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nt":54,"zanCount":11,"manualWeight":11,"mainColor":45},271656,"she-shi-ji-xing-chao-shou-yan-yi-ming-271656","歙石箕形抄手砚","此砚素面无饰，线条爽利挺括，箕形雅致内敛，抄手利落规整，尽显极简意趣。石质细腻温润，周身凝着经年摩挲晕染出的沉古包浆，砚面留存浅淡墨痕，似还晕着旧时灯烛下的墨香，静静诉说着案头研墨的往昔时光。它褪去繁冗雕饰，以素朴之态承载文人心思，将清淡疏朗的审美藏于方正轮廓里，是文房清供里沉静的旧友，晕开一卷古雅的文韵。",[23,25,24,7,96,26],"箕形砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9b2b3b504c4ecece6f6c2725d88b10.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":109,"material":28,"size":29,"collection":30,"collections":110,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":111},271650,"zhe-gou-wang-jia-zao-ming-chao-shou-tao-yan-yi-ming-271650","柘沟王家造铭抄手陶砚","陶砚制作始于汉代，后世多有烧制。现今仍存于世的西汉“十二峰陶砚”，奇峰竞拔，形象古朴而生动，当属现存世砚台中的精品。唐代时还烧制了三彩砚台，这在唐代墓中也多有出土。在宋代时陶制砚台的制作品加大，而且更加完美，据史料载，在宋代时曾有一制砚名匠，人称万道人，其所制的陶砚可与当时的端砚、歙砚相媲美，甚至在当时的价钱超过前两者的价钱。曾有一文人买过其制作的一方陶砚，磨研30余年仍然发墨如初，被此文人视如珍宝。\n四大名砚中的澄泥砚也属于陶砚，澄泥砚的制作过程相对比较独特。制砚工匠从河水中筛得极细的泥土，做成结实的坯块，风干后雕琢成砚形，放在火中烧炼而成。其珍品性能极佳，古书上曾记载，澄泥砚可以“一匙之水，经旬不涸，一洼之墨，盛暑不干”。这些记载虽有夸张，但也说明了澄泥砚在当时文人心中的地位。其实在唐代以前，歙、端石砚还没有出现，泥砚就成为古人作书作画的唯一研墨器，澄泥砚本来就是陶砚，因其品质优良，才得以与石质的端砚、歙砚和洮河砚并列为中国的四大名砚。但因为其为人工烧制，烧制的技术也不同，所以不像石砚那样为某一方的特产，质量也会因地而异，其中虽有佳者，但劣品也不少。目前收藏普遍认为山西绛县和江苏宝山烧制的澄泥砚是相对比较好的。澄泥砚的好坏可以从颜色和斑点上看出：鳝鱼黄颜色的最好，绿头青次些；黄土有斑点，叫砂斑点，点大些的叫豆瓣砂，小的叫绿豆砂，一般大小斑点都有的是上等，很适合落墨。\n澄泥砚在陶瓷材质的砚台中的市场是最好的，更多的是因为其本身的实用价值。市场中常见到的是明清时期的澄泥砚，此时的澄泥砚保存的相对比较完好，更由于此时艺术性的加强，使澄泥砚更成为文人手中的玩物。但也有一些元以前的澄泥砚由于存世量少，许多藏家不认，且难于鉴定，因此市场价位还很难确定。\n除了澄泥砚之外，还有一些陶制的砚台是比较有特点的。在南北朝、隋唐时期，当时的陶瓷工匠们模仿辟雍设计出了辟雍砚。辟雍砚是极富观赏价值的艺术珍品。魏晋南北朝时期，由于制瓷业的迅速发展，陶瓷砚台大量涌现，其中以一种造型为带足圆盘的瓷砚最为流行，这也是隋唐时期辟雍砚的前身。魏晋时期多流行三足或四足的青瓷圆盘砚，南北朝变化为五足到十足不等的珠足砚、辟雍砚，到了隋唐时期，发展出了圆形多足的辟雍砚。辟雍砚的砚面居中，研堂与墨池相连，砚台中心高高隆起，砚台四周留有深槽储水，以便书画家润笔蘸墨之用，显示出它的实用功能。砚的下部用为数众多的珠足承托，足部明显突出，往往还有纹饰。辟雍砚的造型独特，显示出制作者独具的匠心。\n陶砚中还有一种叫做瓦砚，也即是用古代建筑物上的瓦改制而成。瓦砚之材多取自秦汉晋宫殿殿瓦，如阿房宫、末央宫、铜雀台等。目前发现最早在唐代就开始盛行制作瓦砚之风。这种宫殿的瓦所取之土质极为细腻，烧制工艺极精，不易渗水，特别是铜雀台的瓦，瓦以土和胡桃油相拌，还掺入了黄丹，铅、锡等物，制成砚台后质地细腻，坚如石，不费笔而发墨，是一种很别致而珍贵的砚台，这是前人所始料不及的。此种砚台传世品极少，市场价值极高，但由于材料为瓦质，也有许多收藏家并不是很认识，他们鉴定不了此砚的真伪，因此许多瓦砚目前还埋没于民间收藏之中。",[23,105,106,7,107,108],"陶瓷","文房器具","陶砚","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c5c6853affd64dfca655fce37e00b42.jpg",[],"BDBDBD",{"id":113,"slug":114,"title":37,"dynasty":59,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":117,"material":28,"size":29,"collection":30,"collections":118,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":45},271569,"duan-shi-chao-shou-yan-yi-ming-271569","此砚取端石凝润之质，造型简雅苍劲，承古风制式。器身方正挺括，砚堂与墨池界限分明，适配研墨储墨之用，尽显实用本心。石色纯黑匀净，周身包浆温厚莹润，晕开经年摩挲的时光痕迹。底部空槽既减砚身重量便以持握，又暗藏古人巧思。\n\n整体无过多雕饰，以素净线条勾勒出朴拙素雅的审美意趣，褪去繁缛，以材质本真与极简风骨，晕染出旧时文房案头的风雅况味，静穆间诉说着笔墨相伴的悠悠岁月。",[23,41,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c72497294dbc1bcbcc36780b6a53ce.jpg",[],{"id":120,"slug":121,"title":122,"dynasty":59,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":126,"material":28,"size":29,"collection":30,"collections":127,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":67},271543,"jiang-yun-lou-zhu-ren-ming-duan-shi-chao-shou-yan-yi-ming-271543","绛云楼主人铭端石抄手砚","此砚石色沉厚乌润，包浆古穆莹润，器型浑朴稳重。砚池内立柱错落排布，匠心独具：既分隔出数处墨堂，可同时研储不同墨色，又能减缓墨汁挥发干涸，将文房实用巧思融于古朴造型中。旧藏题铭的痕迹晕开晚明文人书房的雅致余韵，静静诉说着旧时文翰雅事，是兼具审美意趣与日常功用的文房佳器。",[23,25,41,7,125],"铭刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71070f54ebd4e500c33d218156d990c8.jpg",[],{"id":129,"slug":130,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":131,"thumbUrl":132,"material":28,"size":29,"collection":30,"collections":133,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":45},271539,"duan-shi-chao-shou-yan-yi-ming-271539",[23,41,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6568cb47d56c964bff8cd6705b1108.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":59,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":140,"material":28,"size":29,"collection":30,"collections":141,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":111},271522,"duan-shi-shi-qi-zhu-chao-shou-yan-yi-ming-271522","端石十七柱抄手砚","此砚取端石琢就，石质温润坚密。抄手造型素雅古拙，砚堂内十七根立柱高低错落地排布，疏密得宜，打破砚面的平板单调。立柱既能够疏导研出的墨汁，避免积滞漫溢，让研墨更为顺畅，又以错落排布暗合中式排布的韵律之美，似星子错落，暗含章法。周身包浆莹润自然，凝裹着经年使用的时光痕迹，足见昔时主人的珍视。将文房器物的实用功能与审美意趣相融，尽显制砚的内敛巧思，是一件兼具匠心与风雅的文房佳器。",[23,41,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cba587bd3e7ebc48bfbf7ea46a30b0b.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":59,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":148,"material":28,"size":29,"collection":30,"collections":149,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":111},271424,"chen-xian-zhang-ming-duan-shi-chao-shou-yan-yi-ming-271424","陈宪章铭端石抄手砚","此砚取端石为材，紫褐石色凝润古雅，包浆厚重，尽显岁月沉淀。形制为经典太史抄手式，线条挺括利落，造型简约大气。砚面仅浅开素净砚堂与墨池，不事繁饰，边缘浅刻卷云暗纹，素雅含蓄。砚侧镌刻铭文，刀笔苍劲朴拙，文气盎然，暗合明代文人尚简崇雅的审美意趣。上好端石细润发墨，既是文房挥毫的实用佳器，又将金石笔墨之美融于一体，静静承载着旧时文房的清隽风雅，尽显明人文玩的雅致意韵。",[23,25,41,7,64,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5aa502a6be3de80cdb7a01bc200e735.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":38,"autho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