[{"data":1,"prerenderedAt":279},["ShallowReactive",2],{"subject-bing-lie-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4233,"bing-lie-wen","冰裂纹","冰裂纹画高清赏析","精选中国历代冰裂纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fcd415929f13c89102456001962bb0.jpg",0,26,[14,36,52,65,75,85,99,110,120,129,135,143,151,163,172,178,189,199,206,214,220,233,239,249,259,271],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},223783,"guan-yao-qing-ci-kui-kou-wan-yi-ming-223783","官窑青瓷葵口碗","宋","佚名","藏地不详","北宋官窑椭圆洗北宋官窑是宋徽宗政和年间下旨在汝州张公巷建造的官窑，主要烧制青瓷；器物造型往往带有雍容典雅的宫廷风格，釉色以月色，粉青，大绿三种颜色最为流行。官窑胎体天青色釉略带粉红颜色，釉面开大纹片，这是北宋官窑的典型特点。",[18,23,24,25,26,7,27,28],"官窑","青瓷","陶瓷","开片","葵口","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46332be70e9b7b09bd730926943dea0.jpg","未知","Xcm*Xcm","瓷器精选",[32],8,"795548",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":47,"material":30,"size":31,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},250068,"qia-si-fa-lang-bing-lie-wen-yuan-pen-yi-ming-250068","掐丝珐琅冰裂纹圆盆","清","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[43,7,44,45,46],"掐丝珐琅","器","珐琅器","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55779aa4ad0042c2d3afd20e936652d.jpg","",[],7,"37474F",{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":61,"material":30,"size":31,"collection":32,"collections":62,"showCount":63,"zanCount":64,"manualWeight":11,"mainColor":35},256226,"ge-yao-qing-you-pan-yi-ming-256226","哥窑青釉盘","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[18,25,58,26,7,59,60],"青釉","盘","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01417a227a6c31a63bea7aa28822cf1.jpg",[32],5,1,{"id":66,"slug":67,"title":68,"dynasty":18,"author":19,"museum":20,"description":56,"tags":69,"thumbUrl":72,"material":30,"size":31,"collection":32,"collections":73,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":74},256223,"ge-yao-ba-fang-wan-yi-ming-256223","哥窑八方碗",[18,25,26,7,70,71],"碗","八方造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf17128c76dc405384a483e30e43add.jpg",[32],"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":18,"author":19,"museum":20,"description":56,"tags":79,"thumbUrl":83,"material":30,"size":31,"collection":32,"collections":84,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":35},256194,"ge-yao-qing-you-shuang-er-san-zu-lu-yi-ming-256194","哥窑青釉双耳三足炉",[80,25,58,26,7,81,82],"宋代","双耳","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77e34b9675973a5de731bea7b2d74f2.jpg",[32],{"id":86,"slug":87,"title":88,"dynasty":40,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":97,"material":30,"size":31,"collection":48,"collections":98,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":35},229258,"qia-si-fa-lang-bing-mei-wen-wu-gong-ping-yi-ming-229258","掐丝珐瑯冰梅纹五供瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[91,92,93,94,44,95,7,96],"清代","掐丝珐瑯","冰梅纹","设色","珐瑯器","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36f7ab3f663952c886bc846f291539f.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":107,"material":30,"size":31,"collection":32,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":74},256278,"guan-yao-qing-you-ling-hua-shi-xi-yi-ming-256278","官窑青釉菱花式洗","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[80,25,105,58,26,7,106,44],"官窑风格","菱花式器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec2ea0c3c0afe186fb59de1b91db725.jpg",[32],3,{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":117,"material":30,"size":31,"collection":32,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":35},256999,"ru-yao-tian-qing-you-xi-yi-ming-256999","汝窑天青釉洗","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[18,25,116,26,7,44],"天青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56d7516d6dd4991634ae2c831293df4.jpg",[32],2,{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":56,"tags":124,"thumbUrl":127,"material":30,"size":31,"collection":32,"collections":128,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":74},256764,"ge-yao-mi-se-you-pan-yi-ming-256764","哥窑米色釉盘",[80,25,125,26,7,126,28],"米色釉","釉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf4f4fceab590c5454688e6504ee7fb.jpg",[32],{"id":130,"slug":131,"title":113,"dynasty":18,"author":19,"museum":20,"description":114,"tags":132,"thumbUrl":133,"material":30,"size":31,"collection":32,"collections":134,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":35},256287,"ru-yao-tian-qing-you-xi-yi-ming-256287",[18,25,116,26,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948692df3f92e733dffae93bb9d671c.jpg",[32],{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":103,"tags":139,"thumbUrl":141,"material":30,"size":31,"collection":32,"collections":142,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":74},256274,"guan-yao-fen-qing-you-kui-kou-pan-yi-ming-256274","官窑粉青釉葵口盘",[80,25,44,23,140,24,27,7,26],"粉青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde0868c99a14c386cb10d6cadee3e228.jpg",[32],{"id":144,"slug":145,"title":146,"dynasty":18,"author":19,"museum":20,"description":56,"tags":147,"thumbUrl":149,"material":30,"size":31,"collection":32,"collections":150,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":35},256245,"ge-yao-qing-you-ju-ban-shi-pan-yi-ming-256245","哥窑青釉菊瓣式盘",[18,25,58,26,7,148,28],"菊瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecdf7ba7a8646c2ff9b0eb7bcabd739.jpg",[32],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":56,"tags":155,"thumbUrl":161,"material":30,"size":31,"collection":32,"collections":162,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":35},256241,"ge-yao-mi-huang-you-kui-ban-kou-pan-yi-ming-256241","哥窑米黄釉葵瓣口盘",[18,25,156,157,158,26,7,159,160],"哥窑风格","米黄釉","葵瓣口","釉色","器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9148f0f436536869343054f2672deace.jpg",[32],{"id":164,"slug":165,"title":154,"dynasty":18,"author":19,"museum":20,"description":56,"tags":166,"thumbUrl":170,"material":30,"size":31,"collection":32,"collections":171,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":35},256238,"ge-yao-mi-huang-you-kui-ban-kou-pan-yi-ming-256238",[80,25,167,157,158,26,7,59,60,168,169],"哥窑","单色釉","古瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffffb32d23147278f9ba6003d215694c3.jpg",[32],{"id":173,"slug":174,"title":55,"dynasty":18,"author":19,"museum":20,"description":56,"tags":175,"thumbUrl":176,"material":30,"size":31,"collection":32,"collections":177,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":51},256227,"ge-yao-qing-you-pan-yi-ming-256227",[80,25,58,26,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ee1a5250bb08e263313fca6e0f4c.jpg",[32],{"id":179,"slug":180,"title":181,"dynasty":40,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":187,"material":30,"size":31,"collection":48,"collections":188,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":74},258594,"qian-long-kuan-fang-ru-you-guan-er-fang-ping-yi-ming-258594","乾隆款仿汝釉贯耳方瓶","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。",[91,25,184,26,185,186,7],"仿汝釉","贯耳","方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1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