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[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。",[44,45,46,47,48,7,27,28],"唐代","青铜器","铜制","弦纹","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc208ba86d0c8f70ede10c8c2aec5a7.jpg","",[],"795548",{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":67,"material":68,"size":32,"collection":50,"collections":69,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":52},228547,"qing-hua-hai-shou-bo-tao-wen-tu-jie-gao-zu-bei-qing-shou-bai-tao-yi-ming-228547","青花海兽波涛纹凸节高足杯(青兽白涛)","明","青花瓷（blue 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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。",[57,25,183,7,184,81],"白釉","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46031c1c0371f2968e51bf62438b1fe.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":57,"author":19,"museum":20,"description":58,"tags":191,"thumbUrl":196,"material":31,"size":32,"collection":50,"collections":197,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":198},257358,"qing-hua-fan-wen-gao-zu-wan-yi-ming-257358","青花梵文高足碗",[25,60,192,193,28,194,7,195],"梵文","宗教","明代","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6061216bfba415daf304f7c651a19d7.jpg",[],"F48FB1",{"id":200,"slug":201,"title":202,"dynasty":57,"author":19,"museum":20,"description":58,"tags":203,"thumbUrl":209,"material":31,"size":32,"collection":50,"collections":210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},257265,"jia-jing-kuan-qing-hua-yun-long-wen-gao-zu-wan-yi-ming-257265","嘉靖款青花云龙纹高足碗",[25,60,204,205,7,81,194,206,207,208],"龙","云","云龙纹","青花工艺","青花技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a09f6abce1db0b362f13ec31e886c3b.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":57,"author":19,"museum":20,"description":215,"tags":216,"thumbUrl":219,"material":31,"size":32,"collection":50,"collections":220,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},256837,"dong-qing-you-gao-zu-wan-yi-ming-256837","冬青釉高足碗","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。”",[25,106,217,194,7,195,218,184,81],"青绿","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaffcb130729968bd13a54221a32e5f4.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":57,"author":19,"museum":20,"description":225,"tags":226,"thumbUrl":230,"material":31,"size":32,"collection":50,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},256483,"cheng-hua-kuan-fang-ge-you-ba-fang-gao-zu-bei-yi-ming-256483","成化款仿哥釉八方高足杯","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。",[194,25,81,227,228,229,7],"仿哥釉","开片","八方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2bc48d855a0447bef0c12a27dddff6.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":57,"author":19,"museum":20,"description":58,"tags":236,"thumbUrl":238,"material":31,"size":32,"collection":50,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},256426,"cheng-hua-kuan-qing-hua-ba-ji-xiang-wen-gao-zu-wan-yi-ming-256426","成化款青花八吉祥纹高足碗",[57,25,60,63,237,7,81],"八吉祥纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde676f3321069b23f3cf32b8c7afd9ba.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":57,"author":19,"museum":20,"description":58,"tags":244,"thumbUrl":246,"material":31,"size":32,"collection":50,"collections":247,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},256354,"qing-hua-di-ba-bai-yun-long-wen-gao-zu-wan-yi-ming-256354","青花地拔白云龙纹高足碗",[194,25,68,60,245,204,205,7],"拔白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07393c40195b4c53431fa2ead38ad28e.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":57,"author":19,"museum":20,"description":225,"tags":252,"thumbUrl":255,"material":31,"size":32,"collection":50,"collections":256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255852,"tao-huang-lv-you-gao-zu-pan-yi-ming-255852","陶黄绿釉高足盘",[57,25,253,254,7,27],"黄绿釉","陶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aeedaf44085dbb32ffb16465d94e78e.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":18,"author":19,"museum":20,"description":77,"tags":261,"thumbUrl":266,"material":31,"size":32,"collection":50,"collections":267,"showCount":11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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[45,412,413,414,82,415,336,7,416,149,417,418,419,420,421],"战国","蟠虺纹","铸造","带盖","食器","青铜铸造","器物纹饰","战国风格","盛食器","祭祀用器",[],1777535712101]