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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。",[18,23,24,7,25,26],"陶瓷","青花","云鹤纹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa088dce1d432f09f09588b433a8e3695.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":48,"material":28,"size":29,"collection":30,"collections":49,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":50},246354,"miao-you-jin-wen-qian-yu-ba-gua-wen-ba-fang-he-yi-ming-246354","描油锦纹嵌玉八卦纹八方盒","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。",[18,40,41,42,43,7,44,26,45,46,47],"漆器","描油","嵌玉","锦纹","八方","马","玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8736e99ca07b01d129051452fc10fa03.jpg",[],"37474F",{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":21,"tags":55,"thumbUrl":58,"material":28,"size":29,"collection":30,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":33},259861,"kang-xi-kuan-qing-hua-ba-gua-wen-ling-dang-bei-yi-ming-259861","康熙款青花八卦纹铃铛杯",[23,24,56,7,57],"饮酒器","铃铛杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190b7808c83a7143cccadf07564b7428.jpg",[],4,{"id":62,"slug":63,"title":64,"dynasty":65,"author":19,"museum":20,"description":21,"tags":66,"thumbUrl":72,"material":28,"size":29,"collection":30,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},257389,"wan-li-kuan-qing-hua-ba-gua-wen-san-zu-lu-yi-ming-257389","万历款青花八卦纹三足炉","明",[67,23,24,7,68,69,70,71],"明代","云纹","鱼鳞纹","三足","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29691c1a6ee8fbf627265d6454425b8.jpg",[],2,"BDBDBD",{"id":77,"slug":78,"title":79,"dynasty":65,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":86,"material":28,"size":29,"collection":30,"collections":87,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},249811,"qia-si-fa-lang-ba-gua-wen-kui-ban-shi-he-yi-ming-249811","掐丝珐琅八卦纹葵瓣式盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[65,82,83,84,7,85,26],"掐丝","珐琅","珐琅器","葵瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0726d7901cd4afad56976784ea058c.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":99,"material":28,"size":29,"collection":30,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":50},270411,"tian-lan-se-bo-li-ba-gua-hu-lu-wen-bei-yi-ming-270411","天蓝色玻璃八卦葫芦纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[94,56,95,96,7,97,98],"玻璃器","日用具","天蓝色","葫芦纹","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9e1a6415819fa7d2b935940aa18cb8.jpg",[],1,{"id":103,"slug":104,"title":105,"dynasty":65,"author":19,"museum":20,"description":80,"tags":106,"thumbUrl":108,"material":28,"size":29,"collection":30,"collections":109,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},261936,"bai-di-hei-hua-wu-zi-ba-gua-tu-he-yi-ming-261936","白地黑花五子八卦图盒",[23,107,7,95,56],"白地黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6be9048f83701dd0767d98748833274.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":21,"tags":114,"thumbUrl":118,"material":28,"size":29,"collection":30,"collections":119,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":120},260938,"qing-hua-ba-gua-wen-shou-mian-chi-er-ping-yi-ming-260938","青花八卦纹兽面螭耳瓶",[23,24,7,115,116,117],"兽面纹","螭耳","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a86c8a1e415d2e4fbef6c4f81fedcd.jpg",[],"F48FB1",{"id":122,"slug":123,"title":124,"dynasty":18,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":132,"material":28,"size":29,"collection":30,"collections":133,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":33},260848,"fang-guan-you-ba-gua-wen-cong-shi-ping-yi-ming-260848","仿官釉八卦纹琮式瓶","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。",[23,7,127,128,129,130,131],"琮式瓶","仿官釉","开片纹","瓷器","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13261c78877cbb7fe557d7eadc3b135b.jpg",[],{"id":135,"slug":136,"title":124,"dynasty":18,"author":19,"museum":20,"description":125,"tags":137,"thumbUrl":138,"material":28,"size":29,"collection":30,"collections":139,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},260847,"fang-guan-you-ba-gua-wen-cong-shi-ping-yi-ming-260847",[23,128,7,127,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40275525ce0555d725d188cd0f856ae.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":65,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":149,"material":28,"size":29,"collection":150,"collections":151,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},260698,"long-quan-yao-qing-you-ke-ba-gua-wen-san-zu-lu-yi-ming-260698","龙泉窑青釉刻八卦纹三足炉","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。",[23,146,7,147,148],"青釉","三足炉","刻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2475f4be9354100b388408715e7ee2c.jpg","瓷器精选",[150],{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":160,"material":28,"size":29,"collection":30,"collections":161,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},258900,"dong-qing-you-ba-gua-wen-cong-shi-ping-yi-ming-258900","东青釉八卦纹琮式瓶","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。”",[158,23,159,7,26],"清代","东青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213b4244b6a415f483fdc0ea367851da.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":20,"description":21,"tags":166,"thumbUrl":168,"material":28,"size":29,"collection":30,"collections":169,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},258248,"qing-hua-ba-gua-yun-he-wen-wan-yi-ming-258248","青花八卦云鹤纹碗",[23,24,158,7,25,68,167],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bb3d7ddcf7d602c78032fcafa8bf7a.jpg",[],{"id":171,"slug":172,"title":173,"dynasty":65,"author":19,"museum":20,"description":125,"tags":174,"thumbUrl":179,"material":28,"size":29,"collection":30,"collections":180,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},257607,"qing-hui-you-ke-hua-fu-lu-ba-gua-wen-xi-yi-ming-257607","青灰釉刻花蝠鹿八卦纹洗",[23,175,176,177,178,7],"青灰釉","刻花","蝠","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0ee071adcf7ac57efb7058a7fbb1bd.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":191,"material":28,"size":29,"collection":30,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},275409,"tong-du-jin-lou-kong-niu-ba-gua-wen-xiao-bian-zhong-huang-zhong-yi-ming-275409","铜镀金镂空纽八卦纹小编钟-黄钟","最早的钟原本是指古代汉族 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