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减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[23,193,295,7,26],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a1549adbd6719f98f28865ed5fa1a6.jpg",[62],{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":20,"description":302,"tags":303,"thumbUrl":309,"material":32,"size":33,"collection":34,"collections":310,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":49},258673,"dou-cai-tuan-ju-wen-gai-guan-yi-ming-258673","斗彩团菊纹盖罐","此罐造型圆浑饱满，盖身浑然一体。以斗彩技法妆点，釉下青花勾勒轮廓筋骨，釉上填敷彩料鲜亮柔和。绿彩晕染为地，托举团菊盛放，红、黄彩点染花瓣层次分明，娇妍动人。婉转缠枝卷草纹穿插其间，与团菊相映成趣，让器面疏密相宜。上下青花边饰规整雅致，与彩饰相得益彰，整体配色明丽和谐，釉面莹润光洁，既有制式规整的端庄气度，又藏着灵动鲜活的雅致意趣，尽显彩瓷造作的精妙意韵。",[27,23,304,305,108,306,7,307,158,308],"斗彩","团菊纹","卷草纹","器皿","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa389e462c12715c840e3288a24054a1.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":18,"author":19,"museum":20,"description":315,"tags":316,"thumbUrl":320,"material":32,"size":33,"collection":34,"collections":321,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":322},258061,"xuan-de-kuan-kong-que-lv-you-tu-yun-wen-gai-guan-yi-ming-258061","宣德款孔雀绿釉凸云纹盖罐","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。",[27,23,317,318,161,159,7,319],"孔雀绿釉","凸纹","兽钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7273fff5c09589b25b74f11f5af7d82c.jpg",[],"FFFFFF",{"id":324,"slug":325,"title":326,"dynasty":292,"author":19,"museum":20,"description":327,"tags":328,"thumbUrl":334,"material":32,"size":33,"collection":62,"collections":335,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":49},256332,"jun-yao-tian-lan-you-zi-hong-ban-gai-guan-yi-ming-256332","钧窑天蓝釉紫红斑盖罐","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。",[23,329,330,331,332,333,7],"窑变","钧釉","天蓝釉","紫红斑","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a927dfa7ef3e5c10ab08afcf510bb6.jpg",[62],{"id":337,"slug":338,"title":167,"dynasty":18,"author":19,"museum":20,"description":339,"tags":340,"thumbUrl":342,"material":32,"size":33,"collection":34,"collections":343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},281514,"bai-bo-li-tuan-hua-wen-gai-guan-yi-ming-281514","此器以莹润白玻璃为胎，团花纹饰雕刻饱满细腻，花瓣层叠舒展，线条流转灵秀，尽显雅致之态。颈腹以描金勾边装饰，鎏金光泽与玻璃清透质感相映，华贵之中不失清隽雅致。罐身嵌饰淡紫料件，柔润紫韵与莹白玻璃相映成趣，撞色之间晕开复古绮丽。它融实用性与装饰性于一体，凝缩着旧时手作的匠心巧思，带着雅致华贵的审美余韵，是中西合璧玻璃工艺的精巧之作，静诉着旧时光里的细腻雅致。",[26,171,170,7,172,341],"金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae32b977b990e9b9cd086679fc48a9f4.jpg",[],{"id":345,"slug":346,"title":347,"dynasty":18,"author":19,"museum":20,"description":348,"tags":349,"thumbUrl":353,"material":32,"size":33,"collection":34,"collections":354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":123},281460,"yin-tu-hua-shuang-er-gai-guan-yi-ming-281460","银凸花双耳盖罐","此器古韵沉静，盖顶莲苞钮纤秀雅致，盖面浅刻瓣纹柔婉舒展。双耳弧曲饱满，线条圆融贴合掌心，兼顾装饰与实用。腹部凸花为饰，宝相花在缠枝卷叶簇拥下立体生动，浮雕肌理裹着经年摩挲晕染出的温润包浆，暗哑的银辉晕开旧时光痕。下接垂瓣纹饰如凝露垂坠，沉稳圈足托举器身，将錾刻细作的精妙工艺尽数展现，内敛华贵间尽显旧时银作匠心，陈设实用两相宜。",[350,7,351,352,60,266],"银器","双耳","凸花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe129996267fb06308a4fd2aaf62f4b18.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":18,"author":19,"museum":20,"description":359,"tags":360,"thumbUrl":366,"material":32,"size":33,"collection":34,"collections":367,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274060,"tong-du-jin-qian-liao-shi-gai-guan-yi-ming-274060","铜镀金嵌料石盖罐","以锤鍑细密菱形为金地，遍身鎏金尽显华贵雍容。颈足回纹古雅端方，带着上古礼制的庄重意涵。腹部以青金石、绿松石与料石铺展缠枝宝相，卷舒灵动有致，朱红星料点饰花心，撞色鲜明亮眼。上下间隔浅錾佛纹连绵环绕，静穆平和，糅合中原金工与藏地审美意趣。\n\n整器装饰繁而不乱，金工精湛细腻，宝石排布严整华丽，将花丝镶嵌工艺发挥得淋漓尽致，既带着宫廷式的富丽堂皇，又兼具浓郁的宗教装饰氛围感，把华贵庄严融于一身，是清代工艺美学的精巧缩影。",[361,362,7,363,364,365,306,26,171],"金器","铜制","镶嵌","嵌料石","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1806377b8b1bc635b4a60b24d9ffd5f9.jpg",[],{"id":369,"slug":370,"title":358,"dynasty":18,"author":19,"museum":20,"description":371,"tags":372,"thumbUrl":375,"material":32,"size":33,"collection":34,"collections":376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274053,"tong-du-jin-qian-liao-shi-gai-guan-yi-ming-274053","通体锤鍱细密网格为地，沉实金底托出料石明丽光彩。分层排布纹饰，回纹周正庄重，勾勒利落形制边界；卷草缠枝与变体夔纹婉转灵动，青金石的幽蓝、松石的翠色与料石的莹光交织错落，艳而不妖，层次分明。\n\n造型饱满敦实，镀金厚重质感衬得宝光流转，尽显匠作的精工细琢，将华贵庄重与柔婉雅致融于一体，尽显器物雍容气度，是清代花丝镶嵌工艺的精巧之作。",[361,362,7,373,26,374],"镶嵌工艺","料石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff695f235547319a1f0fa7802f7d73bbb.jpg",[],{"id":378,"slug":379,"title":380,"dynasty":18,"author":19,"museum":20,"description":381,"tags":382,"thumbUrl":385,"material":32,"size":33,"collection":34,"collections":386,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},273405,"jin-xing-lan-liao-shi-xiao-gai-guan-yi-ming-273405","金星蓝料石小盖罐","此罐以深邃宝蓝为底，仿若揉碎了夜幕凝为料石，星金纹理如金沙沉潜翻涌，随棱面光影流转漾开粼粼光泽，似幽潭底跃动的碎金流火。金属盖沿收束住灵动的料色，添了几分端庄规整，冷冽料石与温厚木座相映成趣，古朴雅致浑然天成。\n\n方寸之间将配色与形制拿捏精妙，静穆蓝调裹挟金彩晕染出的绮丽，把清时手工料器的华贵雅致藏于其中，尽显复古隽永之美。",[383,7,171,384],"料器","金星蓝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2132145563669f5cdc86583e111001ad.jpg",[],{"id":388,"slug":389,"title":390,"dynasty":18,"author":19,"museum":20,"description":391,"tags":392,"thumbUrl":393,"material":32,"size":33,"collection":34,"collections":394,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},273348,"tong-du-jin-tu-long-wen-gai-guan-yi-ming-273348","铜镀金凸龙纹盖罐","盖顶瑞兽盘踞，盖面纹饰层叠舒展，口沿嵌饰彩宝，晕染出雅致华贵底色。器身双龙浮雕矫健灵动，穿云腾挪，鬃须张扬如戟，鳞片细密写实，龙威赫赫扑面而来。两侧兽首衔环，沉浑厚重，器底亦镶宝点缀，处处尽显奢华。\n\n整器鎏金匀净莹润，浮雕工艺精湛入微，线条凌厉饱满，将龙纹的威严大气与繁缛装饰相融一体，尽显盛世重工细作的华贵气度，藏着古人对祥瑞威仪的极致追崇。",[26,362,361,60,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa80814bbb243c82929c05ea62b9a59.jpg",[],{"id":396,"slug":397,"title":398,"dynasty":18,"author":19,"museum":20,"description":399,"tags":400,"thumbUrl":403,"material":32,"size":33,"collection":34,"collections":404,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270412,"lan-se-bo-li-gai-guan-yi-ming-270412","蓝色玻璃盖罐","宝蓝色玻璃澄澈似深海凝碧，与鎏金饰件相映成趣。腹部鎏金流云舒展迤逦，仙鹤振翅穿云，仙姿灵动，晕开祥瑞清韵。下半身通体鎏金錾刻，缠枝细纹柔婉层叠，莲瓣纹饰端庄舒展，肌理丰盈细腻。穹顶盖顶宝珠圆润雅致，浑然一体。\n它将玻璃的清透莹润与金饰的华贵雍容相融，把吉祥瑞意藏于方寸匠心之中，尽显清代工艺融合的精妙造诣，雅致华贵兼具，静静彰显着旧时宫廷审美意趣。",[170,361,7,60,401,161,402],"仙鹤","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1498e0e852358974280cbee760251e1.jpg",[],{"id":406,"slug":407,"title":408,"dynasty":18,"author":19,"museum":20,"description":409,"tags":410,"thumbUrl":413,"material":32,"size":33,"collection":34,"collections":414,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},261969,"yong-zheng-kuan-fen-qing-you-chang-fang-wei-jiao-shuang-xi-gai-guan-yi-ming-261969","雍正款粉青釉长方委角双系盖罐","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[23,411,7,412,171,26],"粉青釉","双系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6653f1389301493b49a16fc5de60fc3f.jpg",[],{"id":416,"slug":417,"title":418,"dynasty":419,"author":19,"museum":20,"description":327,"tags":420,"thumbUrl":421,"material":32,"size":33,"collection":62,"collections":422,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},261824,"jun-yao-tian-lan-you-ji-xin-gai-guan-yi-ming-261824","钧窑天蓝釉鸡心盖罐","宋",[23,7,331,171,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14953cbed8850d9e5981bda7510ed1b2.jpg",[62],{"id":424,"slug":425,"title":426,"dynasty":18,"author":19,"museum":20,"description":21,"tags":427,"thumbUrl":429,"material":32,"size":33,"collection":34,"collections":430,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":123},261763,"qing-hua-shan-shi-hua-hui-wen-gai-guan-yi-ming-261763","青花山石花卉纹盖罐",[23,24,242,428,277,7],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce4002894e7944f380b220bf3f24c50.jpg",[],{"id":432,"slug":433,"title":434,"dynasty":42,"author":19,"museum":20,"description":293,"tags":435,"thumbUrl":438,"material":32,"size":33,"collection":62,"collections":439,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":123},261694,"long-quan-yao-qing-you-ke-shu-tiao-wen-gai-guan-yi-ming-261694","龙泉窑青釉刻竖条纹盖罐",[23,436,193,437,7,171,60],"龙泉窑","刻竖条纹","https:\u0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