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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。",[23,52,7,53,54,55],"镂空","青白釉","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b449d50992919a0179c0ccd687dec99.jpg","",[],2,{"id":61,"slug":62,"title":63,"dynasty":64,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":69,"material":27,"size":28,"collection":57,"collections":70,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":32},259818,"xuan-de-kuan-qing-hua-chan-zhi-hua-wen-guan-yi-ming-259818","宣德款青花缠枝花纹罐","明","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。",[23,67,7,68],"青花","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012fe3b1d58e85bb319af95b954cf870.jpg",[],{"id":72,"slug":73,"title":74,"dynasty":37,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":80,"material":27,"size":28,"collection":57,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},264095,"hong-se-chan-zhi-hua-wen-guang-duan-yi-ming-264095","红色缠枝花纹广缎","以炽热朱红为底，缠枝碎花如春日星芒满布经纬之间，粉蓝、米白、暖棕的花型错落交织，柔化了底色的浓烈，织就一方绣满烂漫春意的天地。\n\n浅彩回纹镶于顶端，轻缀雅致气韵；尾处以亮缎收束，垂落的朱红流苏晕开柔婉余韵。整缎纹理致密齐整，纹样排布匀净和谐，把日常生机揉入匠造肌理，藏着旧时织造的细腻工巧，将烟火意趣与雅致审美相融，尽显传统织艺的动人魅力。",[77,7,78,79],"布料","广缎","红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e093cd008cf3c73720aad01f891e3d6.jpg",[],1,"795548",{"id":85,"slug":86,"title":87,"dynasty":37,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":92,"material":27,"size":28,"collection":57,"collections":93,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":94},261715,"yong-zheng-kuan-qing-hua-chan-zhi-hua-wen-bei-yi-ming-261715","雍正款青花缠枝花纹杯","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。",[23,67,7,90,91],"杯","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d614abc22166121a894e4466bda58bb.jpg",[],"BDBDBD",{"id":96,"slug":97,"title":98,"dynasty":37,"author":19,"museum":20,"description":88,"tags":99,"thumbUrl":102,"material":27,"size":28,"collection":57,"collections":103,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":32},259168,"yong-zheng-kuan-qing-hua-chan-zhi-hua-wen-pan-yi-ming-259168","雍正款青花缠枝花纹盘",[23,67,7,100,101],"日用器","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e8121e7e24764fdb6665d9e0d5dd79.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":37,"author":19,"museum":20,"description":88,"tags":108,"thumbUrl":110,"material":27,"size":28,"collection":57,"collections":111,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":83},259161,"yong-zheng-kuan-dan-miao-qing-hua-chan-zhi-hua-wen-pan-yi-ming-259161","雍正款淡描青花缠枝花纹盘",[23,109,7,101,91],"淡描青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8115ac85e0de7c06d9863bb87fa8a9b7.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":37,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":121,"material":27,"size":28,"collection":57,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},269769,"zi-tan-diao-chan-zhi-hua-wen-qian-yu-qing-shi-he-yi-ming-269769","紫檀雕缠枝花纹嵌玉磬式盒","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。",[118,54,7,119,120,55],"木质","嵌玉","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f07c501c3acdb0261300460194db054.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":37,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":131,"material":27,"size":28,"collection":57,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},269299,"wen-zhu-chan-zhi-hua-wen-hai-tang-shi-pan-yi-ming-269299","文竹缠枝花纹海棠式盘","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。",[55,91,54,7,129,130],"海棠式","竹制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4913f10344c2897ac29ca3f436bbc4a9.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":37,"author":19,"museum":20,"description":137,"tags":138,"thumbUrl":140,"material":27,"size":28,"collection":57,"collections":141,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},264093,"qian-lv-se-chan-zhi-hua-wen-guang-duan-yi-ming-264093","浅绿色缠枝花纹广缎","浅绿地色铺陈底韵，紫调缠枝花卉循回排布，色调柔婉雅致。缠枝蜿蜒连绵，将朵朵饱满花型串联一体，构图规整饱满，暗合福寿绵长的吉祥意涵。\n\n提花工艺精湛细腻，花型立体分明，紫调层次丰富柔和，深浅晕染让纹样更富灵动生机。底部镶饰的嫩绿窄边，中和了紫调的浓艳，让整体视觉更为协调清新。\n\n整幅织料兼具华贵端雅与温婉秀致，经纬之间尽显匠造巧思，将传统织锦的审美意趣与吉祥寓意交织相融，尽显传统织造工艺的精妙功底。",[77,7,78,139],"浅绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e69c7ee535af43380e384c20a76db.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":37,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":151,"material":27,"size":28,"collection":57,"collections":152,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},261643,"dou-cai-chan-zhi-hua-wen-gua-shi-bi-ping-yi-ming-261643","斗彩缠枝花纹瓜式壁瓶","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。",[23,148,7,149,150],"斗彩","壁瓶","瓜式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40892510c735fa2c34556281d2f3467c.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":37,"author":19,"museum":20,"description":146,"tags":157,"thumbUrl":162,"material":27,"size":28,"collection":57,"collections":163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":83},261162,"huang-di-fen-cai-chan-zhi-hua-wen-mei-ping-yi-ming-261162","黄地粉彩缠枝花纹梅瓶",[23,158,159,7,160,161],"梅瓶","粉彩","花卉","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d18e3827e2645b6d377c1a57c4fa341.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":64,"author":19,"museum":20,"description":168,"tags":169,"thumbUrl":173,"material":27,"size":28,"collection":29,"collections":174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},261092,"long-quan-yao-qing-you-hua-hua-chan-zhi-hua-wen-wo-zu-wan-yi-ming-261092","龙泉窑青釉划花缠枝花纹卧足碗","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。",[23,170,42,7,171,91,172],"青釉","卧足碗","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa29d48e6603475000fd8273ecc6b37.jpg",[29],{"id":176,"slug":177,"title":178,"dynasty":179,"author":19,"museum":20,"description":50,"tags":180,"thumbUrl":185,"material":27,"size":28,"collection":57,"collections":186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},260653,"luan-bai-you-yin-hua-chan-zhi-hua-wen-gao-zu-wan-yi-ming-260653","卵白釉印花缠枝花纹高足碗","元",[23,181,182,183,7,184],"饮酒器","卵白釉","印花","高足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5ebe57de7603a2a59f38b555ff35a7.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":37,"author":19,"museum":20,"description":88,"tags":191,"thumbUrl":192,"material":27,"size":28,"collection":57,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},260430,"yong-zheng-kuan-dou-cai-chan-zhi-hua-wen-wan-yi-ming-260430","雍正款斗彩缠枝花纹碗",[23,148,7,91,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14689062453c19ed9bd680634b7a9d27.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":64,"author":19,"museum":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