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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。",[23,24,25,7,26],"陶瓷","洗","青白釉","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbb6d83847808264866728f9f511bfc.jpg","未知","Xcm*Xcm","",[],"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":44,"material":28,"size":29,"collection":45,"collections":46,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},260964,"shi-wan-yao-fang-jun-you-gu-ding-san-zu-hua-pen-tuo-yi-ming-260964","石湾窑仿钧釉鼓钉三足花盆托","清","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。"",[23,40,7,41,42,43],"花盆托","三足","仿钧釉","石湾窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead52884600a9be049162bb48f3e15e1.jpg","瓷器精选",[45],"37474F",{"id":49,"slug":50,"title":51,"dynasty":18,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":58,"material":28,"size":29,"collection":45,"collections":59,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},260663,"long-quan-yao-qing-you-yin-hua-gu-ding-san-zu-xi-yi-ming-260663","龙泉窑青釉印花鼓钉三足洗","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，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。",[23,54,55,56,7,57],"龙泉窑","青釉","三足洗","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf10d4bbba807a9cfc8cedf3aa22f49b.jpg",[45],{"id":61,"slug":62,"title":63,"dynasty":18,"author":19,"museum":20,"description":52,"tags":64,"thumbUrl":66,"material":28,"size":29,"collection":45,"collections":67,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},260612,"long-quan-yao-qing-you-gu-ding-san-zu-xi-yi-ming-260612","龙泉窑青釉鼓钉三足洗",[23,55,7,56,54,65],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21505a30747ccb8f3c5e9265f0aa3a71.jpg",[45],{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":80,"material":28,"size":29,"collection":30,"collections":81,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231925,"qing-se-hua-pen-yi-ming-231925","青色花盆","元","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[75,23,76,7,77,78,55,79],"元代","青瓷釉","三足器","花盆","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9771fef036d599fa371d28e080f282b.jpg",[],{"id":83,"slug":84,"title":85,"dynasty":72,"author":19,"museum":20,"description":73,"tags":86,"thumbUrl":89,"material":28,"size":29,"collection":30,"collections":90,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231924,"dan-zi-hua-pen-yi-ming-231924","淡紫花盆",[75,23,87,7,41,88],"淡紫釉","日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9708b2e8c5a69ea4782d155a5080feb9.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":72,"author":19,"museum":20,"description":73,"tags":95,"thumbUrl":97,"material":28,"size":29,"collection":30,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231921,"zi-se-hua-pen-yi-ming-231921","紫色花盆",[23,78,96,77,7],"紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284252105a24720681badf28912f0a6b.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":72,"author":19,"museum":20,"description":73,"tags":103,"thumbUrl":109,"material":28,"size":29,"collection":30,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231918,"zi-se-xiao-hua-pen-yi-ming-231918","紫色小花盆",[23,75,104,105,7,106,107,108],"钧釉","窑变","三足器型","紫色釉面","鼓钉装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54681ab86e3c7ae54937e05624263564.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":72,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":118,"material":28,"size":29,"collection":30,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231917,"zi-se-you-mian-hua-pen-yi-ming-231917","紫色釉面花盆","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。",[23,75,117,105,41,7,57],"紫色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fed7ec8a46614fceab5ee7b434a77be.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":72,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},231869,"san-jiao-wan-yi-ming-231869","三脚碗","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。",[23,57,75,126,7,41,127,128,108,77],"窑变釉","钧窑风格","釉色变幻",[],1777535735462]