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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。",[48,49,50,51,52,53,7,54,55,56],"明代","陶瓷","青花","缠枝纹","牡丹","大碗","纹饰","釉下彩","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce20de9692e918d6c1fdf45a0e1b413.jpg","未知","Xcm*Xcm",[],21,"795548",{"id":64,"slug":65,"title":66,"dynasty":18,"author":44,"museum":45,"description":67,"tags":68,"thumbUrl":76,"material":58,"size":59,"collection":35,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":62},223981,"kang-xi-kuan-tong-tai-hua-fa-lang-lian-hua-shi-die-yi-ming-223981","康熙款 铜胎画珐瑯莲花式碟","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。",[69,70,71,28,27,72,73,7,74,75],"清代","铜胎画珐琅","珐瑯器","莲花","花叶","碟","黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a7e87b21f50f586eac9beba2d32646.jpg",[],15,{"id":80,"slug":81,"title":82,"dynasty":83,"author":44,"museum":45,"description":84,"tags":85,"thumbUrl":90,"material":58,"size":59,"collection":91,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":38},256320,"ding-yao-bai-you-yin-hua-chan-zhi-mu-dan-wen-pan-yi-ming-256320","定窑白釉印花缠枝牡丹纹盘","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。",[86,49,87,88,89,7,52],"宋代","定窑","白釉","印花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b85118b6f52e62619eb20c978168246.jpg","瓷器精选",[91],9,{"id":95,"slug":96,"title":97,"dynasty":18,"author":44,"museum":45,"description":46,"tags":98,"thumbUrl":100,"material":58,"size":59,"collection":35,"collections":101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},257914,"kang-xi-kuan-qing-hua-chan-zhi-mu-dan-wen-wan-yi-ming-257914","康熙款青花缠枝牡丹纹碗",[49,50,7,52,18,99],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0b97df2a556b4a370aa044c96c7683.jpg",[],{"id":103,"slug":104,"title":105,"dynasty":18,"author":44,"museum":45,"description":106,"tags":107,"thumbUrl":113,"material":58,"size":59,"collection":35,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},256631,"fen-cai-lou-kong-tuan-shou-gai-he-yi-ming-256631","粉彩镂空团寿盖盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[69,108,109,28,49,99,110,7,111,112],"粉彩","镂空","团寿","装饰","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb158f27c06bd04ae1043bdc8a84d16b5.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":43,"author":44,"museum":45,"description":119,"tags":120,"thumbUrl":126,"material":58,"size":59,"collection":35,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},250790,"qing-yu-fu-diao-shuang-long-chan-zhi-mu-dan-shou-zi-shou-er-yuan-ping-yi-ming-250790","青玉浮雕双龙缠枝牡丹寿字兽耳圆瓶","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。",[121,122,123,124,52,7,125,99],"玉石","浮雕","龙","兽","寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa0a2b3b431185b9c8d12be18127c57.jpg",[],"37474F",{"id":130,"slug":131,"title":132,"dynasty":18,"author":44,"museum":45,"description":133,"tags":134,"thumbUrl":138,"material":58,"size":59,"collection":35,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},249926,"qia-si-fa-lang-fang-ping-yi-ming-249926","掐丝珐琅方瓶","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”。",[135,136,99,28,7,137],"掐丝珐琅","珐琅器","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F646975ad21be7eb0647415aca032d82d.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":44,"museum":45,"description":144,"tags":145,"thumbUrl":149,"material":58,"size":59,"collection":35,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},249001,"qian-long-kuan-hua-fa-lang-chan-zhi-hua-guo-wen-san-zu-guan-jia-yi-ming-249001","乾隆款画珐琅缠枝花果纹三足冠架","此冠架造型柔婉舒展，拱形三足线条流畅灵动，底端涡卷收尾尽显雅致意趣。浅蓝珐琅为底，满饰缠枝花果纹样，粉花翠叶配丰硕果实，色彩鲜亮柔润，填色匀净细腻，繁而不紊的排布尽显精致华贵。金属骨架挺括坚实，与莹润珐琅釉面相映成趣，将置物的实用性与装饰美感相融，尽显清代宫廷工艺的精巧华丽，流露雍容雅致的华贵风韵。",[146,7,147,148,99],"画珐琅","花果","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3f1c00a203b65984462be63bac7ba1.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":18,"author":44,"museum":45,"description":106,"tags":155,"thumbUrl":157,"material":58,"size":59,"collection":35,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},229946,"tong-tai-qia-si-fa-lang-he-yi-ming-229946","铜胎掐丝珐瑯盒",[69,135,156,136,28,7,137,99],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccec9d2935615f3c544b3ec3f92d17e5.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":43,"author":44,"museum":45,"description":46,"tags":163,"thumbUrl":164,"material":58,"size":59,"collection":35,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},223949,"qing-hua-hua-hui-wen-xi-yi-ming-223949","青花花卉纹洗",[48,49,50,137,7,99,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c15107ea96680d611feaa746408f0c.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":43,"author":44,"museum":45,"description":46,"tags":170,"thumbUrl":10,"material":58,"size":59,"collection":35,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},223937,"qing-hua-chan-zhi-hua-hui-wen-lian-hua-shi-pan-yi-ming-223937","青花缠枝花卉纹莲花式盘",[49,50,7,137,72,43],[],1777535729609]