[{"data":1,"prerenderedAt":370},["ShallowReactive",2],{"subject-guan-er":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4247,"guan-er","贯耳","贯耳画高清赏析","精选中国历代贯耳题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa826984c148b0f6e997b975543312d73.jpg",0,36,[14,34,47,58,68,80,90,99,105,120,127,141,148,154,167,177,186,194,202,209,217,223,238,248,256,265,273,281,290,298,308,318,327,339,349,361],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},256264,"guan-yao-qing-you-guan-er-bian-ping-yi-ming-256264","官窑青釉贯耳扁瓶","宋","佚名","藏地不详","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[18,23,24,25,7,26],"陶瓷","官窑","青釉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39bfd4c8dc7a9f6572cf070d5fa7f6a.jpg","未知","Xcm*Xcm","瓷器精选",[30],4,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":43,"material":28,"size":29,"collection":30,"collections":44,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},256266,"ge-yao-qing-you-guan-er-ping-yi-ming-256266","哥窑青釉贯耳瓶","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[40,23,25,41,7,42],"宋代","开片","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2fe9c6e497b634cfb06850a6f32f08.jpg",[30],3,"37474F",{"id":48,"slug":49,"title":50,"dynasty":18,"author":19,"museum":20,"description":51,"tags":52,"thumbUrl":55,"material":28,"size":29,"collection":56,"collections":57,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":33},223876,"qing-ci-guan-er-hu-yi-ming-223876","青瓷贯耳壶","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。",[40,23,53,41,7,54,26],"青瓷","壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456a88eedd50ad463e62e05a28936c53.jpg","",[],{"id":59,"slug":60,"title":61,"dynasty":18,"author":19,"museum":20,"description":38,"tags":62,"thumbUrl":64,"material":28,"size":29,"collection":30,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},256263,"ge-yao-ba-fang-guan-er-bian-ping-yi-ming-256263","哥窑八方贯耳扁瓶",[40,23,41,7,63],"扁瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cf5c6046fea22b4bf46829d175c991.jpg",[30],2,"BDBDBD",{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":20,"description":51,"tags":73,"thumbUrl":77,"material":28,"size":29,"collection":56,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":33},258932,"fang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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。",[72,23,173,174,7,26],"青花","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016de5d2258b406665f46a38d45fc26c.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":72,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":184,"material":28,"size":29,"collection":56,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258898,"xuan-tong-kuan-dong-qing-you-xing-yuan-guan-er-fang-ping-yi-ming-258898","宣统款冬青釉杏圆贯耳方瓶","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。”",[74,23,183,86,7,26],"釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf72a7c63aa94dd57b51afaa99d3134.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":72,"author":19,"museum":20,"description":51,"tags":190,"thumbUrl":192,"material":28,"size":29,"collection":56,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258842,"fang-ge-you-guan-er-hu-yi-ming-258842","仿哥釉贯耳壶",[23,191,41,7,54,26],"仿哥釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9c2b063c9179c0c961112a6e4f5c4.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":72,"author":19,"museum":20,"description":51,"tags":198,"thumbUrl":200,"material":28,"size":29,"collection":56,"collections":201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},258777,"jia-qing-kuan-fang-guan-you-guan-er-bian-fang-ping-yi-ming-258777","嘉庆款仿官釉贯耳扁方瓶",[23,75,7,26,199],"扁方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442aa7fbff36ae539c3681bbba467371.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":72,"author":19,"museum":20,"description":51,"tags":206,"thumbUrl":207,"material":28,"size":29,"collection":56,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258598,"qian-long-kuan-fang-guan-you-guan-er-bian-ping-yi-ming-258598","乾隆款仿官釉贯耳扁瓶",[74,23,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893b1226f38669aa93cd8e843f025aab.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":72,"author":19,"museum":20,"description":171,"tags":213,"thumbUrl":215,"material":28,"size":29,"collection":56,"collections":216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258591,"qian-long-kuan-qing-hua-hai-shi-liu-wen-guan-er-ping-yi-ming-258591","乾隆款青花海石榴纹贯耳瓶",[23,173,74,214,7,26],"海石榴纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4d233d95834f61a125ff2036ad1eca.jpg",[],{"id":218,"slug":219,"title":212,"dynasty":72,"author":19,"museum":20,"description":171,"tags":220,"thumbUrl":221,"material":28,"size":29,"collection":56,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258590,"qian-long-kuan-qing-hua-hai-shi-liu-wen-guan-er-ping-yi-ming-258590",[23,173,74,214,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0406752365863d70dcf3ec7891f048d.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":72,"author":19,"museum":20,"description":51,"tags":227,"thumbUrl":236,"material":28,"size":29,"collection":56,"collections":237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},258501,"qian-long-kuan-you-li-hong-long-feng-wen-shuang-guan-er-zhi-jing-ping-yi-ming-258501","乾隆款釉里红龙凤纹双贯耳直颈瓶",[74,23,228,229,7,230,231,232,233,234,235],"釉里红","龙凤纹","直颈","设色","器型","龙","凤","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe330ce092b5413cb2ed0453cc3e0d42b.jpg",[],{"id":239,"slug":240,"title":241,"dynasty":72,"author":19,"museum":20,"description":242,"tags":243,"thumbUrl":246,"material":28,"size":29,"collection":56,"collections":247,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258177,"yong-zheng-kuan-shan-yu-huang-you-gua-leng-guan-er-zun-yi-ming-258177","雍正款鳝鱼黄釉瓜棱贯耳尊","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。",[72,23,244,245,7],"鳝鱼黄釉","瓜棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d31ba76a81455c139bc07ff0ca72e0d.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":72,"author":19,"museum":20,"description":242,"tags":252,"thumbUrl":254,"material":28,"size":29,"collection":56,"collections":255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},258133,"yong-zheng-kuan-tian-lan-you-guan-er-ping-yi-ming-258133","雍正款天蓝釉贯耳瓶",[23,74,161,253,7,42],"颜色釉","https:\u002F\u002Foss.chuangq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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。",[112,113,304,26,74,7,63,305],"菊","菊瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf40e65a0517611740d985dd7982d49.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":72,"author":19,"museum":20,"description":302,"tags":312,"thumbUrl":316,"material":28,"size":29,"collection":56,"collections":317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},251137,"jia-qing-kuan-bi-yu-shou-mian-wen-guan-er-bian-ping-yi-ming-251137","嘉庆款碧玉兽面纹贯耳扁瓶",[112,113,313,7,63,74,314,315],"兽面纹","玉器","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792a529726fc0289dadf0ae3a4308680.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":285,"author":19,"museum":20,"description":302,"tags":322,"thumbUrl":325,"material":28,"size":29,"collection":56,"collections":326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},250863,"qing-yu-yun-wen-guan-er-lian-ban-bian-ping-yi-ming-250863","青玉云纹贯耳莲瓣扁瓶",[112,113,323,324,63,7],"云纹","莲瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebe3165e2ec42d19f179565af14f28.jpg",[],{"id":328,"slug":329,"title":330,"dynasty":72,"author":19,"museum":20,"description":331,"tags":332,"thumbUrl":337,"material":28,"size":29,"collection":56,"collections":338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},249930,"qian-long-kuan-qia-si-fa-lang-guan-er-liu-fang-ping-yi-ming-249930","乾隆款掐丝珐琅贯耳六方瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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