[{"data":1,"prerenderedAt":250},["ShallowReactive",2],{"subject-ci-su":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9740,"ci-su","瓷塑","瓷塑画高清赏析","精选中国历代瓷塑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7c0b406ed1889c26ab32ff367dfa0b.jpg",0,22,[14,38,57,67,77,88,97,105,117,130,139,150,160,170,178,185,196,206,217,226,233,243],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},256187,"ding-yao-bai-you-hai-er-zhen-yi-ming-256187","定窑白釉孩儿枕","宋","佚名","藏地不详","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。",[23,24,25,26,27,7,28,29,30],"陶瓷","白釉","人物","雕刻","宋代","孩儿","白瓷","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4f7582f92db0f7c8cc88aa584267d0.jpg","未知","Xcm*Xcm","瓷器精选",[34],8,"37474F",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":52,"material":32,"size":33,"collection":53,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},275096,"jia-qing-kuan-yan-zhi-cai-shuang-long-zuo-fen-cai-ci-qi-zhen-jiang-jun-bao-yi-ming-275096","嘉庆款胭脂彩双龙座粉彩瓷七珍-将军宝","清","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[23,45,46,7,25,47,48,49,50,51],"粉彩","胭脂彩","龙","宗教","七珍","将军宝","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2edb7d1407efb70ffd66366d2e83fab.jpg","",[],2,"795548",{"id":58,"slug":59,"title":60,"dynasty":61,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":65,"material":32,"size":33,"collection":53,"collections":66,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},255918,"bai-you-ci-wen-chang-xiang-yi-ming-255918","白釉瓷文昌像","明","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。",[64,23,24,25,48,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5003a0f3b34e8aec47dcc1b06b130dfb.jpg",[],{"id":68,"slug":69,"title":70,"dynasty":42,"author":19,"museum":20,"description":43,"tags":71,"thumbUrl":74,"material":32,"size":33,"collection":53,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":56},275094,"qian-long-kuan-lv-di-fen-cai-ci-qi-zhen-jiang-jun-bao-yi-ming-275094","乾隆款绿地粉彩瓷七珍-将军宝",[23,45,7,72,73,49,50,51],"宗教器物","人物像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c193c1ded5df540f71401c3861a95d.jpg",[],1,{"id":78,"slug":79,"title":80,"dynasty":42,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":86,"material":32,"size":33,"collection":34,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},262263,"de-hua-yao-wu-cai-ci-ren-yi-ming-262263","德化窑五彩瓷人","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "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。",[23,83,7,84,25,85],"五彩","弥勒佛","喜悦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d5b2bc61aac15f0b5895d4ffa50500.jpg",[34],{"id":89,"slug":90,"title":91,"dynasty":42,"author":19,"museum":20,"description":81,"tags":92,"thumbUrl":95,"material":32,"size":33,"collection":34,"collections":96,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},260176,"de-hua-yao-bai-you-da-mo-xiang-yi-ming-260176","德化窑白釉达摩像",[23,26,93,94,24,7],"佛教人物","达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadf397d6f960b52e5cf6adcceb3357d.jpg",[34],{"id":98,"slug":99,"title":100,"dynasty":42,"author":19,"museum":20,"description":43,"tags":101,"thumbUrl":103,"material":32,"size":33,"collection":53,"collections":104,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},259722,"wu-cai-ci-wa-yi-ming-259722","五彩瓷娃",[23,83,25,102,7],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c122184d8c7f3abd6a0dde2e7c00424.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":42,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":115,"material":32,"size":33,"collection":53,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256117,"jin-you-fen-cai-ci-wu-liang-fu-zuo-xiang-yi-ming-256117","金釉粉彩瓷无量佛坐像","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[42,48,25,111,112,23,113,45,7,114],"佛像","坐像","金釉","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c2d2dcdc23623b6c1b1a4d473c7a14.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":42,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":128,"material":32,"size":33,"collection":53,"collections":129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256088,"he-you-ci-shou-yi-ming-256088","褐釉瓷兽","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。",[23,123,124,125,7,126,127],"褐釉","兽","清代","釉色","兽形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0a913e420000617f9fc77cb2f6a478.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":20,"description":121,"tags":134,"thumbUrl":137,"material":32,"size":33,"collection":53,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},255996,"lv-you-ci-niao-yi-ming-255996","绿釉瓷鸟",[27,23,135,7,136],"绿釉","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763abff01da40661e84c22ff6aa838cd.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":148,"material":32,"size":33,"collection":53,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255985,"qing-you-ci-bao-zi-nv-zuo-xiang-yi-ming-255985","青釉瓷抱子女坐像","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[27,23,145,25,146,147,112,7],"青釉","女子","抱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0249856db54220a39b32e25a5b9c3b.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":42,"author":19,"museum":20,"description":43,"tags":154,"thumbUrl":158,"material":32,"size":33,"collection":53,"collections":159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255970,"su-san-cai-ci-ying-wu-yi-ming-255970","素三彩瓷鹦鹉",[125,23,155,156,136,157,7],"素三彩","设色","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615e38aca646cd31a8c7ea20c23c0eaa.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":20,"description":62,"tags":164,"thumbUrl":168,"material":32,"size":33,"collection":53,"collections":169,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},255778,"bai-you-ci-hei-cai-shuang-lian-ren-li-xiang-yi-ming-255778","白釉瓷黑彩双连人立像",[27,23,7,165,24,166,51,25,167],"雕塑","黑彩","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e7ea21e1f6de4a6bc1c6e056869785.jpg",[],{"id":171,"slug":172,"title":173,"dynasty":18,"author":19,"museum":20,"description":62,"tags":174,"thumbUrl":176,"material":32,"size":33,"collection":53,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},255768,"bai-you-ci-ma-yi-ming-255768","白釉瓷马",[18,23,24,7,175,124],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731f28245f10ffb1fb0971cd009daf46.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":62,"tags":182,"thumbUrl":183,"material":32,"size":33,"collection":53,"collections":184,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},255767,"bai-you-ci-shou-yi-ming-255767","白釉瓷兽",[18,23,24,124,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db8d364b2f51d1e971b24713d8affc3.jpg",[],{"id":186,"slug":187,"title":188,"dynasty":18,"author":19,"museum":20,"description":189,"tags":190,"thumbUrl":194,"material":32,"size":33,"collection":53,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255765,"ying-qing-ci-shuang-lian-tong-zi-zuo-xiang-yi-ming-255765","影青瓷双连童子坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,191,102,165,27,25,192,193,7,112],"影青","立体造型","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbdaa806cd8a6ac3b4e01d031342fb6.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":42,"author":19,"museum":20,"description":121,"tags":200,"thumbUrl":204,"material":32,"size":33,"collection":53,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},254924,"mi-you-ci-hei-cai-fu-zi-wen-guan-zuo-xiang-yi-ming-254924","米釉瓷黑彩福字文官坐像",[125,23,201,166,202,112,25,7,203],"米釉","文官","福字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d2705df0a2efa81a3a73b446cc720dd.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":215,"material":32,"size":33,"collection":53,"collections":216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},253533,"huang-you-ci-zi-mu-hou-yi-ming-253533","黄釉瓷子母猴","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[23,212,213,124,27,214,7,126],"黄釉","猴","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b20cbcb6327a3edadd0dd55ab9e59c3.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":18,"author":19,"museum":20,"description":210,"tags":221,"thumbUrl":224,"material":32,"size":33,"collection":53,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},253530,"huang-you-ci-wo-gou-yi-ming-253530","黄釉瓷卧狗",[23,212,222,124,7,223],"卧狗","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F286bd353a407d021fbf2a07fe1ce5d04.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":210,"tags":230,"thumbUrl":231,"material":32,"size":33,"collection":53,"collections":232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},253527,"huang-you-ci-yi-shou-yi-ming-253527","黄釉瓷异兽",[18,23,212,124,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa936346d765194281da00dc4a7e1be26.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":18,"author":19,"museum":20,"description":62,"tags":237,"thumbUrl":241,"material":32,"size":33,"collection":53,"collections":242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},253525,"bai-you-ci-lv-cai-gou-yi-ming-253525","白釉瓷绿彩狗",[27,23,7,24,238,239,124,240],"绿彩","釉彩装饰","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa465ccbb2d842e69739f0f0b6df24b42.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":20,"description":143,"tags":247,"thumbUrl":10,"material":32,"size":33,"collection":53,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},253522,"qing-you-ci-hua-cai-nv-zuo-xiang-yi-ming-253522","青釉瓷画彩女坐像",[27,23,145,248,156,25,112,7],"画彩",[],1777535719594]