷","茄皮紫釉","石榴纹","清代","盘","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4a37e120af2f90409158dc73deeaa74.jpg","未知","Xcm*Xcm","",[],3,"37474F",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":45,"material":30,"size":31,"collection":32,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},256704,"kang-xi-kuan-dong-qing-you-an-ke-hai-shui-long-wen-lai-fu-zun-yi-ming-256704","康熙款冬青釉暗刻海水龙纹莱菔尊","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。”",[23,42,7,43,44,28],"冬青釉","龙","海水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53db1d5acf79c1d99d07600bd9358a2.jpg",[],2,"BDBDBD",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":58,"material":30,"size":31,"collection":59,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":35},261091,"de-hua-yao-bai-you-an-ke-mu-dan-wen-pan-yi-ming-261091","德化窑白釉暗刻牡丹纹盘","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,55,7,56,57,27],"白釉","牡丹纹","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82ef3d9f79c27e1dc138326b2b0afbd.jpg","瓷器精选",[59],1,{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":71,"material":30,"size":31,"collection":32,"collections":72,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":48},259867,"xuan-de-kuan-ji-lan-you-an-yun-long-wen-pan-yi-ming-259867","宣德款祭蓝釉暗云龙纹盘","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。",[23,68,69,27,43,7,70],"祭蓝釉","暗云龙纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8819c5e491dbde90537c7f6562c59e74.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":18,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":82,"material":30,"size":31,"collection":59,"collections":83,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":84},259044,"yi-xing-yao-zi-sha-an-ke-lan-hua-shi-ju-san-jiao-hua-pen-yi-ming-259044","宜兴窑紫砂暗刻兰花诗句三角花盆","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[18,23,79,7,80,81,28],"紫砂","兰花","诗句","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378bebe38a6784c1626c4c0325610b8f.jpg",[59],"FFFFFF",{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":94,"material":30,"size":31,"collection":32,"collections":95,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":96},258863,"ti-he-dian-kuan-huang-you-an-ke-hua-lan-ju-wen-lian-yi-ming-258863","体和殿款黄釉暗刻花篮菊纹奁","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[18,23,91,7,92,93,28],"黄釉","花篮","菊纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d345d0a5b5bd9fb1d2040b143062cfa.jpg",[],"795548",{"id":98,"slug":99,"title":100,"dynasty":18,"author":19,"museum":20,"description":89,"tags":101,"thumbUrl":104,"material":30,"size":31,"collection":32,"collections":105,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":96},258862,"ti-he-dian-kuan-huang-you-an-ke-zhe-zhi-ju-lan-hua-wen-hua-pen-yi-ming-258862","体和殿款黄釉暗刻折枝菊兰花纹花盆",[18,23,91,7,102,80,103],"折枝菊","花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84e602e92a33513446996e9e0579b088.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":18,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":113,"material":30,"size":31,"collection":32,"collections":114,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":96},256603,"yong-zheng-kuan-li-bai-you-wai-yan-zhi-shui-you-an-hua-long-wen-wan-yi-ming-256603","雍正款里白釉外胭脂水釉暗划龙纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[23,28,43,7,112,55],"胭脂水釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ae08bb8d127fe0607e6c9290f58d4.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":19,"museum":20,"description":89,"tags":119,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":121,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":96},223980,"kang-xi-huang-you-an-long-wan-yi-ming-223980","康熙 黄釉暗龙碗",[23,26,91,7,43,28,120],"单色釉",[],{"id":123,"slug":124,"title":125,"dynasty":126,"author":19,"museum":20,"description":21,"tags":127,"thumbUrl":130,"material":30,"size":31,"collection":32,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},261510,"hong-zhi-kuan-bai-di-an-ke-hai-shui-lv-cai-yun-long-wen-pan-yi-ming-261510","弘治款白地暗刻海水绿彩云龙纹盘","明",[23,43,128,7,129,27],"绿彩","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a5fb1c5fd23cd3414e691d0d25468e.jpg",[],{"id":133,"slug":134,"title":125,"dynasty":126,"author":19,"museum":20,"description":21,"tags":135,"thumbUrl":136,"material":30,"size":31,"collection":32,"collections":137,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},261369,"hong-zhi-kuan-bai-di-an-ke-hai-shui-lv-cai-yun-long-wen-pan-yi-ming-261369",[23,43,128,7,129,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7963f64da122e4447e6d85d6d00d2a.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":146,"material":30,"size":31,"collection":32,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},261100,"bai-di-an-ke-hai-shui-lv-cai-yun-long-wen-qing-hua-bian-wan-yi-ming-261100","白地暗刻海水绿彩云龙纹青花边碗","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。",[23,43,144,128,7,44,129,145,57],"青花","白地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2734215a2cad0efef0409c5eed8963a0.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":126,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":155,"material":30,"size":31,"collection":32,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260825,"hong-zhi-kuan-bai-you-an-ke-hai-shui-yun-long-wen-pan-yi-ming-260825","弘治款白釉暗刻海水云龙纹盘","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。",[23,7,154,55,27,129,44],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c55a69840fa0fd56d51c38c2d659e57.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":126,"author":19,"museum":20,"description":152,"tags":161,"thumbUrl":162,"material":30,"size":31,"collection":32,"collections":163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260603,"bai-you-an-ke-hai-shui-lv-cai-long-wen-pan-yi-ming-260603","白釉暗刻海水绿彩龙纹盘",[23,70,43,128,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb878346bde1ded2ec492cc773bc92236.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":126,"author":19,"museum":20,"description":40,"tags":168,"thumbUrl":170,"material":30,"size":31,"collection":32,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},260170,"wan-li-kuan-hui-qing-you-an-ke-yun-long-wen-pan-yi-ming-260170","万历款回青釉暗刻云龙纹盘",[23,27,7,154,169,70],"回青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b1f40627f0dca2040ba13c95e50551.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":126,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":181,"material":30,"size":31,"collection":59,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},260058,"long-quan-yao-qing-you-an-ke-hua-hui-wen-san-zu-tong-shi-lu-yi-ming-260058","龙泉窑青釉暗刻花卉纹三足筒式炉","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[23,28,178,7,179,180],"青釉","花卉纹","三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14cbec515ea13c1383f440481a55ddc2.jpg",[59],{"id":184,"slug":185,"title":186,"dynasty":126,"author":19,"museum":20,"description":152,"tags":187,"thumbUrl":188,"material":30,"size":31,"collection":32,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260006,"hong-zhi-kuan-bai-you-an-ke-long-wen-pan-yi-ming-260006","弘治款白釉暗刻龙纹盘",[23,7,43,55,27,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6847b4f019a86ca02dbc8f5105f3de6f.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":126,"author":19,"museum":20,"description":21,"tags":194,"thumbUrl":195,"material":30,"size":31,"collection":32,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},259821,"zheng-de-kuan-bai-di-an-ke-hai-shui-lv-cai-yun-long-wen-pan-yi-ming-259821","正德款白地暗刻海水绿彩云龙纹盘",[23,28,43,128,7,129,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4590297422fea77a3e1d834107ed1ae8.jpg",[],{"id":198,"slug":199,"title":193,"dynasty":126,"author":19,"museum":20,"description":21,"tags":200,"thumbUrl":203,"material":30,"size":31,"collection":32,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},259820,"zheng-de-kuan-bai-di-an-ke-hai-shui-lv-cai-yun-long-wen-pan-yi-ming-259820",[23,28,43,128,7,201,202],"云龙","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e29195b127f6b44a84d23391a4e2fd8.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":21,"tags":209,"thumbUrl":210,"material":30,"size":31,"collection":32,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},259814,"tong-zhi-kuan-bai-di-lv-cai-yun-long-wen-an-ke-hai-shui-wen-pan-yi-ming-259814","同治款白地绿彩云龙纹暗刻海水纹盘",[23,43,128,7,44,129,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f04a3c8f3801b8ecf212e265c12bd24.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":20,"description":21,"tags":216,"thumbUrl":217,"material":30,"size":31,"collection":32,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},259570,"xuan-tong-kuan-bai-di-lv-cai-yun-long-wen-an-ke-hai-shui-wen-pan-yi-ming-259570","宣统款白地绿彩云龙纹暗刻海水纹盘"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