[{"data":1,"prerenderedAt":478},["ShallowReactive",2],{"subject-bai-ci":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4193,"bai-ci","白瓷","白瓷画高清赏析","精选中国历代白瓷题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ed4d03a8cf89f8cdd98bce378b7a55.jpg",0,50,[14,35,51,60,71,81,93,102,114,122,129,137,150,159,170,179,187,195,202,212,222,231,240,253,262,271,277,284,290,297,305,314,322,330,336,343,352,360,368,376,385,392,401,408,415,439,446,453,461,469],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},254776,"de-hua-yao-guan-yin-pu-sa-li-xiang-yi-ming-254776","德化窑观音菩萨立像","清","佚名","藏地不详","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。",[18,23,24,25,26,7,27],"陶瓷","宗教","人物","雕刻","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261845d1d748f643be3fa69785ceb86b.jpg","未知","Xcm*Xcm","瓷器精选",[31],17,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":29,"size":30,"collection":31,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},227419,"jin-shi-er-shi-san-shi-ji-ding-yao-yin-hua-fen-ge-si-ji-hua-hui-wan-yi-ming-227419","金 十二~十三世纪 定窑 印花分格四季花卉碗","宋","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[23,42,7,43,44,45,46],"印花","宋金时期","四季花卉","分格","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a80e945d5c9f4a8e735a552727075a.jpg",[31],14,"795548",{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":21,"tags":55,"thumbUrl":57,"material":29,"size":30,"collection":31,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":34},255579,"de-hua-yao-guan-yin-pu-sa-zuo-xiang-yi-ming-255579","德化窑观音菩萨坐像",[56,23,7,24,25,26],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3567936fcd96861f08669c782ea09aa6.jpg",[31],11,{"id":61,"slug":62,"title":63,"dynasty":39,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":10,"material":29,"size":30,"collection":69,"collections":70,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":50},223709,"bai-ci-hua-hua-lian-wen-mei-ping-yi-ming-223709","白瓷划花莲纹梅瓶","梅瓶是古代汉族劳动人民智慧和艺术的结晶，传世所看到的梅瓶都制作的相当精美。宋代时也称为“经瓶”，书香气十足，梅瓶在当时是用做装酒的，到明代后也成为陈设赏具了，甚至成为了上层统治者等级低位的标志和风水寓意的象征。",[39,23,7,66,67,68,46],"划花","莲纹","梅瓶","",[],{"id":72,"slug":73,"title":74,"dynasty":18,"author":19,"museum":20,"description":21,"tags":75,"thumbUrl":78,"material":29,"size":30,"collection":31,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":34},255700,"de-hua-yao-guan-yin-pu-sa-xiang-yi-ming-255700","德化窑观音菩萨像",[23,24,25,26,76,56,77,7],"白釉","宗教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb29e3c3957318609290ca6775c3e0d.jpg",[31],10,{"id":82,"slug":83,"title":84,"dynasty":85,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":90,"material":29,"size":30,"collection":69,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":50},223820,"bai-ci-shuang-long-er-ping-yi-ming-223820","白瓷双龙耳瓶","唐","又称“中国白”。白瓷历史悠久，邢窑是中国最早的白瓷窑址。唐代七大名窑之一，有中华白瓷鼻祖美誉的邢窑。邢窑创烧于北朝晚期，经过隋朝的飞速发展，到唐朝已达到鼎盛阶段，衰落于唐末五代时期，成为我国早期生产白瓷的中心。距今已有1500余年的历史，其精美的细白瓷作为贡品入主宫廷，还远销海内外十几个国家和地区。\n邢窑邢白瓷的发明与制作，打破了自商代以来，青瓷一统天下的局面，形成南方以浙江慈溪越窑为代表的青瓷和北方以河北内丘邢窑为代表的白瓷并驾齐驱、平分秋色的格局，形成了 “南青北白”的格局。\n邢窑白瓷分为粗白瓷和细白瓷。",[23,7,88,46,89],"龙","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba90db933745b7316c39af5b6394f6c4.jpg",[],9,{"id":94,"slug":95,"title":96,"dynasty":85,"author":19,"museum":20,"description":86,"tags":97,"thumbUrl":99,"material":29,"size":30,"collection":69,"collections":100,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":101},223819,"bai-ci-yin-hua-yu-wen-bei-yi-ming-223819","白瓷印花鱼纹杯",[85,23,7,42,98],"鱼纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d345aecf02ad2404c792d5930cdf48.jpg",[],"F48FB1",{"id":103,"slug":104,"title":105,"dynasty":39,"author":19,"museum":20,"description":40,"tags":106,"thumbUrl":111,"material":29,"size":30,"collection":31,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":34},256187,"ding-yao-bai-you-hai-er-zhen-yi-ming-256187","定窑白釉孩儿枕",[23,76,25,26,107,108,109,7,110],"宋代","瓷塑","孩儿","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4f7582f92db0f7c8cc88aa584267d0.jpg",[31],8,{"id":115,"slug":116,"title":54,"dynasty":18,"author":19,"museum":20,"description":21,"tags":117,"thumbUrl":120,"material":29,"size":30,"collection":31,"collections":121,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":50},256110,"de-hua-yao-guan-yin-pu-sa-zuo-xiang-yi-ming-256110",[23,24,25,118,7,56,119],"坐像","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa278ecc34caf43d3300b5d4b42107a3.jpg",[31],{"id":123,"slug":124,"title":74,"dynasty":18,"author":19,"museum":20,"description":21,"tags":125,"thumbUrl":126,"material":29,"size":30,"collection":31,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":34},255803,"de-hua-yao-guan-yin-pu-sa-xiang-yi-ming-255803",[23,24,25,7,56,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbb119771e387aa39fd813119466e99.jpg",[31],6,{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":21,"tags":133,"thumbUrl":135,"material":29,"size":30,"collection":31,"collections":136,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":34},255801,"de-hua-yao-da-mo-xiang-yi-ming-255801","德化窑达摩像",[56,23,134,24,25,26,7],"德化窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3a831770dea5ba1d894d2ae9b7d192.jpg",[31],{"id":138,"slug":139,"title":140,"dynasty":39,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":147,"material":29,"size":30,"collection":69,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":50},223713,"bai-ci-pu-shou-long-er-fang-hu-yi-ming-223713","白瓷铺首龙耳方壶","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。",[23,7,143,144,145,88,146,46],"宋代风格","刻划纹饰","堆塑","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6235cf7e82585daca57140d9e65dc296.jpg",[],5,{"id":151,"slug":152,"title":54,"dynasty":153,"author":19,"museum":20,"description":21,"tags":154,"thumbUrl":156,"material":29,"size":30,"collection":31,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":50},256124,"de-hua-yao-guan-yin-pu-sa-zuo-xiang-yi-ming-256124","明",[155,23,24,25,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d1086e512217239a88e43458e023fb.jpg",[31],2,{"id":160,"slug":161,"title":162,"dynasty":39,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":167,"material":29,"size":30,"collection":69,"collections":168,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":169},227662,"bai-ci-hua-ping-yi-ming-227662","白瓷花瓶","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[23,46,7,165,166,143],"刻花","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc565d94f22e0dcb9a976bacab85ced.jpg",[],"BDBDBD",{"id":171,"slug":172,"title":173,"dynasty":39,"author":19,"museum":20,"description":163,"tags":174,"thumbUrl":177,"material":29,"size":30,"collection":69,"collections":178,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":34},227461,"bai-ci-guan-yi-ming-227461","白瓷罐",[39,23,7,175,176,46],"刻划花","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb764f0eeabc36d3a684b4fe66bc3304b.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":39,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":185,"material":29,"size":30,"collection":69,"collections":186,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":50},223722,"ying-er-zhen-yi-ming-223722","婴儿枕","宋代瓷器。原属于清宫旧藏",[107,23,25,26,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1d81b8a9c5488395e5922257a12a1e.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":39,"author":19,"museum":20,"description":141,"tags":191,"thumbUrl":193,"material":29,"size":30,"collection":69,"collections":194,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":50},223712,"bai-ci-gua-leng-guan-yi-ming-223712","白瓷瓜棱罐",[23,107,7,192,46],"瓜棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248a3566891a94221cabf93afbf8baae.jpg",[],{"id":196,"slug":197,"title":74,"dynasty":18,"author":19,"museum":20,"description":21,"tags":198,"thumbUrl":199,"material":29,"size":30,"collection":31,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":101},255805,"de-hua-yao-guan-yin-pu-sa-xiang-yi-ming-255805",[23,7,26,24,25,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f21eb49fa772b79feccc2b48f4c721.jpg",[31],1,{"id":203,"slug":204,"title":205,"dynasty":206,"author":19,"museum":20,"description":163,"tags":207,"thumbUrl":210,"material":29,"size":30,"collection":69,"collections":211,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":169},227038,"bai-ci-wan-yi-ming-227038","白瓷碗","晋",[208,23,7,209,46],"晋代","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5294d451235c86b1ac8e164b5c7404.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":20,"description":216,"tags":217,"thumbUrl":220,"material":29,"size":30,"collection":31,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},280403,"du-gu-ren-shu-shou-niu-de-hua-yao-bai-ci-zhang-yi-ming-280403","“读古人书”兽钮德化窑白瓷章","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。",[23,218,146,7,219],"印章","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febadb9f09c464e07040567f4e5b4a23c.jpg",[31],{"id":223,"slug":224,"title":225,"dynasty":18,"author":19,"museum":20,"description":226,"tags":227,"thumbUrl":229,"material":29,"size":30,"collection":69,"collections":230,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},278378,"zhi-ji-you-qin-shu-xiang-niu-de-hua-bai-ci-zhang-yi-ming-278378","“知己有琴书”象钮德化白瓷章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[218,23,228,146,219,7],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5afdcb5adbce747ab6bfcddb6757958.jpg",[],{"id":232,"slug":233,"title":234,"dynasty":18,"author":19,"museum":20,"description":163,"tags":235,"thumbUrl":238,"material":29,"size":30,"collection":69,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},271404,"bai-ci-pi-yong-yan-yi-ming-271404","白瓷辟雍砚",[23,236,237,7],"砚","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25dc12750565125676f092e0d5ef4cc0.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":153,"author":19,"museum":20,"description":244,"tags":245,"thumbUrl":251,"material":29,"size":30,"collection":69,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},257169,"cheng-hua-kuan-qing-hua-fan-wen-wan-yi-ming-257169","成化款青花梵文碗","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。",[23,246,247,248,155,7,249,166,209,250,24],"青花","釉下彩","梵文","蓝彩","碗形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dc97d21184d44163ac894d22c81633.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":39,"author":19,"museum":20,"description":40,"tags":257,"thumbUrl":260,"material":29,"size":30,"collection":31,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},257024,"ding-yao-bai-you-hua-shi-wan-yi-ming-257024","定窑白釉花式碗",[39,23,76,258,259,7,209],"定窑风格","花式口沿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffc741cf697d3fe1a949333b7db0d57.jpg",[31],{"id":263,"slug":264,"title":265,"dynasty":39,"author":19,"museum":20,"description":163,"tags":266,"thumbUrl":269,"material":29,"size":30,"collection":69,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255979,"bai-ci-qi-ma-ren-xiang-yi-ming-255979","白瓷骑马人像",[107,23,7,25,267,268],"马","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71daca96cc3b1a9528d122c45f70320.jpg",[],{"id":272,"slug":273,"title":265,"dynasty":39,"author":19,"museum":20,"description":163,"tags":274,"thumbUrl":275,"material":29,"size":30,"collection":69,"collections":276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255978,"bai-ci-qi-ma-ren-xiang-yi-ming-255978",[23,7,25,267,268,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf83744c8798afd1a91a60ff18f4241.jpg",[],{"id":278,"slug":279,"title":280,"dynasty":39,"author":19,"museum":20,"description":163,"tags":281,"thumbUrl":282,"material":29,"size":30,"collection":69,"collections":283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},255102,"bai-ci-shou-yi-ming-255102","白瓷兽",[39,23,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98cf18177f7b22e91d5a8905f0bfb642.jpg",[],{"id":285,"slug":286,"title":280,"dynasty":39,"author":19,"museum":20,"description":163,"tags":287,"thumbUrl":288,"material":29,"size":30,"collection":69,"collections":289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255101,"bai-ci-shou-yi-ming-255101",[39,23,146,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c768424e4cfc621a2aef6aeed08662b.jpg",[],{"id":291,"slug":292,"title":293,"dynasty":39,"author":19,"museum":20,"description":163,"tags":294,"thumbUrl":295,"material":29,"size":30,"collection":69,"collections":296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},255023,"bai-ci-shi-yi-ming-255023","白瓷狮",[107,23,146,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d248e376d6d5b06bad78fef997735c.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":39,"author":19,"museum":20,"description":163,"tags":301,"thumbUrl":303,"material":29,"size":30,"collection":69,"collections":304,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},255021,"bai-ci-gui-yi-ming-255021","白瓷龟",[39,23,46,302,7,26],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d25a304a490e762138cd0c0b6d4c6a.jpg",[],{"id":306,"slug":307,"title":308,"dynasty":39,"author":19,"museum":20,"description":309,"tags":310,"thumbUrl":312,"material":29,"size":30,"collection":69,"collections":313,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},255020,"bai-ci-ren-zuo-xiang-yi-ming-255020","白瓷人坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,25,146,26,7,143,311],"塑像技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b10b3581d7d405ff775f2f731a80ce5.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":39,"author":19,"museum":20,"description":163,"tags":318,"thumbUrl":320,"material":29,"size":30,"collection":69,"collections":321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},255019,"bai-ci-ge-wu-ren-xiang-yi-ming-255019","白瓷歌舞人像",[23,268,25,26,107,7,319],"歌舞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ee61cd135f32406b08bcbe252fa627.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":39,"author":19,"museum":20,"description":163,"tags":326,"thumbUrl":328,"material":29,"size":30,"collection":69,"collections":329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},255018,"bai-ci-ce-wo-ren-xiang-yi-ming-255018","白瓷侧卧人像",[107,7,23,25,327,26],"侧卧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98692120285138d4d51638001b5f8f95.jpg",[],{"id":331,"slug":332,"title":325,"dynasty":39,"author":19,"museum":20,"description":163,"tags":333,"thumbUrl":334,"material":29,"size":30,"collection":69,"collections":335,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255017,"bai-ci-ce-wo-ren-xiang-yi-ming-255017",[39,23,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a232733778dcfe8e1ba5e51bbd7ad.jpg",[],{"id":337,"slug":338,"title":339,"dynasty":39,"author":19,"museum":20,"description":163,"tags":340,"thumbUrl":341,"material":29,"size":30,"collection":69,"collections":342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},254987,"bai-ci-wen-ren-li-xiang-yi-ming-254987","白瓷文人立像",[107,23,25,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153100ddaa4a9f8bc13af3913040e5f7.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":39,"author":19,"museum":20,"description":347,"tags":348,"thumbUrl":350,"material":29,"size":30,"collection":69,"collections":351,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},253829,"bai-you-ci-wo-shou-yi-ming-253829","白釉瓷卧兽","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。",[23,76,146,349,7],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52d9dd1379e321555694ff3012717e.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":39,"author":19,"museum":20,"description":163,"tags":356,"thumbUrl":358,"material":29,"size":30,"collection":69,"collections":359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},231895,"bai-ci-da-wan-yi-ming-231895","白瓷大碗",[23,209,7,107,357],"釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07578ada75e1524ed25e4121d869a2b0.jpg",[],{"id":361,"slug":362,"title":363,"dynasty":39,"author":19,"museum":20,"description":163,"tags":364,"thumbUrl":366,"material":29,"size":30,"collection":69,"collections":367,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},231858,"bai-ci-wen-die-yi-ming-231858","白瓷纹碟",[107,23,7,365,209],"刻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dbe00c6f43397a49b0cc3bb5968588f.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":39,"author":19,"museum":20,"description":163,"tags":372,"thumbUrl":374,"material":29,"size":30,"collection":69,"collections":375,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},231458,"zhai-di-bai-ci-wan-yi-ming-231458","窄底白瓷碗",[39,23,7,46,373],"单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa214e8f4eaa52576b45d3b9f2e777a.jpg",[],{"id":377,"slug":378,"title":379,"dynasty":39,"author":19,"museum":20,"description":163,"tags":380,"thumbUrl":383,"material":29,"size":30,"collection":69,"collections":384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},231456,"duan-jing-bai-ci-ping-yi-ming-231456","短颈白瓷瓶",[107,23,46,7,381,382],"素面","短颈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c11cf2aa94a352f71600e8da495fd0.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":39,"author":19,"museum":20,"description":163,"tags":389,"thumbUrl":390,"material":29,"size":30,"collection":69,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},231067,"gao-jiao-liu-ban-bai-ci-wan-yi-ming-231067","高脚六瓣白瓷碗",[23,46,209,7,107,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e744ab7f72d6ab7d360eac82658996.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":396,"author":19,"museum":20,"description":163,"tags":397,"thumbUrl":399,"material":29,"size":30,"collection":69,"collections":400,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},230698,"ding-ci-tuo-yuan-xing-die-yi-ming-230698","定瓷椭圆形碟","不详",[23,7,46,398,76],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09cb5481c729944f5da34dce88ff87c.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":153,"author":19,"museum":20,"description":163,"tags":405,"thumbUrl":406,"material":29,"size":30,"collection":69,"collections":407,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},228680,"bai-ci-bang-chui-ping-yi-ming-228680","白瓷棒棰瓶",[23,7,46,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ae3839b3b604f4e29bd70db4e6bfaa.jpg",[],{"id":409,"slug":410,"title":411,"dynasty":153,"author":19,"museum":20,"description":163,"tags":412,"thumbUrl":413,"material":29,"size":30,"collection":69,"collections":414,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},228648,"bai-ci-zha-dou-yi-ming-228648","白瓷渣斗",[23,7,46,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e165ddeaa514baa4646934e4be7373c.jpg",[],{"id":416,"slug":417,"title":418,"dynasty":153,"author":19,"museum":20,"description":419,"tags":420,"thumbUrl":437,"material":29,"size":30,"collection":69,"collections":438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},228587,"tian-bai-ru-yi-er-bian-hu-yi-ming-228587","甜白如意耳扁壶","器仿葫芦形，敛口，短颈，腹圆体扁，侧面平阔，颈旁两方形耳，长方浅圈足。通体施釉，色白莹润略青，口膨大处印有一圈转枝花纹，器腹双钩细刻几何花卉，以长叶与如意首交错排列成一轮形，外有一圈卷叶纹；侧边浅划两道弦纹，耳缘与中脊作细棱，线条细腻雅致。长方圈足底端露胎",[23,421,155,422,423,76,349,424,425,7,426,357,427,428,373,429,430,431,432,433,434,435,436],"甜白釉","扁壶","如意耳","器型","装饰工艺","陶瓷器","器物造型","传统陶瓷","明代陶瓷","如意纹饰","耳饰装饰","扁圆形器身","长颈","瓷壶","釉面","陶瓷技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f0f579c5558def59f0579d50605272.jpg",[],{"id":440,"slug":441,"title":442,"dynasty":39,"author":19,"museum":20,"description":163,"tags":443,"thumbUrl":444,"material":29,"size":30,"collection":69,"collections":445,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},227677,"diao-hua-bai-ci-wan-yi-ming-227677","雕花白瓷碗",[107,23,7,26,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ae2588079a9b19660fc0db30522eba.jpg",[],{"id":447,"slug":448,"title":449,"dynasty":39,"author":19,"museum":20,"description":163,"tags":450,"thumbUrl":451,"material":29,"size":30,"collection":69,"collections":452,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},227661,"bai-ci-die-yi-ming-227661","白瓷碟",[23,7,398,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af3a1985e3f8335adbce226a426b3b4.jpg",[],{"id":454,"slug":455,"title":456,"dynasty":39,"author":19,"museum":20,"description":457,"tags":458,"thumbUrl":459,"material":29,"size":30,"collection":69,"collections":460,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},227308,"ao-bian-wan-yi-ming-227308","凹边碗","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[107,23,7,373,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc283e837ba54b09983d8e310ee1601b0.jpg",[],{"id":462,"slug":463,"title":464,"dynasty":18,"author":19,"museum":20,"description":163,"tags":465,"thumbUrl":467,"material":29,"size":30,"collection":69,"collections":468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":169},224099,"bai-ci-bei-fu-mu-zuo-yi-ming-224099","白瓷杯（附木座）",[23,18,46,466,7],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17cf14285063044cd8a91a53d244004.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":39,"author":19,"museum":20,"description":163,"tags":473,"thumbUrl":476,"material":29,"size":30,"collection":69,"collections":477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},224084,"bai-ci-xian-wen-zun-yi-ming-224084","白瓷弦纹樽",[107,23,7,474,475,46],"弦纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64e74fd104eb4310eff6e293cdf7edfd.jpg",[],1777535709433]