[{"data":1,"prerenderedAt":550},["ShallowReactive",2],{"subject-die-4367":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4367,"die-4367","碟","碟画高清赏析","精选中国历代碟题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd4faabf2666a5d5f312c72d9dac72ae.jpg",0,57,[14,39,54,67,80,90,100,112,129,142,151,161,168,177,185,194,203,212,219,226,236,243,250,258,265,275,283,290,299,307,316,327,338,347,357,366,376,387,393,399,407,415,423,433,445,455,464,471,478,487,494,501,509,519,527,534,542],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},223981,"kang-xi-kuan-tong-tai-hua-fa-lang-lian-hua-shi-die-yi-ming-223981","康熙款 铜胎画珐瑯莲花式碟","清","佚名","藏地不详","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[23,24,25,26,27,28,29,30,7,31],"清代","铜胎画珐琅","珐瑯器","设色","工笔","莲花","花叶","缠枝","黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a7e87b21f50f586eac9beba2d32646.jpg","未知","Xcm*Xcm","",[],15,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":50,"material":33,"size":34,"collection":51,"collections":52,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":38},261324,"lin-ru-yao-qing-you-die-yi-ming-261324","临汝窑青釉碟","宋","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。”",[46,47,7,48,49],"陶瓷","青釉","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd78adfa39d34d3cc43248d9785d02115.jpg","瓷器精选",[51],2,{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":21,"tags":58,"thumbUrl":65,"material":33,"size":34,"collection":35,"collections":66,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":38},229119,"ci-tai-hua-fa-lang-zi-di-hua-hui-si-cun-die-yi-ming-229119","磁胎画珐瑯紫地花卉四寸碟",[23,59,60,26,46,61,62,63,64,7],"珐琅彩","磁胎画珐琅","花卉","荷花","藤蔓","紫地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddfc2c348fe67b3bb1c5a7cde889836.jpg",[],{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":77,"material":33,"size":34,"collection":35,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":38},281446,"yang-ci-wu-cai-miao-jin-hua-hui-die-yi-ming-281446","洋瓷五彩描金花卉碟","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。",[46,73,48,7,74,75,61,76],"琺瑯器","五彩","描金","玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5004e9814d2c6bb2ebd37c08b35c71a0.jpg",[],1,{"id":81,"slug":82,"title":83,"dynasty":18,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":88,"material":33,"size":34,"collection":35,"collections":89,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":38},262004,"qing-hua-pu-tao-wen-xiao-die-yi-ming-262004","青花葡萄纹小碟","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。",[46,86,87,48,7],"青花","葡萄纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e138a5a951661187bd69c3c682444d.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":94,"author":19,"museum":20,"description":84,"tags":95,"thumbUrl":98,"material":33,"size":34,"collection":35,"collections":99,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":38},260188,"bo-wu-zhai-kuan-qing-hua-hu-die-hua-niao-tu-die-yi-ming-260188","博物斋款青花蝴蝶花鸟图碟","明",[46,86,96,97,7,48],"花鸟","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a096740f443e2b6f7921abd869d3137.jpg",[],{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":109,"material":33,"size":34,"collection":35,"collections":110,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":111},258300,"fan-hong-cai-chan-zhi-ling-zhi-wen-die-yi-ming-258300","矾红彩缠枝灵芝纹碟","白釉莹润匀净，如凝脂映光。底足以青花勾勒回纹，工整流丽，自带沉静清雅的底色。外壁矾红缠枝灵芝蜿蜒舒展，红彩鲜亮饱和，线条柔婉却力道匀停，灵芝瓣叶饱满灵动，缠枝往复绵连，暗合福寿绵长的吉意。\n\n整器造型浅腹敞口，圈足利落秀挺，胎质轻薄坚密，将釉色的净、青花的雅、矾红的艳融于一身，配色明快和谐，纹饰疏密得宜，既有制式的规整克制，又带着雅致柔和的文人情趣，尽显彩瓷造作的精妙意趣。",[18,46,106,107,108,7,26],"矾红彩","缠枝纹","灵芝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919096e57180ef6a7ec2ac5ed44dfa2d.jpg",[],"BDBDBD",{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":127,"material":33,"size":34,"collection":35,"collections":128,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":38},245904,"yin-bing-jiu-bei-yi-ming-245904","银柄酒杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[23,118,119,120,121,122,123,7,124,125,126],"银器","金属器","饮酒器","日用器","壶","杯","柄","链","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58441fddc652cbdeb438066278ecd51a.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":43,"author":19,"museum":20,"description":71,"tags":133,"thumbUrl":139,"material":33,"size":34,"collection":35,"collections":140,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":141},227563,"mei-hua-die-yi-ming-227563","梅花碟",[43,134,135,7,136,137,138],"漆器","梅","器物","花瓣形","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747d315c70b3e0980fe011b795d40a97.jpg",[],"37474F",{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":149,"material":33,"size":34,"collection":35,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},269755,"kang-xi-kuan-pao-zhi-liu-fang-die-yi-ming-269755","康熙款匏制六方碟","此碟造型取六方形制，器身包浆温润沉厚，凝缩着时光浸养出的古朴质感。内壁以描金填彩饰满冰梅纹样，排布匀净工致，金彩在素底上晕出柔和光泽，细密纹饰尽显匠作精细。外壁则以匏器本真肌理示人，素净朴拙，与内壁的精巧繁丽形成鲜明对比，张弛之间尽显雅致分寸，是兼具实用与赏玩价值的文房清供，暗合雅致内敛的传统审美意趣。",[148,49,48,7,126],"匏器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeeef85dc3732c1309474f4efd2c50f9.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":155,"tags":156,"thumbUrl":159,"material":33,"size":34,"collection":35,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},269668,"kang-xi-kuan-pao-zhi-shou-zi-gou-lian-wen-die-yi-ming-269668","康熙款匏制寿字勾莲纹碟","以范模束缚幼匏而成器，外壁浅浮雕勾莲缠枝舒展柔婉，双螭拱寿，线条圆浑雅致，暗寄福寿偕臻的愿景。内膛髹漆黑亮如镜，暖棕匏色与冷调乌漆相映，朴拙天然与雅致工巧相融。匠者循天工而施人力，让造物随形就势，将日常碟盏化为兼具实用与赏玩价值的雅物，藏着旧时对器物美学与吉祥意涵的双重思量。",[148,134,126,157,158,48,7],"寿字纹","勾莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ada31d389c1a5ee1037f9a99c6a584.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":84,"tags":165,"thumbUrl":166,"material":33,"size":34,"collection":35,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},262301,"qing-hua-hua-hui-wen-xiao-die-yi-ming-262301","青花花卉纹小碟",[46,86,135,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa00e16c903e9dac68a81d5084ef8f58c.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":94,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":175,"material":33,"size":34,"collection":51,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},262265,"zhang-zhou-yao-xuan-de-kuan-bai-you-die-yi-ming-262265","漳州窑宣德款白釉碟","漳州是中国外销瓷的重要产地之一，陶瓷文化源远流长。明清时期，漳州月港兴起，漳州窑瓷器成为重要的输出产品，其独特的文化韵味和艺术魅力蜚声海内外。\n漳州窑出土瓷器多数是青花瓷，还有少量白瓷、青瓷；花仔楼窑址还有蓝釉、酱釉等单色釉瓷和五彩瓷（又称“红绿彩”）。在数众多的窑址生产了大批的陶瓷器，除了一部分供应国内市场外，相当大的部分是为了外销。\n较大器物（如大盘、大碗等）底足多粘砂。器形有大盘、盘、大碗、碗、碟、杯、钵、盒、罐、炉、瓶、器盖等。\n青花瓷的纹样有珍禽（凤凰、雉鸡、白鹭、芦雁、喜鹊等）、瑞兽（火龙、麒麟、狮子、蟠螭、玉兔、梅花鹿等）、花草（牡丹、荷花、兰草、折枝花、绣球花等）、杂宝、山水、楼阁、人物（婴戏、高士、高官厚禄、携琴观鹤、刘海戏蟾、魁星点斗等）吉祥文字（福、第、寿、佳、善、正、魁、玉人等）以及开光、锦地开光等等。青花和五彩大盘为出土瓷器中最有特色和代表性的器物。",[46,174,7,121],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f15e8b725f3b16cf0b03ea6fa9bac5.jpg",[51],{"id":178,"slug":179,"title":180,"dynasty":18,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":183,"material":33,"size":34,"collection":51,"collections":184,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},261612,"de-hua-yao-bai-you-die-yi-ming-261612","德化窑白釉碟","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。",[46,48,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8def33ad153dae7dd3423f4ffe285977.jpg",[51],{"id":186,"slug":187,"title":188,"dynasty":43,"author":19,"museum":20,"description":189,"tags":190,"thumbUrl":192,"material":33,"size":34,"collection":51,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},261523,"jun-yao-yue-bai-you-die-yi-ming-261523","钧窑月白釉碟","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[46,48,49,7,191],"月白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2a9f8fd8f5aca848b287d4a67707c5c.jpg",[51],{"id":195,"slug":196,"title":197,"dynasty":94,"author":19,"museum":20,"description":84,"tags":198,"thumbUrl":200,"material":33,"size":34,"collection":35,"collections":201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":202},261286,"jin-ming-ru-ping-kuan-qing-hua-chan-zhi-lian-wen-si-fang-wei-jiao-die-yi-ming-261286","金明汝平款青花缠枝莲纹四方委角碟",[46,48,86,199,7],"缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3738bc21b92dcf860bc9004985be2025.jpg",[],"F48FB1",{"id":204,"slug":205,"title":206,"dynasty":94,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":210,"material":33,"size":34,"collection":35,"collections":211,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},260441,"wan-li-kuan-wu-cai-zhe-zhi-hua-guo-wen-chang-fang-die-yi-ming-260441","万历款五彩折枝花果纹长方碟","此器四方敞口下收，承以方足，形制规整秀雅。外壁以青花勾勒轮廓，填饰五彩折枝寿桃，桃实饱满鲜活，红彩晕染出深浅浓淡，宛若将枝头熟桃凝于瓷上，苍绿叶片点缀其间，钴蓝釉色与鲜丽彩料相映成趣。釉面莹润亮泽，彩料厚重却不失通透，带着晚明瓷绘独有的朴拙生机，将祈愿长寿的吉祥寓意藏于日常食器之中，融装饰性与实用性为一体，尽显当时制瓷的灵动巧思与世俗意趣。",[46,48,74,209,7],"折枝花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec5b06708e8cd0e3c5c27b10fe335d6e.jpg",[],{"id":213,"slug":214,"title":206,"dynasty":94,"author":19,"museum":20,"description":215,"tags":216,"thumbUrl":217,"material":33,"size":34,"collection":35,"collections":218,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},260440,"wan-li-kuan-wu-cai-zhe-zhi-hua-guo-wen-chang-fang-die-yi-ming-260440","此碟造型秀雅，长方倭角搭配小高足，轮廓利落柔和。以青花勾勒枝蔓轮廓，填饰五彩折枝仙桃。红彩晕染桃实鲜亮匀净，尽显果实饱满丰腴；绿彩点染叶片娇嫩明快，青花发色沉稳沉静，诸色搭配明快谐和。纹饰疏朗有度，仙桃饱满丰硕暗合福寿祥瑞之意，尽显晚明五彩古雅明艳的典型风韵。方寸之间尽显制瓷匠人的精妙手艺，简约构图衬出彩瓷的明艳雅致，藏着晚明彩瓷装饰的灵动意趣，是明代彩瓷小品里的雅致佳作。",[46,48,74,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7425821e2469cd1bd44260f84c625ef6.jpg",[],{"id":220,"slug":221,"title":206,"dynasty":94,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":224,"material":33,"size":34,"collection":35,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},260439,"wan-li-kuan-wu-cai-zhe-zhi-hua-guo-wen-chang-fang-die-yi-ming-260439","此器造型秀巧玲珑，以青花勾勒骨脉，敷施五彩晕染。折枝花果鲜活饱满，朱红果实凝润鲜亮，青绿叶脉舒张灵动，青花的幽蓝衬出彩釉明妍，冷暖色调相映成趣。纹饰疏朗却意韵具足，寥寥数笔便将花果娇态尽显，尽显灵动写意的审美意趣，将日常小器晕染出雅致鲜活的烟火意趣，方寸之间尽显制瓷匠心。",[46,48,7,74,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4961931acd58ffcf3f0c0d50c54431.jpg",[],{"id":227,"slug":228,"title":206,"dynasty":94,"author":19,"museum":20,"description":229,"tags":230,"thumbUrl":234,"material":33,"size":34,"collection":35,"collections":235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},260438,"wan-li-kuan-wu-cai-zhe-zhi-hua-guo-wen-chang-fang-die-yi-ming-260438","四方委角浅碟，方足挺括，形制秀巧雅致。外壁以青花勾描轮廓，填饰五彩折枝寿桃，桃实饱满，黄晕丹红衬得鲜果娇憨可掬，苍润绿叶错落铺陈，辅以青花卷叶点缀釉面。内壁亦饰折枝花果，彩料发色古雅明快，红绿彩妍丽沉稳，青花幽蓝沉静，尽显晚明五彩典型风韵。构图疏朗清逸，笔触稚拙灵动，带着晚明民窑器物独有的朴拙意趣，简淡间见雅致，粗中有细，尽显万历彩瓷装饰特色，是明代民窑彩瓷小件中的不俗之作。",[46,48,74,209,7,231,232,233],"彩绘","果实","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43971d69345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,"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbf02c5679d65824aecacb523e891ad.jpg",[],{"id":377,"slug":378,"title":379,"dynasty":94,"author":19,"museum":20,"description":380,"tags":381,"thumbUrl":385,"material":33,"size":34,"collection":35,"collections":386,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},257470,"xuan-de-kuan-fang-long-quan-you-hua-hua-die-yi-ming-257470","宣德款仿龙泉釉划花碟","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。",[382,46,383,384,47,7,49],"明代","仿龙泉釉","划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6166bcfae464581e43445585ab118367.jpg",[],{"id":388,"slug":389,"title":379,"dynasty":94,"author":19,"museum":20,"description":380,"tags":390,"thumbUrl":391,"material":33,"size":34,"collection":35,"collections":392,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},257467,"xuan-de-kuan-fang-long-quan-you-hua-hua-die-yi-ming-257467",[382,46,383,384,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b870bcf5af50b4a6e8151ae2394b0d.jpg",[],{"id":394,"slug":395,"title":379,"dynasty":94,"author":19,"museum":20,"description":380,"tags":396,"thumbUrl":397,"material":33,"size":34,"collection":35,"collections":398,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},257463,"xuan-de-kuan-fang-long-quan-you-hua-hua-die-yi-ming-257463",[94,46,383,384,49,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ca50e6c4a66c53f30216a0bbc109f8.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":94,"author":19,"museum":20,"description":84,"tags":403,"thumbUrl":405,"material":33,"size":34,"collection":35,"collections":406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},257366,"wan-li-kuan-qing-hua-ju-ban-kou-die-yi-ming-257366","万历款青花菊瓣口碟",[46,86,94,7,404],"菊瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268acffd5f4f6ffa6ae67e36d356fcaf.jpg",[],{"id":408,"slug":409,"title":410,"dynasty":94,"author":19,"museum":20,"description":84,"tags":411,"thumbUrl":413,"material":33,"size":34,"collection":35,"collections":414,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},257280,"jia-jing-kuan-qing-hua-chan-zhi-ju-wen-die-yi-ming-257280","嘉靖款青花缠枝菊纹碟",[382,86,412,46,7,107],"缠枝菊纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93b966b7d1a2062d5d6fef17423b1022.jpg",[],{"id":416,"slug":417,"title":418,"dynasty":94,"author":19,"museum":20,"description":380,"tags":419,"thumbUrl":421,"material":33,"size":34,"collection":35,"collections":422,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},257159,"xuan-de-kuan-fang-long-quan-you-an-ke-hua-wen-die-yi-ming-257159","宣德款仿龙泉釉暗刻花纹碟",[46,383,420,7,382],"暗刻花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02afb75477c8d9892ad94745b81f1f9e.jpg",[],{"id":424,"slug":425,"title":426,"dynasty":94,"author":19,"museum":20,"description":427,"tags":428,"thumbUrl":431,"material":33,"size":34,"collection":35,"collections":432,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},256343,"yong-le-kuan-tian-bai-you-an-hua-long-wen-die-yi-ming-256343","永乐款甜白釉暗划龙纹碟","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。",[94,46,429,353,430,7],"甜白釉","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd85abca39c7bf68754434c621a0e0c.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":18,"author":19,"museum":20,"description":437,"tags":438,"thumbUrl":443,"material":33,"size":34,"collection":35,"collections":444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":202},251548,"hen-dou-si-tan-qing-yu-ju-ban-shi-die-yi-ming-251548","痕都斯坦青玉菊瓣式碟","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[23,439,440,126,441,7,442],"玉石","痕都斯坦风格","菊瓣造型","青玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1599e42cf5c0a0b3fa9d5f954dccd258.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":18,"author":19,"museum":20,"description":449,"tags":450,"thumbUrl":453,"material":33,"size":34,"collection":35,"collections":454,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},248710,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248710","黑漆描金缠枝莲团锦纹成份餐具-酱色碟","此碟釉色匀净莹润，如凝炼的酱色琥珀，温厚沉静。口沿以玄色勾勒出利落轮廓，与通体酱色相映，于素雅中添了几分层次。敞口浅腹的器型舒展柔和，矮圈足沉稳内敛，线条柔婉间不失端方气度。\n它摈弃繁饰，以釉色肌理传递东方极简意趣，釉面泛着细腻柔光，尽显单色釉器物的本真之美，静静流露澹然古雅的古典韵味。",[134,451,199,452,121,7],"黑漆描金","团锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10a1221ee9cb24488f99ad533b001bb.jpg",[],{"id":456,"slug":457,"title":448,"dynasty":18,"author":19,"museum":20,"description":458,"tags":459,"thumbUrl":462,"material":33,"size":34,"collection":35,"collections":463,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},248692,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248692","这只碟盏釉色匀净莹润，如凝炼的赤枫秋色，沉稳又带着温润暖意。口沿以乌金镶边，于敦朴器型间晕开一笔利落隽秀，浅坦的器身线条舒缓收束至底足，弧韵柔和雅致。\n\n它以素净釉色替代繁复雕绘，将东方极简美学藏于克制之中，釉面如凝脂般细腻沉静，触手温凉，尽显内敛端方的古典意蕴，静静安放间，便晕开一室雅致清宁。",[18,134,46,75,199,452,7,460,461],"餐具","酱色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf00b6cf2d5b5bc1a25a691a24cdb55.jpg",[],{"id":465,"slug":466,"title":448,"dynasty":18,"author":19,"museum":20,"description":467,"tags":468,"thumbUrl":469,"material":33,"size":34,"collection":35,"collections":470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},248691,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248691","敛口浅腹，高足挺拔舒展，器型似承露玉盘，线条圆融温婉。酱色漆层匀净莹润，沉穆的色泽如凝脂琥珀，触手温润滑腻。整器未施多余纹饰，以素髹尽显雅致风骨，将单色漆器的极简美学尽致发挥。没有繁缛雕琢，只以纯粹的漆色与利落器形，诠释内敛端方的气度，把材质本身的肌理美感作为表达核心，于质朴沉静中，诉说器物本真的审美与实用价值，是素髹漆器中的上乘之作。",[23,134,451,199,452,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd6bfb3059fc42cfbfff6be392530d5.jpg",[],{"id":472,"slug":473,"title":448,"dynasty":18,"author":19,"museum":20,"description":474,"tags":475,"thumbUrl":476,"material":33,"size":34,"collection":35,"collections":477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},248690,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248690","此碟器形舒展雅致，敞口浅腹搭配利落高足，线条婉转柔和，勾勒出极简风骨。通体酱红釉色匀净莹润，仿若凝炼的琥珀，在光影中晕开温润光泽，不见多余修饰，将素净之美推到极致。\n\n舍去繁缛纹饰，仅以纯粹釉色与极简器形传递东方意韵，留白间尽显内敛沉静的中式美学，暗合素雅平朴的古典审美，于素净里藏着匠心格调，是古典造物里极简雅致的典范。",[23,134,75,199,452,7,460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6bcf4eb0829e53d06f7a457c67af2e.jpg",[],{"id":479,"slug":480,"title":481,"dynasty":18,"author":19,"museum":20,"description":482,"tags":483,"thumbUrl":485,"material":33,"size":34,"collection":35,"collections":486,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},248688,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248688","黑漆描金缠枝莲团锦纹成份餐具--酱色碟","敞口浅腹搭配利落挺拔的高圈足，器型舒展简约，线条温婉流畅，尽显内敛雅致的清代造物意趣。通体施酱红漆，漆面匀净莹润，色泽沉穆内敛如琥珀凝脂，低调间尽显雅致质感。\n它褪去繁饰，以素净之态诠释器物本真之美，将实用与审美融于一体，尽显传统漆作工艺的含蓄匠心，静静诉说旧时食案间的雅致意趣，是清代日常漆作中素雅隽永的典型。",[18,134,75,199,452,7,460,484],"酱色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58990efddc0c8a9ba4b546d6f60f8377.jpg",[],{"id":488,"slug":489,"title":448,"dynasty":18,"author":19,"museum":20,"description":490,"tags":491,"thumbUrl":492,"material":33,"size":34,"collection":35,"collections":493,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},248681,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248681","此碟素洁雅致，通体酱红漆莹润亮泽，如凝脂琥珀般内敛温润。口沿以黑漆勾边，明暗相映，勾勒出利落器型，简净中藏精巧构思。浅腹敞口搭配矮圈足，线条舒展柔和，兼顾实用与赏玩之趣。\n\n它以纯粹漆色彰显质感，将内敛审美尽显无遗，静穆端庄的气韵扑面而来，尽显中式素朴清雅的美学意趣。简约却不简单，摩挲之间，可感匠人打磨的心意，于无声处诠释出中式器物的含蓄之美，是一件动人的漆艺佳器。",[23,134,75,199,452,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af091e5bdbd3bf798b575bda0459c53.jpg",[],{"id":495,"slug":496,"title":448,"dynasty":18,"author":19,"museum":20,"description":497,"tags":498,"thumbUrl":499,"material":33,"size":34,"collection":35,"collections":500,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},248680,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248680","这只漆碟通体覆着匀净的酱色漆衣，莹润如凝脂，内敛沉静。仅在口沿以乌金窄边勾勒轮廓，于素朴中添了一分利落的分寸感。\n\n弧腹自口沿缓缓收至圈足，线条舒展柔和，似一弯浅月落于案上，器型周正婉约。舍弃繁复纹饰，全凭漆色与造型传递雅致意蕴，将极简美学融入日常食器。虽为餐碟，却自带安然古雅的气质，触摸间仿佛能窥见旧时案头的烟火闲情，尽显内敛克制的东方意趣，把日常器物打磨成了含蓄的审美载体。",[134,451,199,452,460,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092b966b4534272078db71d9fb40f887.jpg",[],{"id":502,"slug":503,"title":448,"dynasty":18,"author":19,"museum":20,"description":504,"tags":505,"thumbUrl":507,"material":33,"size":34,"collection":35,"collections":508,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":202},248677,"hei-qi-miao-jin-chan-zhi-lian-tuan-jin-wen-cheng-fen-can-ju-jiang-se-die-yi-ming-248677","敞口弧腹，下承矮圈足，器型线条圆融舒展，自带端庄雅致的气韵。通身髹饰酱红漆，漆面匀净莹润，如琥珀凝光，在光线下漾出柔和内敛的柔光。口沿以细黑料勾边，在温润的底色间勾勒出利落轮廓，极简之中拿捏住精致分寸。\n\n它摒弃繁复纹饰，以素色凸显漆质本身的肌理美感，将日常实用器具打磨成兼具审美意趣的雅物，尽显中式美学里含蓄克制的雅致底蕴，是清代髹漆工艺极简美学的精巧体现。",[23,134,451,199,452,7,460,484,75,506],"缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1fd2aa2d1af72d31663e93fe51a282.jpg",[],{"id":510,"slug":511,"title":512,"dynasty":18,"author":19,"museum":20,"description":513,"tags":514,"thumbUrl":517,"material":33,"size":34,"collection":35,"collections":518,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},246789,"ti-hong-chan-zhi-lian-ba-bao-wen-bei-die-yi-ming-246789","剔红缠枝莲八宝纹杯碟","此器以剔红工艺精作，地纹摹仿编织篾席肌理，细密齐整，宛若锦缎。杯碟周身遍雕缠枝莲托八宝，缠枝婉转萦回，莲瓣饱满舒展，八宝纹饰错落隐现于花叶间，层次丰沛分明。杯内镶锡，兼顾审美与实用。\n\n朱红漆色历经时光晕染，凝出温润包浆，沉敛雅致。雕刻刀法圆熟爽利，构图繁而不紊，将吉祥意涵融于器形，尽显髹漆工艺的精巧匠意，静穆中透出华贵雅致，藏着传统手工艺的极致匠心。",[134,515,126,506,516,123,7,48],"剔红","八宝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290eab2f4fef71aceb7883eb63d260bd.jpg",[],{"id":520,"slug":521,"title":512,"dynasty":18,"author":19,"museum":20,"description":522,"tags":523,"thumbUrl":525,"material":33,"size":34,"collection":35,"collections":526,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246783,"ti-hong-chan-zhi-lian-ba-bao-wen-bei-die-yi-ming-246783","髹朱红漆为地，以细密锦纹衬底，杯腹浮雕缠枝莲托八宝纹样，花叶饱满舒展，线条柔婉灵动，杯口包镶素银，冷冽金属与暖润朱漆相映成趣，中和漆色浓艳。\n\n碟身纹饰与杯身呼应，盘心随形留出置杯位，外壁剔刻纹饰铺陈饱满却无拥塞之感，剔刻刀法圆润精熟，漆色沉穆匀净。整器将吉祥寓意融于细腻刀工，妍秀工致，尽显雕漆工艺的含蓄雅致，是茶席之上兼具审美与实用的佳器。",[18,134,515,524,126,506,516,123,7,48,120],"雕漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9e3dc7e5778ce51c8807404c5425ec.jpg",[],{"id":528,"slug":529,"title":512,"dynasty":18,"author":19,"museum":20,"description":530,"tags":531,"thumbUrl":532,"material":33,"size":34,"collection":35,"collections":533,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},246782,"ti-hong-chan-zhi-lian-ba-bao-wen-bei-die-yi-ming-246782","这套器物髹红漆为骨，地子摹竹编肌理，匀整细密，宛若篾编天成。杯身浮雕缠枝莲托八宝，卷叶柔婉，瑞物精巧，杯内包银，兼顾雅致与耐用。盘身纹饰与杯身呼应，浮雕铺陈饱满，刀工圆润细腻，走线流畅舒展。沉穆的朱红漆色自带古雅意蕴，将日常用器化作精工雅物，把雕漆工艺的华美与生活意趣相融，尽显传统漆作的匠心雅致。",[23,134,515,126,506,516,123,7,121,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d4d7128cff5eb3b78a8d700d414ebe2.jpg",[],{"id":535,"slug":536,"title":537,"dynasty":94,"author":19,"museum":20,"description":538,"tags":539,"thumbUrl":540,"material":33,"size":34,"collection":35,"collections":541,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},228576,"tian-bai-yun-long-wen-die-yi-ming-228576","甜白云龙纹碟","碟子的口部略外侈、浅壁、矮圈足。胎质细腻洁白，一件胎体极薄，一件略厚。通体施洁白温润的白釉，只在足底著地处露胎，胎质细腻洁白。器身内壁锥拱云龙纹二条，内底浅刻划三朵祥云，云带长云脚，呈品字形排列。南京玉带河明故宫遗址出土有明代洪武时期的白釉红彩品字云龙纹及青花品字云龙纹盘破片，江西景德镇珠山遗址也曾发现以双龙品字云纹装饰的颜色釉瓷器，可以看到来自洪武时期的传承。",[94,46,429,430,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed9bbe1121482d572187c34ccab545b.jpg",[],{"id":543,"slug":544,"title":545,"dynasty":43,"author":19,"museum":20,"description":380,"tags":546,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":549,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},227464,"lv-you-wan-die-yi-ming-227464","绿釉碗碟",[43,46,547,49,548,7],"绿釉","碗",[],1777535708158]