[{"data":1,"prerenderedAt":255},["ShallowReactive",2],{"subject-he-ban":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5878,"he-ban","褐斑","褐斑画高清赏析","精选中国历代褐斑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd37dca5ee432b6f160144a96339bf85.jpg",0,25,[14,37,49,63,74,84,94,102,111,118,125,133,141,149,157,166,172,182,189,197,203,209,216,230,244],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},257546,"long-quan-yao-qing-you-he-ban-lu-tai-su-tie-ba-xian-ren-wu-tu-ba-leng-mei-ping-yi-ming-257546","龙泉窑青釉褐斑露胎塑贴八仙人物图八棱梅瓶","明","佚名","藏地不详","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。",[23,24,25,26,27,7,28,29],"明代","陶瓷","塑贴","露胎","青釉","八仙人物","八棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb958a69c763b557444885aa2a68be15f.jpg","未知","Xcm*Xcm","瓷器精选",[33],2,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":47,"material":31,"size":32,"collection":33,"collections":48,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},256791,"chang-sha-yao-qing-you-he-ban-hu-yi-ming-256791","长沙窑青釉褐斑壶","唐","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。",[44,24,27,7,45,46],"唐代","器","壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7a886a2f3c66025a1f6dddc9bddf4f.jpg",[33],{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":60,"material":31,"size":32,"collection":33,"collections":61,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":62},256696,"yue-yao-xi-qing-you-he-ban-si-xi-hu-yi-ming-256696","越窑系青釉褐斑四系壶","晋","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[24,56,27,7,57,45,58,59],"晋代","四系","釉色","装饰技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799c27e50a0eadb77cd49c01d6e1bbfa.jpg",[33],"BDBDBD",{"id":64,"slug":65,"title":66,"dynasty":67,"author":19,"museum":20,"description":21,"tags":68,"thumbUrl":70,"material":31,"size":32,"collection":33,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},257083,"long-quan-yao-qing-you-he-ban-hua-hua-die-yi-ming-257083","龙泉窑青釉褐斑划花碟","元",[67,24,27,7,69,45],"划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b7a93db719b515c92608624ad0b36a.jpg",[33],1,"37474F",{"id":75,"slug":76,"title":77,"dynasty":41,"author":19,"museum":20,"description":42,"tags":78,"thumbUrl":81,"material":31,"size":32,"collection":82,"collections":83,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},256840,"hui-lan-you-he-ban-da-guan-yi-ming-256840","灰蓝釉褐斑大罐",[44,24,79,7,80],"灰蓝釉","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31fb285fc7d463b1d84626daa3a158f.jpg","",[],{"id":85,"slug":86,"title":87,"dynasty":53,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":92,"material":31,"size":32,"collection":82,"collections":93,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},262285,"qing-you-he-ban-qian-wan-yi-ming-262285","青釉褐斑浅碗","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。”",[24,90,91,27,7,45],"日用具","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf34d3e85c0992abef85cc8fe5c6cb1a.jpg",[],{"id":95,"slug":96,"title":97,"dynasty":67,"author":19,"museum":20,"description":21,"tags":98,"thumbUrl":100,"material":31,"size":32,"collection":33,"collections":101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},262259,"long-quan-yao-qing-you-he-ban-pan-yi-ming-262259","龙泉窑青釉褐斑盘",[24,45,90,27,7,99],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7b18d0fb5c7a7d7b1ce1322f171bee.jpg",[33],{"id":103,"slug":104,"title":105,"dynasty":53,"author":19,"museum":20,"description":88,"tags":106,"thumbUrl":109,"material":31,"size":32,"collection":82,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},262030,"qing-you-he-ban-wa-shi-shui-zhu-yi-ming-262030","青釉褐斑蛙式水注",[24,45,107,27,7,108],"蛙","水注","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2675de5718499c219ba31c64b1267eca.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":53,"author":19,"museum":20,"description":88,"tags":115,"thumbUrl":116,"material":31,"size":32,"collection":82,"collections":117,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261930,"qing-you-he-ban-ge-yi-ming-261930","青釉褐斑槅",[24,45,90,91,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba047de95e712fed48fb51d87f0d608.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":53,"author":19,"museum":20,"description":88,"tags":122,"thumbUrl":123,"material":31,"size":32,"collection":82,"collections":124,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261878,"qing-you-he-ban-hu-zi-yi-ming-261878","青釉褐斑虎子",[24,27,7,90,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2123e84a3de1f9e402457ac5effa7aae.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":53,"author":19,"museum":20,"description":88,"tags":129,"thumbUrl":131,"material":31,"size":32,"collection":82,"collections":132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261825,"qing-you-he-ban-si-xi-guan-yi-ming-261825","青釉褐斑四系罐",[24,27,7,130,90,45],"四系罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1bd10ac0ef1d6811be7e42bfa2c3a4.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":53,"author":19,"museum":20,"description":88,"tags":137,"thumbUrl":139,"material":31,"size":32,"collection":82,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260805,"qing-you-he-ban-xiao-wan-yi-ming-260805","青釉褐斑小碗",[24,90,91,27,7,138],"小碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0621fb83704fd3ec811f076efa7c1034.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":53,"author":19,"museum":20,"description":88,"tags":145,"thumbUrl":147,"material":31,"size":32,"collection":82,"collections":148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260758,"qing-you-he-ban-xi-yi-ming-260758","青釉褐斑洗",[24,27,7,146,90,45],"洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d316f4cfff6e8dbefdcd9ac88497739.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":53,"author":19,"museum":20,"description":88,"tags":153,"thumbUrl":155,"material":31,"size":32,"collection":82,"collections":156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260451,"qing-you-he-ban-shuang-xi-ping-yi-ming-260451","青釉褐斑双系瓶",[24,45,27,7,154,90],"双系瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25ce3f424150e1bd28474b67ae65c5c.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":41,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":164,"material":31,"size":32,"collection":33,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},260306,"liu-li-chang-yao-qing-you-he-ban-shuang-xi-hu-yi-ming-260306","琉璃厂窑青釉褐斑双系壶","琉璃厂窑又称华阳窑，在四川华阳县城以南胜利乡一村，是一家生产青釉、黄釉、褐釉、黑釉、白釉、绿釉等为主的制造厂。\n当地俗称琉璃厂，故叫“琉璃厂”或“琉璃厂窑”。瓷器烧制于唐、宋时代。\n器物的胎体多叶砖红色，宋代为繁荣时期，其中黄釉绿彩中比较突出的有大盆，盆里中心刻双鱼纹，两鱼逆水并游，辅以水草，线条自然流畅。褐釉器有鸭嘴流式壶、长流壶、碗、盘等，纹饰多绘花草纹，涂白粉。白釉器有碗、盘，釉色有白、黄两种，有的饰绿口及绿彩花草纹。",[24,163,27,7,46],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b34ff924ec6e2652bf0ec7b8a90067a.jpg",[33],{"id":167,"slug":168,"title":144,"dynasty":53,"author":19,"museum":20,"description":88,"tags":169,"thumbUrl":170,"material":31,"size":32,"collection":82,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260227,"qing-you-he-ban-xi-yi-ming-260227",[24,45,27,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa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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。",[222,223,237,238,239,240,241,7],"兽面","条纹","提梁","礼器","盛酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0427de756ad95e9362b0841a3b30684.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":67,"author":19,"museum":20,"description":248,"tags":249,"thumbUrl":10,"material":31,"size":32,"collection":82,"collections":254,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},228132,"qing-ci-he-ban-san-zu-hua-nang-yi-ming-228132","青瓷褐斑三足花囊","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。",[250,24,251,7,252,58,253],"元代","青瓷","三足","器物",[],1777535717781]