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皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36],"铜版画","工笔","界画","中西合璧","楼阁","喷泉","园林","树木","山石","水池","建筑","庭院","栏杆","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg","",[],84,3,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":64,"material":65,"size":38,"collection":38,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":42},220556,"sun-duo-ci-xiang-xu-bei-hong-220556","孙多慈像","民国","徐悲鸿","中央美术学院美术馆","以明暗铺陈氛围感，少女慵懒斜倚摇椅，月白素旗袍勾勒出柔婉身形，湖蓝领结点亮素雅色调。温婉沉静的神态被细腻笔触精准捕捉，发丝晕染蓬松柔和，白袜高跟衬出少女青涩娇柔。\n\n画室的雕塑陈设铺展出雅致的创作氛围，暖棕底色晕开静谧温柔。以西画光影技法勾勒衣物柔润质感与面部细腻肌理，又揉进东方审美里的含蓄气韵，将少女灵动又沉静的独特气质定格，让画室的沉静创作氛围与少女的柔美融为一体，写实功力与抒情色彩兼具，尽显温柔雅致的隽永美感。",[52,53,54,55,56,7,57,58,59,60,61,62,63],"油画","写实","人物","美人","摇椅","画笔","容器","室内","衣帽","民国风格","肖像","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca0855ccefd5119e84146509fa7ef5e.jpg","布面油彩",[],71,{"id":69,"slug":70,"title":71,"dynasty":18,"author":72,"museum":20,"description":73,"tags":74,"thumbUrl":79,"material":80,"size":81,"collection":82,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},254855,"de-hua-yao-bai-you-liu-hai-xi-chan-xiang-yi-ming-254855","德化窑白釉刘海戏蟾像","佚名","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。",[75,76,77,54,78,7],"清代","陶瓷","白釉","蟾蜍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac24d7c4a20465e25b16cedd2d56d21e.jpg","未知","Xcm*Xcm","瓷器精选",[82],9,"37474F",{"id":87,"slug":88,"title":89,"dynasty":90,"author":72,"museum":20,"description":91,"tags":92,"thumbUrl":100,"material":80,"size":81,"collection":38,"collections":101,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},252765,"tao-huang-you-niu-yi-ming-252765","陶黄釉牛","隋","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。",[76,93,94,95,96,97,7,98,99],"陶制","黄釉","器","牛","兽","隋代","釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa752803ad7745f99861433506dd7795.jpg",[],{"id":103,"slug":104,"title":105,"dynasty":106,"author":72,"museum":20,"description":107,"tags":108,"thumbUrl":113,"material":80,"size":81,"collection":38,"collections":114,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":42},231536,"er-tong-diao-su-yi-ming-231536","儿童雕塑","宋","褐釉斑驳，带着时光浸养出的温润包浆，粗粝陶石的肌理藏着市井手作的质朴温度。孩童背身跪坐，发髻挽得灵动俏皮，脊背柔和起伏，将稚拙身形的松弛憨态藏于背影之中。衣褶寥寥数笔，却生动勾勒出短打的利落，暗合宋人简约的审美意趣。\n\n没有精巧雕饰，全凭随性的刀笔捕捉童真。仿佛正凝神专注于身前趣事，沉静又带着孩童特有的天真慵懒。这是民间匠人随手捏就的日常意趣，把千年前的市井童趣凝在陶土之中，拙朴鲜活，静静晕开宋时平凡日常里的温柔底色。",[76,7,109,110,54,111,112,53],"雕刻","俑","儿童","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b81015aba952a2132b7aed591a70cfe.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":18,"author":72,"museum":20,"description":73,"tags":119,"thumbUrl":123,"material":80,"size":81,"collection":82,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},256110,"de-hua-yao-guan-yin-pu-sa-zuo-xiang-yi-ming-256110","德化窑观音菩萨坐像",[76,120,54,121,122,75,7],"宗教","坐像","白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa278ecc34caf43d3300b5d4b42107a3.jpg",[82],8,"795548",{"id":128,"slug":129,"title":130,"dynasty":18,"author":72,"museum":20,"description":131,"tags":132,"thumbUrl":135,"material":80,"size":81,"collection":82,"collections":136,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},252804,"shi-wan-yao-lan-lv-you-fu-xi-luo-han-zuo-xiang-yi-ming-252804","石湾窑蓝绿釉抚膝罗汉坐像","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。"",[76,7,133,120,54,134],"青绿釉","罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5259eb756811d60d8b1bab7939825a4d.jpg",[82],{"id":138,"slug":139,"title":140,"dynasty":106,"author":72,"museum":20,"description":141,"tags":142,"thumbUrl":143,"material":80,"size":81,"collection":38,"collections":144,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":42},231535,"ren-ou-diao-su-yi-ming-231535","人偶雕塑","莹白釉面晕开深浅不一的岁月斑驳，残损的躯体并未折损其沉静气韵。匠者以洗练的手法刻划衣褶，线条顺着体态自然起伏垂落，寥寥起伏便将织物的柔润质感与人物安然的姿态勾勒入微，尽显造型把控的深厚功力。\n\n虽缺失头部与细节，却凭留白般的残缺生出侘寂之美，暗合内敛雅致的审美意趣。静穆的气质历经千年沉淀愈发厚重，带着古旧的温润质感，静静诉说着往昔的工艺匠心，将往昔造物中克制的雅致尽数藏于残躯之中。",[106,76,7,110,54,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90671d18a584e3cc92f2ab4e209fb6ca.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":106,"author":72,"museum":20,"description":149,"tags":150,"thumbUrl":152,"material":80,"size":81,"collection":38,"collections":153,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":42},226654,"ren-ou-shi-wu-yi-ming-226654","人偶饰物","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。",[112,76,7,54,63,151],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47367bb36c116f131c223cbaa0f7da0f.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":72,"museum":20,"description":73,"tags":158,"thumbUrl":160,"material":80,"size":81,"collection":82,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":85},255799,"de-hua-yao-bai-you-guan-yu-zuo-xiang-yi-ming-255799","德化窑白釉关羽坐像",[75,76,159,77,54,121,120,7,109],"德化窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d81fba7fdaace8308749fb79e861d2.jpg",[82],7,{"id":164,"slug":165,"title":166,"dynasty":167,"author":72,"museum":20,"description":168,"tags":169,"thumbUrl":172,"material":80,"size":81,"collection":38,"collections":173,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":126},253261,"san-cai-ma-yi-ming-253261","三彩马","唐","这匹陶马筋骨雄健，昂首挺立，鬃毛齐整利落，鼻翼贲张仿佛正喷吐热气，神骏之气扑面而来。褐黄主釉沉稳厚重，绿釉点缀于鞍鞯与络头饰件，鲜亮明快，釉色交融晕散，晕染出独有的雍容热烈。鞍具纹饰精巧细密，垂饰灵动雅致，将仪仗骏马的华贵气度尽显无遗。它早已跳脱陶土摆件的局限，带着长安市上良驹的昂扬意气，定格住那个时代对力量与风雅的极致追求，静静诉说着独属于盛唐的恢弘雄风。",[167,76,7,170,171,97,95],"三彩釉","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2c4cc8cc8e9eb6ea2ae8f0cae57c5.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":16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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[190,63,120,54,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6193bd9a42b01aea5ddb07983bcade.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":18,"author":72,"museum":20,"description":197,"tags":198,"thumbUrl":201,"material":80,"size":81,"collection":38,"collections":202,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":126},258721,"hong-you-lao-zi-qi-qing-niu-ci-xiang-yi-ming-258721","红釉老子骑青牛瓷像","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。",[76,75,54,96,199,200,7],"红釉","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e313ebe1c92dd401ebfc35dc80b779.jpg",[],5,{"id":205,"slug":206,"title":207,"dynasty":18,"author":72,"museum":20,"description":131,"tags":208,"thumbUrl":209,"material":80,"size":81,"collection":82,"collections":210,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":85},255582,"shi-wan-yao-ba-xian-tie-guai-li-xiang-yi-ming-255582","石湾窑八仙铁拐李像",[76,120,54,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccb9706430341dd31e410076e257f6f.jpg",[82],{"id":212,"slug":213,"title":214,"dynasty":167,"author":72,"museum":20,"description":215,"tags":216,"thumbUrl":220,"material":80,"size":81,"collection":82,"collections":221,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":126},254525,"qiong-yao-huang-you-hou-yi-ming-254525","邛窑黄釉猴","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[167,76,94,217,97,7,218,219],"猴","釉色","动物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99347c5a8bb3d044de80f307fab7ce3a.jpg",[82],{"id":223,"slug":224,"title":225,"dynasty":106,"author":72,"museum":20,"description":197,"tags":226,"thumbUrl":227,"material":80,"size":81,"collection":82,"collections":228,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":85},254260,"huang-bao-yao-nv-zuo-xiang-yi-ming-254260","黄堡窑女坐像",[112,76,54,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16d3267ded175bdfcac1a43954089b6.jpg",[82],{"id":230,"slug":231,"title":232,"dynasty":18,"author":72,"museum":20,"description":233,"tags":234,"thumbUrl":238,"material":80,"size":81,"collection":38,"collections":239,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":126},252826,"ni-ren-zhang-su-cai-hui-shi-nv-zuo-xiang-yi-ming-252826","泥人张塑彩绘侍女坐像","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。",[18,235,236,63,54,237,55,151,7],"泥塑","彩绘","侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc38b6d49d197b42609781a0b0dd45e13.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":106,"author":72,"museum":20,"description":149,"tags":244,"thumbUrl":248,"material":80,"size":81,"collection":38,"collections":249,"showCount":203,"zanCount":250,"manualWeight":11,"mainColor":42},226657,"shi-er-shu-xiang-long-tou-yi-ming-226657","十二属相－龙头",[7,93,245,246,247,110,54],"生肖","龙","兽首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F544927557ded9758bb1db0769c916f15.jpg",[],1,{"id":252,"slug":253,"title":254,"dynasty":18,"author":72,"museum":20,"description":255,"tags":256,"thumbUrl":260,"material":80,"size":81,"collection":82,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":85},260339,"peng-cheng-yao-bai-di-hei-he-cai-ti-zi-guan-yin-yi-ming-260339","彭城窑白地黑褐彩提子观音","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[76,120,257,258,259,7,54],"观音","送子观音","白地黑褐彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823e2dc79e38e021cacdf4fe6f920d45.jpg",[82],4,{"id":264,"slug":265,"title":266,"dynasty":267,"author":72,"museum":20,"description":255,"tags":268,"thumbUrl":271,"material":80,"size":81,"collection":82,"collections":272,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":85},256068,"peng-cheng-yao-bai-you-zhe-cai-shi-yi-ming-256068","彭城窑白釉赭彩狮","明",[269,76,270,97,7],"明代","白釉赭彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14b5e7bba1bb27ea1b457d1c1269bbe.jpg",[82],{"id":274,"slug":275,"title":276,"dynasty":267,"author":72,"museum":20,"description":233,"tags":277,"thumbUrl":280,"material":80,"size":81,"collection":38,"collections":281,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":85},255870,"san-cai-zhen-wu-di-zuo-xiang-yi-ming-255870","三彩真武帝坐像",[269,76,278,7,279,54,246,63,121],"三彩","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f9112dea1853e14692bef5b373eac5.jpg",[],{"id":283,"slug":284,"title":285,"dynasty":47,"author":72,"museum":20,"description":286,"tags":287,"thumbUrl":289,"material":80,"size":81,"collection":38,"collections":290,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":85},255408,"tong-pu-sa-li-xiang-yi-ming-255408","铜菩萨立像","此造像身形修挺，火焰背光层叠舒展，晕染出庄重神圣的氛围感。菩萨宝冠束发，面容温婉柔和，垂落的璎珞与天衣勾勒出曼妙身姿，线条婉转流畅，将神性的端严与柔美融合无间。左手持净瓶，仪态沉静慈悲，立姿安肃稳重，足下莲台精巧，方座沉稳厚重。整体包浆醇厚古雅，铜色沉敛温润，铸刻工艺细致入微，把菩萨悲悯沉静的气质刻画尽致，在古朴的铜色间，晕开旧时光沉淀下的沉静禅意，尽显宗教造像的庄严法度与手工匠造的精妙质感。",[288,109,120,54,47,7],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8087daf07803d73bfb47c4d1b20599.jpg",[],{"id":292,"slug":293,"title":276,"dynasty":18,"author":72,"museum":20,"description":233,"tags":294,"thumbUrl":295,"material":80,"size":81,"collection":38,"collections":296,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":85},255395,"san-cai-zhen-wu-di-zuo-xiang-yi-ming-255395",[75,76,278,120,54,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e631d71c61ea9f18d7f3827bc9d79.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":90,"author":72,"museum":20,"description":91,"tags":301,"thumbUrl":302,"material":80,"size":81,"collection":38,"collections":303,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":126},253798,"tao-huang-you-ma-yi-ming-253798","陶黄釉马",[98,76,94,171,7,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08fcb01ca7e1bd1b7a055c174a0f40e7.jpg",[],{"id":305,"slug":306,"title":307,"dynasty":308,"author":72,"museum":20,"description":309,"tags":310,"thumbUrl":313,"material":80,"size":81,"collection":38,"collections":314,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":42},253211,"tao-gong-shou-nv-li-yong-yi-ming-253211","陶拱手女立俑","汉","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[308,311,110,54,7,312],"陶","拱手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d96f151f56e984c6751994d208e526c.jpg",[],{"id":316,"slug":317,"title":318,"dynasty":319,"author":72,"museum":20,"description":309,"tags":320,"thumbUrl":323,"material":80,"size":81,"collection":38,"collections":324,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":126},253164,"tao-wen-li-yong-yi-ming-253164","陶文吏俑","南北朝",[319,76,110,54,321,109,93,322,7],"文吏","古代人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e7e335a3a7b6feca2e01fca90243d41.jpg",[],{"id":326,"slug":327,"title":328,"dynasty":90,"author":72,"museum":20,"description":309,"tags":329,"thumbUrl":331,"material":80,"size":81,"collection":38,"collections":332,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":85},253140,"tao-hua-cai-wu-shi-yong-yi-ming-253140","陶画彩武士俑",[76,63,110,54,109,236,98,330,93,7],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6844f4227ceddf92c2b7a6853e46112.jpg",[],{"id":334,"slug":335,"title":336,"dynasty":106,"author":72,"museum":20,"description":149,"tags":337,"thumbUrl":342,"material":80,"size":81,"collection":38,"collections":343,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":126},226674,"shi-zi-yi-ming-226674","狮子",[76,109,97,338,7,339,340,341],"宋代风格","兽类造型","传统工艺","陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff99f929266994e3b4da57f40249418f9.jpg",[],{"id":345,"slug":346,"title":347,"dynasty":18,"author":72,"museum":20,"description":348,"tags":349,"thumbUrl":354,"material":80,"size":81,"collection":38,"collections":355,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},258708,"fen-cai-diao-su-xie-guo-pan-yi-ming-258708","粉彩雕塑蟹果盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[75,350,7,76,63,351,352,353,95],"粉彩","蟹","果实","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7f1111c38c24e090f80c6e1d57749.jpg",[],{"id":357,"slug":358,"title":359,"dynasty":18,"author":72,"museum":20,"description":348,"tags":360,"thumbUrl":363,"material":80,"size":81,"collection":38,"collections":364,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},258707,"bai-di-fen-cai-diao-su-xie-guo-pan-yi-ming-258707","白地粉彩雕塑蟹果盘",[18,76,350,7,361,63,351,362,353],"白地","果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e05553c0808b717a7baa22cc9b769f.jpg",[],{"id":366,"slug":367,"title":368,"dynasty":90,"author":72,"museum":20,"description":197,"tags":369,"thumbUrl":373,"material":80,"size":81,"collection":38,"collections":374,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":126},254603,"tao-hua-cai-ya-yi-ming-254603","陶画彩鸭",[98,76,370,63,371,372,7],"画彩","禽鸟","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc7a7eacd7d1a7786412b11deeedb4.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":90,"author":72,"museum":20,"description":379,"tags":380,"thumbUrl":381,"material":80,"size":81,"collection":38,"collections":382,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":85},254113,"tao-qing-you-nan-li-yong-yi-ming-254113","陶青釉男立俑","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。”",[90,76,200,110,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2833982871309a2f6bb8fd5dc5805782.jpg",[],{"id":384,"slug":385,"title":386,"dynasty":90,"author":72,"museum":20,"description":91,"tags":387,"thumbUrl":390,"material":80,"size":81,"collection":38,"collections":391,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":85},253901,"tao-huang-you-luo-tuo-yi-ming-253901","陶黄釉骆驼",[90,76,388,94,7,389,97],"陶俑","骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437a13c7565ebffd2eed2aca85600918.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":308,"author":72,"museum":20,"description":309,"tags":396,"thumbUrl":400,"material":80,"size":81,"collection":38,"collections":401,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":126},253507,"tao-wu-dao-yong-yi-ming-253507","陶舞蹈俑",[110,388,397,7,398,399],"舞蹈俑","舞乐","人物俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5fa6c496694e704884dfe1928f05812.jpg",[],{"id":403,"slug":404,"title":405,"dynasty":90,"author":72,"museum":20,"description":91,"tags":406,"thumbUrl":410,"material":80,"size":81,"collection":38,"collections":411,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":85},253423,"tao-huang-you-nan-li-yong-yi-ming-253423","陶黄釉男立俑",[76,110,54,94,407,7,408,409],"隋代风格","模塑","施釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbec918ab47aede2bb28b78f8a0c340.jpg",[],{"id":413,"slug":414,"title":415,"dynasty":416,"author":417,"museum":20,"description":418,"tags":419,"thumbUrl":439,"material":80,"size":81,"collection":38,"collections":440,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":126},232347,"a-er-ma-74-lao-lun-si-a-er-ma-ta-de-ma-232347","阿尔玛74","不详","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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Leys）的画室学习。",[420,52,53,421,54,422,423,424,425,426,427,7,428,429,430,431,432,433,190,434,435,436,437,438],"新古典主义","古希腊场景","大理石建筑","花环","火炬","陶罐","青铜器","乐器","水壶","篮子","常春藤","祭祀庆典","火焰","烟雾","大理石地砖","古希腊服饰","持物","演奏","交谈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4e26735c4da6d85050c5ed75c550790.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":416,"author":72,"museum":20,"description":445,"tags":446,"thumbUrl":10,"material":80,"size":81,"collection":38,"collections":450,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},225442,"fu-shi-hui-200-yi-ming-225442","浮世绘200","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[447,448,63,54,449,95,7],"浮世绘","木刻","菊",[],{"id":452,"slug":453,"title":454,"dynasty":416,"author":72,"museum":20,"description":455,"tags":456,"thumbUrl":463,"material":80,"size":81,"collection":38,"collections":464,"showCount":465,"zanCount":11,"manualWeight":11,"mainColor":42},288621,"jean-jacques-franc-ois-le-barbier-design-for-a-torche-re-yi-ming-288621","Jean-Jacques-François 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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。”",[76,674,97,675,676,7],"瓷枕","绿釉","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd936984eb76c2d620657eb7bca47d51f.jpg",[82],{"id":680,"slug":681,"title":682,"dynasty":18,"author":72,"museum":20,"description":197,"tags":683,"thumbUrl":687,"material":80,"size":81,"collection":38,"collections":688,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":85},256182,"kong-que-lv-you-jia-zi-shi-zi-yi-ming-256182","孔雀绿釉加紫狮子",[75,76,684,685,336,97,7,686],"孔雀绿釉","紫釉","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3da85963a82b17a0562491bc988bff.jpg",[],{"id":690,"slug":691,"title":300,"dynasty":90,"author":72,"museum":20,"description":91,"tags":692,"thumbUrl":693,"material":80,"size":81,"collection":38,"collections":694,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":126},255953,"tao-huang-you-ma-yi-ming-255953",[76,99,94,7,171,110,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa7e174b8130ba0c6ecf7d38beb4be3.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":416,"author":72,"museum":20,"description":197,"tags":699,"thumbUrl":700,"material":80,"size":81,"collection":38,"collections":701,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":126},255873,"tao-bi-xie-yi-ming-255873","陶辟邪",[76,7,97,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3677a5744148fc0bb38d9e1a3396989c.jpg",[],{"id":703,"slug":704,"title":705,"dynasty":106,"author":72,"museum":20,"description":131,"tags":706,"thumbUrl":708,"material":80,"size":81,"collection":82,"collections":709,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":126},255631,"shi-wan-yao-lv-you-ren-tou-xiang-yi-ming-255631","石湾窑绿釉人头像",[112,707,76,675,54,7],"石湾窑风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee27b4bfb80d1c837041904e14f9f27.jpg",[82],{"id":711,"slug":712,"title":713,"dynasty":18,"author":72,"museum":20,"description":233,"tags":714,"thumbUrl":717,"material":80,"size":81,"collection":38,"collections":718,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":126},255580,"ci-shan-shi-song-shu-da-mo-zuo-xiang-yi-ming-255580","瓷山石松树达摩坐像",[76,7,120,715,716,31],"达摩","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf48c25486841eaa0c71dbac61cd3565.jpg",[],{"id":720,"slug":721,"title":558,"dynasty":319,"author":72,"museum":20,"description":309,"tags":722,"thumbUrl":723,"material":80,"size":81,"collection":38,"collections":724,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":85},255530,"tao-wu-shi-yong-yi-ming-255530",[319,76,341,54,330,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8290f0a9c0aac01b1682d8484159c8f5.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":308,"author":72,"museum":20,"description":309,"tags":729,"thumbUrl":733,"material":80,"size":81,"collection":38,"collections":734,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":85},255211,"tao-hua-cai-nv-gui-yong-yi-ming-255211","陶画彩女跪俑",[730,93,370,7,54,731,732],"汉代","女俑","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4950166ce50b789440a6b9c4c07b6af.jpg",[],{"id":736,"slug":737,"title":728,"dynasty":308,"author":72,"museum":20,"description":309,"tags":738,"thumbUrl":740,"material":80,"size":81,"collection":38,"collections":741,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":42},255210,"tao-hua-cai-nv-gui-yong-yi-ming-255210",[110,341,236,399,7,739],"陪葬品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc82aea45c3e089d05d11dda2f2cd700b.jpg",[],{"id":743,"slug":744,"title":745,"dynasty":319,"author":72,"museum":20,"description":309,"tags":746,"thumbUrl":748,"material":80,"size":81,"collection":38,"collections":749,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":85},255093,"tao-hua-cai-gong-shou-nan-li-yong-yi-ming-255093","陶画彩拱手男立俑",[319,311,370,110,54,747,312,7],"男立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729c7210b312b08edfc159d76d3d41d2.jpg",[],{"id":751,"slug":752,"title":753,"dynasty":308,"author":72,"museum":20,"description":309,"tags":754,"thumbUrl":755,"material":80,"size":81,"collection":38,"collections":756,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":85},254869,"tao-li-yong-yi-min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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。",[76,940,941,473,633,7],"青花","寿星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669d0261cf6b8d67a7fbb5a38ba0a283.jpg",[],{"id":945,"slug":946,"title":947,"dynasty":267,"author":72,"museum":20,"description":197,"tags":948,"thumbUrl":950,"material":80,"size":81,"collection":38,"collections":951,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},257668,"mi-se-you-da-mo-xiang-yi-ming-257668","米色釉达摩像",[269,76,120,54,7,949],"米色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05cf6ad28052a3447126101ad830f85.jpg",[],{"id":953,"slug":954,"title":779,"dynasty":308,"author":72,"museum":20,"description":780,"tags":955,"thumbUrl":957,"material":80,"size":81,"collection":38,"collections":958,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},256152,"tao-gou-yi-ming-256152",[308,341,76,97,782,528,537,93,7,956],"汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8851d23abc81c86847a8861c73cacba7.jpg",[],{"id":960,"slug":961,"title":962,"dynasty":267,"author":72,"museum":20,"description":233,"tags":963,"thumbUrl":967,"material":80,"size":81,"collection":38,"collections":968,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},256139,"shi-sou-kuan-guan-yin-zuo-xiang-yi-ming-256139","“石叟”款观音坐像",[288,109,120,54,7,964,965,966,893],"明代风格","观音造像","衣纹刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad90e7c041483a2b21d6b7812b20d0d.jpg",[],{"id":970,"slug":971,"title":972,"dynasty":267,"author":72,"museum":20,"description":973,"tags":974,"thumbUrl":980,"material":80,"size":81,"collection":38,"collections":981,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},256116,"bai-you-ci-yu-lan-guan-yin-pu-sa-li-xiang-yi-ming-256116","白釉瓷鱼篮观音菩萨立像","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， 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。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。",[76,120,54,77,975,269,7,976,257,977,978,979],"立像","白釉瓷","菩萨","立姿","鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3240b79825e6394a2ea551b0ec46061e.jpg",[],{"id":983,"slug":984,"title":847,"dynasty":167,"author":72,"museum":20,"description":309,"tags":985,"thumbUrl":986,"material":80,"size":81,"collection":38,"collections":987,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},256109,"tao-nan-li-yong-yi-ming-256109",[167,93,7,54,110,399,388,975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc7d822ec4821ce4f4e55f4dd536c6d.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":167,"author":72,"museum":20,"description":309,"tags":992,"thumbUrl":993,"material":80,"size":81,"collection":38,"collections":994,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},256092,"san-cai-qi-shi-yong-yi-ming-256092","三彩骑狮俑",[167,76,278,110,97,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f0f45a9973f15071e154a87966ce8.jpg",[],{"id":996,"slug":997,"title":998,"dynasty":18,"author":72,"museum":20,"description":999,"tags":1000,"thumbUrl":1002,"material":80,"size":81,"collection":38,"collections":1003,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},256061,"su-san-cai-shi-yi-ming-256061","素三彩狮","昂首瞋目，卷鬃虬劲，瑞狮大口阔张，将镇宅神兽的威仪尽数铺展。绿釉晕染躯体，茄紫釉勾勒鬃背，黄釉点缀饰件，三彩素净古雅，色泽层次分明却相融和谐，毫无艳俗之感。\n\n狮身侧驮灯柱，将瑞兽祈福的寓意与实用功能相融。它雄踞镂空方座，身姿挺拔矫健，釉色之下肌肉线条隐约可见，静穆体态暗含勃发劲力，把瑞兽的威严与憨拙揉为一体，藏着民间工匠灵动的造物巧思，将纳福护宅的愿景凝于方寸瓷塑之中，尽显古朴素净的彩瓷塑风韵。",[75,1001,76,97,7,63],"素三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086effd45a2f487bda52dbb7e08f774c.jpg",[],{"id":1005,"slug":1006,"title":1007,"dynasty":106,"author":72,"museum":20,"description":973,"tags":1008,"thumbUrl":1009,"material":80,"size":81,"collection":38,"collections":1010,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255984,"bai-you-ci-bao-gou-ren-xiang-yi-ming-255984","白釉瓷抱狗人像",[106,76,77,54,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10bba823b393f2de5173670eab620d5.jpg",[],{"id":1012,"slug":1013,"title":1014,"dynasty":106,"author":72,"museum":20,"description":1015,"tags":1016,"thumbUrl":1018,"material":80,"size":81,"collection":38,"collections":1019,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255977,"bai-ci-qi-ma-ren-xiang-yi-ming-255977","白瓷骑马人像","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。",[112,76,7,77,54,171,505,1017],"人像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9071993131807fd31c873103b094cdab.jpg",[],{"id":1021,"slug":1022,"title":534,"dynasty":167,"author":72,"museum":20,"description":1023,"tags":1024,"thumbUrl":1025,"material":80,"size":81,"collection":38,"collections":1026,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},255958,"tao-zhu-yi-ming-255958","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[167,93,97,528,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3d6024d4c13ccaf87871a6a43215f8.jpg",[],{"id":1028,"slug":1029,"title":1030,"dynasty":308,"author":72,"museum":20,"description":780,"tags":1031,"thumbUrl":1032,"material":80,"size":81,"collection":38,"collections":1033,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255946,"tao-hua-cai-ma-tou-yi-ming-255946","陶画彩马头",[730,76,236,171,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb920a0f0368b7cc24559a9bd8c9ea80f.jpg",[],{"id":1035,"slug":1036,"title":1030,"dynasty":308,"author":72,"museum":20,"description":780,"tags":1037,"thumbUrl":1038,"material":80,"size":81,"collection":38,"collections":1039,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},255928,"tao-hua-cai-ma-tou-yi-ming-255928",[308,311,236,171,7,341,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed5ed35fdf469d76b338db832b22c26.jpg",[],{"id":1041,"slug":1042,"title":1030,"dynasty":308,"author":72,"museum":20,"description":780,"tags":1043,"thumbUrl":1044,"material":80,"size":81,"collection":38,"collections":1045,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},255925,"tao-hua-cai-ma-tou-yi-ming-255925",[308,93,370,63,171,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F544b16548c7752f7188644fe27a2ea98.jpg",[],{"id":1047,"slug":1048,"title":870,"dynasty":167,"author":72,"museum":20,"description":309,"tags":1049,"thumbUrl":1050,"material":80,"size":81,"collection":38,"collections":1051,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255921,"tao-hua-cai-nan-li-yong-yi-ming-255921",[167,76,236,63,110,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23da2e2af061e15d596f31826be800aa.jpg",[],{"id":1053,"slug":1054,"title":1055,"dynasty":18,"author":72,"museum":20,"description":197,"tags":1056,"thumbUrl":1057,"material":80,"size":81,"collection":38,"collections":1058,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},255916,"tao-li-xiang-yi-ming-255916","陶立像",[76,7,54,75,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8211b73e040fd1d4ab589a10658893.jpg",[],{"id":1060,"slug":1061,"title":1062,"dynasty":106,"author":72,"museum":20,"description":973,"tags":1063,"thumbUrl":1064,"material":80,"size":81,"collection":38,"collections":1065,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255904,"bai-you-ci-ren-zuo-xiang-yi-ming-255904","白釉瓷人坐像",[106,76,77,54,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4174d48a7de85a9c5f96e8f765850d3.jpg",[],{"id":1067,"slug":1068,"title":1069,"dynasty":106,"author":72,"museum":20,"description":973,"tags":1070,"thumbUrl":1071,"material":80,"size":81,"collection":38,"collections":1072,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255779,"bai-you-ci-qi-lu-shou-xing-xiang-yi-ming-255779","白釉瓷骑鹿寿星像",[106,76,77,54,473,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8756d975b6eab11c839f2f8ad2b2f7e1.jpg",[],{"id":1074,"slug":1075,"title":1076,"dynasty":106,"author":72,"museum":20,"description":973,"tags":1077,"thumbUrl":1079,"material":80,"size":81,"collection":38,"collections":1080,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},255778,"bai-you-ci-hei-cai-shuang-lian-ren-li-xiang-yi-ming-255778","白釉瓷黑彩双连人立像",[112,76,1078,7,77,763,236,54,975],"瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e7ea21e1f6de4a6bc1c6e056869785.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":106,"author":72,"museum":20,"description":973,"tags":1085,"thumbUrl":1086,"material":80,"size":81,"collection":38,"collections":1087,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},255775,"bai-you-ci-tong-zi-xiang-yi-ming-255775","白釉瓷童子像",[112,76,54,77,7,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6147b072de086f7d25c993a0bfae4d.jpg",[],{"id":1089,"slug":1090,"title":1091,"dynasty":106,"author":72,"museum":20,"description":973,"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