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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。",[23,24,25,26,27,7,28],"明代","陶瓷","青花","山茶花纹","如意耳","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6316710b5d583ac0f883105303a6803d.jpg","未知","Xcm*Xcm","",[],16,"795548",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":21,"tags":40,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":35},228542,"qing-hua-tu-an-hua-wen-hu-lu-xing-shou-dai-er-bian-hu-yi-ming-228542","青花图案花纹葫芦形绶带耳扁壶",[23,24,25,41,42,7,43,44],"葫芦形","绶带耳","器","图案花纹",[],12,{"id":48,"slug":49,"title":39,"dynasty":18,"author":19,"museum":20,"description":21,"tags":50,"thumbUrl":53,"material":30,"size":31,"collection":32,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},228609,"qing-hua-tu-an-hua-wen-hu-lu-xing-shou-dai-er-bian-hu-yi-ming-228609",[23,25,24,7,42,41,44,51,52],"装饰纹样","器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97e51e8a0e90f05768b921b8b007229.jpg",[],5,"37474F",{"id":58,"slug":59,"title":60,"dynasty":61,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":68,"material":30,"size":31,"collection":32,"collections":69,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":35},260580,"yong-zheng-kuan-qing-hua-hua-niao-wen-shuang-er-bian-hu-yi-ming-260580","雍正款青花花鸟纹双耳扁壶","清","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。",[24,25,64,65,66,67,7],"花鸟","梅","竹","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7495a29422918386cd03747c1ffa9cf7.jpg",[],3,1,{"id":73,"slug":74,"title":75,"dynasty":61,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":80,"material":30,"size":31,"collection":81,"collections":82,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":35},258975,"yi-xing-yao-zi-sha-bian-hu-yi-ming-258975","宜兴窑紫砂扁壶","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。",[61,24,78,79,7],"紫砂","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfa5d143cf6fbc1c0118529a84fdeb2.jpg","瓷器精选",[81],{"id":84,"slug":85,"title":86,"dynasty":61,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":91,"material":30,"size":31,"collection":81,"collections":92,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":93},256871,"yao-bian-ju-ban-shi-bian-hu-yi-ming-256871","窑变菊瓣式扁壶","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。",[61,24,89,90,7,43],"窑变","菊瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b59741491068be3f8266370f3eb815.jpg",[81],"BDBDBD",{"id":95,"slug":96,"title":97,"dynasty":61,"author":19,"museum":20,"description":21,"tags":98,"thumbUrl":102,"material":30,"size":31,"collection":32,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":93},258205,"qing-hua-chan-zhi-lian-wen-shuang-er-bian-hu-yi-ming-258205","青花缠枝莲纹双耳扁壶",[99,24,25,100,101,7],"清代","缠枝莲纹","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7ae4b2aa7e7e0f848335f8a29db8ea.jpg",[],2,{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":21,"tags":109,"thumbUrl":114,"material":30,"size":31,"collection":32,"collections":115,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":35},257135,"qing-hua-zhe-zhi-hua-wen-shuang-er-bian-hu-yi-ming-257135","青花折枝花纹双耳扁壶",[23,24,25,110,111,101,7,112,113],"釉下彩","折枝花纹","花卉","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7f8d2556faf082d059b4739ace8f52.jpg",[],{"id":117,"slug":118,"title":119,"dynasty":61,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":128,"material":30,"size":31,"collection":32,"collections":129,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":35},258530,"qian-long-fen-cai-kai-guang-mu-dan-wen-shuang-er-bian-hu-yi-ming-258530","乾隆粉彩开光牡丹纹双耳扁壶","此扁壶抱月为形，螭龙双耳蜿蜒灵动，蓝彩晕染出威严雅致之态。胭脂紫地满饰缠枝花卉，描金勾廓，华贵端庄。开光内一侧墨彩题诗，笔力清隽秀挺，诗文意境悠然；另一侧牡丹盛放，粉彩晕染出花瓣柔润肌理，设色妍丽饱满，尽显雍容富贵，与诗文意境相得益彰。\n\n整器融制瓷、书画、诗韵于一体，繁而不乱，工致精妙，尽显御窑巅峰匠艺，将盛世宫廷雅致审美与精湛工艺相融，是彩瓷佳作。",[99,24,122,123,124,101,7,125,126,127],"粉彩","开光","牡丹纹","设色","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897f053a6042c0ea9b8688d83bc043f5.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":61,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":141,"material":30,"size":31,"collection":32,"collections":142,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":93},251379,"qing-yu-ling-zhi-er-huo-huan-dai-gai-bian-hu-yi-ming-251379","青玉灵芝耳活环带盖扁壶","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。",[136,137,43,138,139,99,7,140],"玉石","雕刻","灵芝","活环","带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f39f5bb5d407de54ecf1b4a18096599.jpg",[],{"id":144,"slug":145,"title":146,"dynasty":18,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":152,"material":30,"size":31,"collection":32,"collections":153,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":56},228594,"tian-bai-hu-lu-xing-shou-dai-er-bian-hu-yi-ming-228594","甜白葫芦形绶带耳扁壶","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",[23,24,149,42,7,41,150,151,79],"甜白釉","瓷器","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a78dcc628e4e8a2e7a404e881e21da.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":61,"author":19,"museum":20,"description":21,"tags":158,"thumbUrl":161,"material":30,"size":31,"collection":32,"collections":162,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":35},224097,"qing-hua-hua-guo-wen-ru-yi-er-bian-hu-yi-ming-224097","青花花果纹如意耳扁壶",[24,25,159,27,7,99,160,43],"花果","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c782b5138fc706cfe21eebbc9046522.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":61,"author":19,"museum":20,"description":21,"tags":167,"thumbUrl":169,"material":30,"size":31,"collection":32,"collections":170,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},258735,"jia-qing-kuan-qing-hua-fu-shou-zi-chan-zhi-lian-wen-bian-hu-yi-ming-258735","嘉庆款青花福寿字缠枝莲纹扁壶",[24,25,100,168,7,99],"福寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e6b7ef48711ee8a955fbbcc1d5da14.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":61,"author":19,"museum":20,"description":21,"tags":175,"thumbUrl":177,"material":30,"size":31,"collection":32,"collections":178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},258204,"qing-hua-zhe-zhi-hua-guo-wen-shuang-er-bian-hu-yi-ming-258204","青花折枝花果纹双耳扁壶",[61,24,25,176,101,7,43],"折枝花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe87c556e1a092b179d78bd975bff0301.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":61,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":187,"material":30,"size":31,"collection":32,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},245749,"guang-xu-xin-chou-nian-xi-an-sheng-zao-kuan-yin-bian-hu-yi-ming-245749","光绪辛丑年西安省造款银扁壶","此扁壶扁圆如月，方座承托，刚柔相济，线条利落洗练。盖顶圆珠饱满莹润，银链牵系盖身，兼顾实用与雅致。银质包浆温润沉敛，带着岁月摩挲出的柔光，素面无饰，尽显克制美学，不借纹饰争艳，全凭形制传递沉静气度，暗合彼时内敛的审美意趣。\n\n虽无华彩雕琢，却将器物的实用属性与文人情思相融，握于掌心可感金属的凉润厚重，是日常饮具，亦是可赏可藏的案头雅物，静静诉说着旧时光里的日常诗意。",[99,185,7,43,186,137],"银器","金属","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb98e52cbd0c28298cd04314e1c524f.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":61,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":200,"material":30,"size":31,"collection":32,"collections":201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},245530,"jin-zan-hua-bian-hu-yi-ming-245530","金錾花扁壶","此扁壶形制秀雅，双龙耳蜿蜒灵动，柔化了扁圆器身的敦实感。器身以回纹为地，錾刻龙凤与变体兽面满布盘面，线条细密劲利，纹饰排布错落规整，层次分明尽显錾工精湛。通体金泽莹润厚重，华贵沉敛，将金作工艺的富丽工致尽数展现，端庄大气间暗藏精巧细节，是传统金属细作里兼具审美意趣与工艺价值的上乘之作。",[195,7,137,196,197,198,199],"金器","錾刻","龙","凤","兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675a3f35c922227ef05fb1679f9df3f.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":206,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":213,"material":30,"size":31,"collection":32,"collections":214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},242887,"tao-wen-bian-hu-yi-ming-242887","绹纹扁壶","周","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[209,210,43,211,212,137,7],"青铜器","铜制","绹纹","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec81915ec08c3526cc446c4ff4e02000.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":18,"author":19,"museum":20,"description":147,"tags":219,"thumbUrl":235,"material":30,"size":31,"collection":32,"collections":236,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},228587,"tian-bai-ru-yi-er-bian-hu-yi-ming-228587","甜白如意耳扁壶",[24,149,23,7,27,220,150,52,221,222,223,151,224,225,226,227,228,229,230,231,232,233,234],"白釉","装饰工艺","白瓷","陶瓷器","器物造型","传统陶瓷","单色釉","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":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":244,"material":30,"size":31,"collection":32,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},228579,"tian-bai-hua-hua-hu-lu-xing-shou-dai-er-bian-hu-yi-ming-228579","甜白划花葫芦形绶带耳扁壶","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。",[24,149,243,42,41,7,23],"划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16086d6fa4e23c1956bf7c450cc8e8e5.jpg",[],1777535721523]