[{"data":1,"prerenderedAt":253},["ShallowReactive",2],{"subject-cai-you":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6088,"cai-you","彩釉","彩釉画高清赏析","精选中国历代彩釉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15b34e1d82790e096f4a08956ef867.jpg",0,20,[14,39,56,67,80,91,102,110,125,143,151,161,168,175,187,198,206,213,222,235],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},229080,"tong-fa-lang-lu-yi-ming-229080","铜珐瑯炉","清","佚名","藏地不详","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。",[23,24,25,7,26,27,28,29,30,31,32],"清代","铜制","珐琅器","纹饰","三足","双耳","传统工艺","金属工艺","设色","器物","未知","Xcm*Xcm","",[],2,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":52,"material":33,"size":34,"collection":35,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},253701,"san-cai-gong-shou-wen-li-yong-yi-ming-253701","三彩拱手文吏俑","唐","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[43,46,47,7,48,49,50,51],"陶瓷","三彩","人物","文吏","拱手","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4830a1290fb29a94628045864beb4160.jpg",[],1,"37474F",{"id":57,"slug":58,"title":59,"dynasty":43,"author":19,"museum":20,"description":44,"tags":60,"thumbUrl":65,"material":33,"size":34,"collection":35,"collections":66,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":38},253395,"tao-lan-cai-feng-yi-yong-yi-ming-253395","陶蓝彩风衣俑",[61,46,62,48,7,63,64],"唐代","俑","陶塑","风衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c8627e81e6e95e1e187a5d0220b0be.jpg",[],{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":78,"material":33,"size":34,"collection":35,"collections":79,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},259350,"dao-guang-kuan-li-bai-you-wai-huang-di-lv-cai-yun-long-wen-pan-yi-ming-259350","道光款里白釉外黄地绿彩云龙纹盘","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。",[46,73,74,75,7,76,77],"盘","龙","云纹","白釉","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72bf64577be70ea756d0ba6d44427255.jpg",[],{"id":81,"slug":82,"title":83,"dynasty":18,"author":19,"museum":20,"description":71,"tags":84,"thumbUrl":88,"material":33,"size":34,"collection":35,"collections":89,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},259234,"qian-long-kuan-li-bai-you-wai-lv-di-zi-cai-yun-long-wen-wan-yi-ming-259234","乾隆款里白釉外绿地紫彩云龙纹碗",[46,85,86,74,87,7],"器","碗","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68d2e220db6cd4221bdedc252e58882.jpg",[],"F48FB1",{"id":92,"slug":93,"title":94,"dynasty":18,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":100,"material":33,"size":34,"collection":35,"collections":101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},259227,"qian-long-kuan-huang-di-zi-lv-cai-yun-long-wen-die-yi-ming-259227","乾隆款黄地紫、绿彩云龙纹碟","此碟以娇黄釉为底，紫绿二彩饰纹。内壁环绘折枝花果，花叶柔婉，果实饱满，暗藏生机；外壁紫彩游龙蜿蜒矫健，绿彩点缀细节，线条利落灵动。低温彩釉覆于匀净黄地之上，釉色莹润鲜亮，色彩搭配沉稳明丽，尽显端庄华贵。整体器型秀巧规整，纹饰布局疏朗雅致，将彩釉工艺与装饰美学相融，尽显制瓷技艺的纯熟考究，是颇具韵味的清代彩瓷精巧佳作。",[46,74,97,7,98,99],"花卉","碟","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b2fc297395f13193ae5643ec7e16001.jpg",[],{"id":103,"slug":104,"title":105,"dynasty":18,"author":19,"museum":20,"description":106,"tags":107,"thumbUrl":108,"material":33,"size":34,"collection":35,"collections":109,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},259172,"yong-zheng-kuan-huang-di-lv-cai-yun-long-wen-wan-yi-ming-259172","雍正款黄地绿彩云龙纹碗","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。",[46,74,87,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb580c1ebeb7cac766d70c5752322570.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":114,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":123,"material":33,"size":34,"collection":35,"collections":124,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},257608,"lan-di-diao-hua-shuang-er-fang-ping-yi-ming-257608","蓝地雕花双耳方瓶","明","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。",[46,117,118,119,28,120,121,7,122,85],"明代","蓝釉","雕花","方瓶","牡丹","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a324c824351de6a6f438b22c4bae90b.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":114,"author":19,"museum":20,"description":115,"tags":129,"thumbUrl":141,"material":33,"size":34,"collection":35,"collections":142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},257314,"jia-jing-kuan-huang-di-lv-cai-hua-niao-tu-wo-zu-wan-yi-ming-257314","嘉靖款黄地绿彩花鸟图卧足碗",[117,46,130,131,132,133,32,134,135,26,136,7,137,138,139,140],"黄地绿彩","花鸟","卧足","彩瓷技法","黄釉","绿釉","花鸟题材","釉彩","花鸟纹样","花鸟纹饰","花鸟图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac08c7e27d1ccc0f22a1e3a1bc5abca7.jpg",[],{"id":144,"slug":145,"title":146,"dynasty":114,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":149,"material":33,"size":34,"collection":35,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},257310,"jia-jing-kuan-huang-di-lv-cai-yun-long-wen-pan-yi-ming-257310","嘉靖款黄地绿彩云龙纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[117,46,7,31,74,87,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea6c15086fae54bf9c99c1f3357e16f.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":106,"tags":155,"thumbUrl":159,"material":33,"size":34,"collection":35,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},256963,"yong-zheng-kuan-huang-di-lv-cai-jia-fen-cai-yun-fu-wen-wan-yi-ming-256963","雍正款黄地绿彩加粉彩云蝠纹碗",[23,46,130,156,31,157,158,86,7],"粉彩","云","蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b78a746f23ebacf870f0489f14a378f.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":43,"author":19,"museum":20,"description":44,"tags":165,"thumbUrl":166,"material":33,"size":34,"collection":35,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},255818,"san-cai-la-ma-yong-yi-ming-255818","三彩拉马俑",[61,46,62,47,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e5e3ccdb741d99b7f930d240b80fc1.jpg",[],{"id":169,"slug":170,"title":164,"dynasty":43,"author":19,"museum":20,"description":44,"tags":171,"thumbUrl":173,"material":33,"size":34,"collection":35,"collections":174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},254609,"san-cai-la-ma-yong-yi-ming-254609",[43,46,47,62,48,7,172,122],"立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb63e7d18817fc19a9c707f2af30f6671.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":179,"author":19,"museum":20,"description":180,"tags":181,"thumbUrl":184,"material":33,"size":34,"collection":35,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":186},254327,"san-cai-gui-yi-ming-254327","三彩龟","宋","这只陶龟憨态尽显，颈首前探、双目圆睁，仿佛正悠然缓行于幽隅。匠者以刻划技法在龟甲复刻出规整的几何纹，如摹灵龟天然肌理，施釉晕染自然交融，绿彩沉郁间透出米黄胎色，色泽斑驳温润，带着经年沉淀的古朴质感。\n\n胎质朴拙厚重，釉色虽有细微剥落，却更添岁月摩挲的温柔痕迹，将灵龟沉静安然的生机凝于陶土之中，尽显宋人摹写自然的精妙工力，把日常所见的生灵意趣，融于三彩工艺，静雅又不失灵动意韵。",[179,46,47,7,182,183,122],"龟","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fcff074423cf567d6d75fabaf1301d.jpg",[],"BDBDBD",{"id":188,"slug":189,"title":190,"dynasty":43,"author":19,"museum":20,"description":44,"tags":191,"thumbUrl":196,"material":33,"size":34,"collection":35,"collections":197,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},254269,"san-cai-qi-luo-tuo-yong-yi-ming-254269","三彩骑骆驼俑",[43,46,47,7,48,192,62,193,194,195],"骆驼","动物","低温釉陶","彩釉工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f37be76cde8e41ce6566ab986b10be7.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":43,"author":19,"museum":20,"description":44,"tags":202,"thumbUrl":204,"material":33,"size":34,"collection":35,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},254252,"san-cai-wu-shi-yong-yi-ming-254252","三彩武士俑",[46,47,62,48,203,122,7],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65eec78b7dcebce79be5f9ca61fce433.jpg",[],{"id":207,"slug":208,"title":201,"dynasty":179,"author":19,"museum":20,"description":44,"tags":209,"thumbUrl":211,"material":33,"size":34,"collection":35,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},253505,"san-cai-wu-shi-yong-yi-ming-253505",[210,46,47,63,7,48,203,62],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386e3633875e9001854107b316513275.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":114,"author":19,"museum":20,"description":44,"tags":217,"thumbUrl":220,"material":33,"size":34,"collection":35,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},253007,"tao-zi-lv-you-yong-yi-ming-253007","陶紫绿釉俑",[117,46,218,219,62,48,172,7,51],"陶制","紫绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa6f57117c7c744130a941fb3b2661d.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":226,"author":19,"museum":20,"description":227,"tags":228,"thumbUrl":233,"material":33,"size":34,"collection":35,"collections":234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":186},231872,"cai-you-shuang-er-guan-yi-ming-231872","彩釉双耳罐","元","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。",[46,7,28,229,230,231,232,32],"罐","镂空","元代","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dc5950f752d40d3390e842ab107b63.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":18,"author":19,"museum":20,"description":115,"tags":239,"thumbUrl":251,"material":33,"size":34,"collection":35,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},229441,"yang-cai-huang-jin-di-qian-kun-jiao-tai-zhuan-xuan-ping-yi-ming-229441","洋彩黄锦地乾坤交泰转旋瓶",[46,25,240,31,241,97,242,243,244,23,245,246,247,26,248,249,7,250],"洋彩","锦地纹","八卦","转旋","交泰","彩瓷","祥云","黄地","繁复","卷草纹","立体结构","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4a30dc9b36b2da96393e593462070a5.jpg",[],1777535720978]