[{"data":1,"prerenderedAt":96},["ShallowReactive",2],{"subject-ci-zhen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10603,"ci-zhen","瓷枕","瓷枕画高清赏析","精选中国历代瓷枕题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd936984eb76c2d620657eb7bca47d51f.jpg",0,6,[14,36,52,62,72,82],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},262242,"ci-zhou-yao-bai-di-hei-hua-shi-wen-ru-yi-tou-xing-zhen-yi-ming-262242","磁州窑白地黑花诗文如意头形枕","宋","佚名","藏地不详","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[23,24,7,25,26,27,28],"陶瓷","白地黑花","诗文","书法","如意形","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fcbc7463cdda917a02031b51687ffb6.jpg","未知","Xcm*Xcm","瓷器精选",[32],2,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":48,"material":30,"size":31,"collection":49,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":35},260994,"qing-hua-zhe-zhi-hua-wen-chang-fang-zhen-yi-ming-260994","青花折枝花纹长方枕","清","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。",[23,43,44,45,46,47,28,7],"青花","折枝花纹","梅","竹","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bc00fcbfc291bcee8b86dc840248d2.jpg","",[],1,{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":60,"material":30,"size":31,"collection":32,"collections":61,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":35},260765,"ji-zhou-yao-lv-you-ke-hua-zhen-yi-ming-260765","吉州窑绿釉刻花枕","吉州窑，是汉族传统制瓷工艺中的珍品，作为江南地区（江西吉安）一座举世闻名的综合性瓷窑，它具有浓厚的地方风格与汉民族艺术特色。吉州窑的丰富烧瓷，经验和名工巧匠对江西地区瓷业的发展提高，曾起过相当重要的促进作用。吉州古窑兴于晚唐，盛于两宋，衰于元末，因地命名，因当时永和又为东昌县治，故又名东昌窑、永和窑。吉州窑产品精美丰富，尤以黑釉瓷（亦称天目釉瓷）产品著称，其独创的“木叶天目”、“剪纸贴花天目”和“玳瑁天目”饮誉中外。洒釉、虎皮天目等也是吉州窑的标志性品种。\n卞向和在对中国陶瓷发展中对吉州窑有过认识，他指出：吉州窑在中国陶瓷发展中具有十分重要的意义，吉州窑不仅将中原的制瓷工艺溶于之中，还将吉州本地的人文情趣绘于瓷器上，并在造型，瓷的机理上有新的变化，使吉州窑成为中国瓷的重要品类，才使古代的欧洲、中东各国的王室贵族爱上吉州瓷。",[23,58,59,7,28],"绿釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acc05fc42192b8f130673d3f3e15707.jpg",[32],{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":70,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":71},259798,"lin-ru-yao-qing-you-yin-hua-xi-yi-ming-259798","临汝窑青釉印花洗","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，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。”",[23,7,68,58,28,69],"兽","雕塑",[32],"37474F",{"id":73,"slug":74,"title":75,"dynasty":18,"author":19,"museum":20,"description":76,"tags":77,"thumbUrl":79,"material":30,"size":31,"collection":49,"collections":80,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},260817,"bai-di-hei-cai-ti-yi-nan-xiao-zhen-zhen-yi-ming-260817","白地黑彩题“宜男小枕”枕","这件瓷枕造型温婉柔和，边缘随形勾勒墨线框栏，粗粝胎质配素净白釉，带着宋时民间造物的质朴拙趣。黑彩题字笔意恣肆率性，兼具草书的灵动写意，将“宜男”的祈福心意藏于率性笔墨之中。\n\n作为宋时磁州窑系典型器物，它跳脱官窑的精致规整，以极简的黑白配色，将吉祥祈愿融于日常用物，刻画出市井日常的温润期许，带着浓厚的世俗烟火暖意，尽显宋韵民间美学的随性舒展。",[23,28,78,26,7],"白地黑彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a662eb7dc2efebb3eb19a0cc70fb72.jpg",[],"795548",{"id":83,"slug":84,"title":85,"dynasty":86,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":94,"material":30,"size":31,"collection":49,"collections":95,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},260428,"qing-bai-you-su-tai-lou-hua-chang-fang-zhen-yi-ming-260428","青白釉素胎镂花长方枕","元","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。",[23,28,89,90,91,92,93,7],"雕刻","镂花","荷花","素胎","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6992af50cafabb7216e3bd2c76cab52.jpg",[],1777535749478]