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，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。”",[105,7,79,25],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc353e0e577c403d49141d5dc1b2e960b.jpg",[31],10,{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":20,"description":103,"tags":113,"thumbUrl":115,"material":29,"size":30,"collection":31,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":85},256292,"ru-yao-tian-qing-you-san-zu-zun-cheng-pan-yi-ming-256292","汝窑天青釉三足樽承盘",[105,23,79,25,114,7],"三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d47b1d6eae227da61c4328254e3101c.jpg",[31],8,{"id":119,"slug":120,"title":121,"dynasty":122,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":131,"material":29,"size":30,"collection":68,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":134},257250,"qing-hua-qi-lin-yi-long-wen-pan-yi-ming-257250","青花麒麟翼龙纹盘","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。",[125,23,126,127,128,129,130,7],"明代","青花","瑞兽","龙纹","麒麟纹","牡丹纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00da0b84b4aa4d537b9ca3a8fd30d049.jpg",[],7,"F48FB1",{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":146,"material":29,"size":30,"collection":31,"collections":147,"showCount":133,"zanCount":148,"manualWeight":11,"mainColor":71},256319,"ding-yao-bai-you-ke-hua-mu-dan-wen-pan-yi-ming-256319","定窑白釉刻花牡丹纹盘","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。",[105,141,142,130,23,7,143,144,145],"白釉","刻花","花卉纹","传统工艺","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaec4c29e88520c948f82ffe9be55353.jpg",[31],1,{"id":150,"slug":151,"title":152,"dynasty":39,"author":19,"museum":20,"description":153,"tags":154,"thumbUrl":159,"material":29,"size":30,"collection":68,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":85},261221,"zi-di-fen-cai-kai-guang-bai-zi-tu-pie-kou-ping-yi-ming-261221","紫地粉彩开光百子图撇口瓶","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。",[23,155,46,156,48,157,7,158],"粉彩","百子图","楼阁","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea785e19b744871d5868276c6133095a.jpg",[],6,{"id":163,"slug":164,"title":165,"dynasty":39,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":171,"material":29,"size":30,"collection":68,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":34},260966,"ji-hong-you-mei-ping-yi-ming-260966","霁红釉梅瓶","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。",[23,168,169,7,170],"梅瓶","霁红釉","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8781321e15207062cae583d4befe366.jpg",[],5,{"id":175,"slug":176,"title":177,"dynasty":122,"author":19,"museum":20,"description":178,"tags":179,"thumbUrl":184,"material":29,"size":30,"collection":31,"collections":185,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},260706,"long-quan-yao-qing-you-ke-hua-huan-er-ping-yi-ming-260706","龙泉窑青釉刻花环耳瓶","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。",[23,180,142,181,182,183,7],"青釉","环耳瓶","荷花","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3f39d4bc679f465a5f3807fdbac0c5.jpg",[31],{"id":187,"slug":188,"title":189,"dynasty":39,"author":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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,46,48,293,294,7,26],"美人","红绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6080e594036536090021895c540ac0eb.jpg",[31],{"id":298,"slug":299,"title":300,"dynasty":122,"author":19,"museum":20,"description":178,"tags":301,"thumbUrl":303,"material":29,"size":30,"collection":31,"collections":304,"showCount":247,"zanCount":148,"manualWeight":11,"mainColor":71},260666,"long-quan-yao-qing-you-ke-hua-ping-yi-ming-260666","龙泉窑青釉刻花瓶",[23,180,142,263,302,7],"龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1fbd4a27129f4b03f36df74c8d9256.jpg",[31],{"id":306,"slug":307,"title":308,"dynasty":39,"author":19,"museum":20,"description":76,"tags":309,"thumbUrl":313,"material":29,"size":30,"collection":68,"collections":314,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":71},259582,"yong-zheng-kuan-fang-jun-xin-zi-you-tian-qiu-ping-yi-ming-259582","雍正款仿钧新紫釉天球瓶",[23,310,311,312,7],"天球瓶","仿钧釉","新紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e9237745df08f37ca51b92b262da78.jpg",[],{"id":316,"slug":317,"title":318,"dynasty":39,"author":19,"museum":20,"description":123,"tags":319,"thumbUrl":324,"material":29,"size":30,"collection":68,"collections":325,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":71},258924,"qing-hua-chan-zhi-lian-jiao-ye-wen-tian-qiu-ping-yi-ming-258924","青花缠枝莲蕉叶纹天球瓶",[78,23,126,320,321,26,143,322,323,7],"缠枝莲","蕉叶纹","缠枝纹","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0386abd9de27cb8eed42244204b246.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":39,"author":19,"museum":20,"description":166,"tags":330,"thumbUrl":334,"material":29,"size":30,"collection":68,"collections":335,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":71},256568,"kang-xi-kuan-jiang-dou-hong-you-ju-ban-ping-yi-ming-256568","康熙款豇豆红釉菊瓣瓶",[23,331,332,78,333,7,170,81,323],"豇豆红釉","菊瓣纹","单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748288ff5827e6d93f7ea96e9244d8d2.jpg",[],{"id":337,"slug":338,"title":339,"dynasty":122,"author":19,"museum":20,"description":166,"tags":340,"thumbUrl":343,"material":29,"size":30,"collection":68,"collections":344,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":71},228512,"you-li-hong-mu-dan-wen-wan-yi-ming-228512","釉里红牡丹纹碗",[125,23,341,275,342,323,7],"釉里红","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75008af34b7715567e1e1be3fd69a560.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":39,"author":19,"museum":20,"description":76,"tags":349,"thumbUrl":354,"material":29,"size":30,"collection":68,"collections":355,"showCount":356,"zanCount":148,"manualWeight":11,"mainColor":85},261847,"yong-zheng-kuan-dong-qing-you-an-hua-chan-zhi-ba-ji-xiang-wen-san-zu-pan-yi-ming-261847","雍正款冬青釉暗划缠枝八吉祥纹三足盘",[23,350,322,351,352,353,7],"暗划工艺","八吉祥纹","三足盘","冬青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cc8692bd001235f1a71fb25d39da80.jpg",[],2,{"id":358,"slug":359,"title":360,"dynasty":122,"author":19,"museum":20,"description":361,"tags":362,"thumbUrl":364,"material":29,"size":30,"collection":31,"collections":365,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":85},261846,"shi-wan-yao-hui-lv-you-mei-ping-yi-ming-261846","石湾窑灰绿釉梅瓶","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[23,168,363,7],"灰绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52cb46253de42edaec7a34de843138d.jpg",[31],{"id":367,"slug":368,"title":369,"dynasty":39,"author":19,"museum":20,"description":153,"tags":370,"thumbUrl":373,"material":29,"size":30,"collection":68,"collections":374,"showCount":356,"zanCount":148,"manualWeight":11,"mainColor":85},261759,"fen-cai-zhe-zhi-shi-er-yue-hua-hui-wen-ping-yi-ming-261759","粉彩折枝十二月花卉纹瓶",[23,7,26,155,126,371,275,94,54,372],"折枝花卉","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa58e69f0dfc05667ada419d970fed09e.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":39,"author":19,"museum":20,"description":379,"tags":380,"thumbUrl":382,"material":29,"size":30,"collection":68,"collections":383,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":85},261604,"wu-cai-zhe-zhi-mu-dan-ju-hua-tu-guan-yi-ming-261604","五彩折枝牡丹菊花图罐","此罐造型饱满挺括，颈部以缠枝莲纹铺底，器身折枝花卉错落舒展。矾红牡丹妍丽饱满，尽显雍容华贵；黄褐、矾红二色菊花并置，花瓣脉络勾勒细致入微，瓣层舒展自然，生机盎然。苍绿叶片点缀其间，晕染鲜亮色泽，铺展出秋日花苑的繁盛意趣。\n\n五彩发色沉稳厚重，浓淡搭配相宜，釉面莹润亮泽，将工笔花鸟的雅致意蕴融于瓷面，古拙中透着秀润雅致，尽显彩瓷装饰里的国风美学意趣，是颇具观赏性的彩瓷佳作。",[23,273,275,224,372,7,381],"折枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902779aa06be002d588447234624813c.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":18,"author":19,"museum":20,"description":178,"tags":388,"thumbUrl":389,"material":29,"size":30,"collection":31,"collections":390,"showCou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[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。",[23,649,128,143,450,46,7],"花口盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196f67d1a8075f3dce5baa0f7980d103.jpg",[],{"id":653,"slug":654,"title":655,"dynasty":39,"author":19,"museum":20,"description":166,"tags":656,"thumbUrl":659,"material":29,"size":30,"collection":68,"collections":660,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":34},258593,"fang-ru-you-san-yang-mei-ping-yi-ming-258593","仿汝釉三羊梅瓶",[23,7,168,657,658],"仿汝釉","羊纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64299b4660ff32948f1c3ca9639686d.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":39,"author":19,"museum":20,"description":123,"tags":665,"thumbUrl":667,"material":29,"size":30,"collection":68,"collections":668,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},257920,"kang-xi-kuan-qing-hua-shi-er-yue-hua-hui-wen-bei-guang-yi-ming-257920","康熙款青花十二月花卉纹杯-广",[78,126,23,666,54,7],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa66c72b01caedde105e999d2c11f02e.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":122,"author":19,"museum":20,"description":123,"tags":673,"thumbUrl":677,"material":29,"size":30,"collection":68,"collections":678,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":85},257357,"qing-hua-he-hua-wen-gao-zu-wan-yi-ming-257357","青花荷花纹高足碗",[122,23,126,674,182,675,676,7],"釉下彩","植物纹","高足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa731fe7474d9090081c9460fc14798d3.jpg",[],{"id":680,"slug":681,"title":682,"dynasty":122,"author":19,"museum":20,"description":166,"tags":683,"thumbUrl":686,"material":29,"size":30,"collection":68,"collections":687,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":85},257319,"jia-jing-kuan-lan-you-an-hua-hua-wen-pan-yi-ming-257319","嘉靖款蓝釉暗划花纹盘",[125,23,684,685,27,333,7,170],"蓝釉","暗划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574eb5e0a64699867cc9f0fb982c75d7.jpg",[],{"id":689,"slug":690,"title":691,"dynasty":122,"author":19,"museum":20,"description":123,"tags":692,"thumbUrl":696,"material":29,"size":30,"collection":68,"collections":697,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":34},257163,"cheng-hua-kuan-qing-hua-fan-wen-pan-yi-ming-257163","成化款青花梵文盘",[125,23,126,693,27,694,695,7],"梵文","青花技法","梵文纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7346e3722e5278499a402497144fe2da.jpg",[],{"id":699,"slug":700,"title":701,"dynasty":122,"author":19,"museum":20,"description":123,"tags":702,"thumbUrl":706,"material":29,"size":30,"collection":68,"collections":707,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":85},256772,"cheng-hua-kuan-qing-hua-tuan-hua-wen-wan-yi-ming-256772","成化款青花团花纹碗",[23,126,703,125,7,211,704,694,705],"团花纹","团花","团花图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9089385e524ff1bc16f7a07ef91e4d19.jpg",[],{"id":709,"slug":710,"title":711,"dynasty":557,"author":19,"museum":20,"description":712,"tags":713,"thumbUrl":715,"material":29,"size":30,"collection":68,"collections":716,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":71},231874,"xiao-kou-tan-yi-ming-231874","小口坛","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[23,7,25,26,714,24],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769e25671b7150e1fef8c2844125318b.jpg",[],{"id":718,"slug":719,"title":720,"dynasty":122,"author":19,"museum":20,"description":721,"tags":722,"thumbUrl":726,"material":29,"size":30,"collection":68,"collections":727,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":34},228594,"tian-bai-hu-lu-xing-shou-dai-er-bian-hu-yi-ming-228594","甜白葫芦形绶带耳扁壶","器仿葫芦形，敛口，短颈，腹圆体扁，侧面平阔，颈旁两方形耳，长方浅圈足。通体施釉，色白莹润略青，口膨大处印有一圈转枝花纹，器腹双钩细刻几何花卉，以长叶与如意首交错排列成一轮形，外有一圈卷叶纹；侧边浅划两道弦纹，耳缘与中脊作细棱，线条细腻雅致。长方圈足底端露胎",[125,23,723,724,725,458,7,81,170],"甜白釉","绶带耳","扁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a78dcc628e4e8a2e7a404e881e21da.jpg",[],{"id":729,"slug":730,"title":731,"dynasty":18,"author":19,"museum":20,"description":153,"tags":732,"thumbUrl":733,"material":29,"size":30,"collection":68,"collections":734,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":85},227473,"lie-wen-wan-yi-ming-227473","裂纹碗",[18,23,7,141,25,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954ffe16c26ece2a9e0a6cd322e09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