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"material":46,"size":47,"collection":32,"collections":242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260939,"qing-hua-song-zhu-mei-wen-hua-cha-yi-ming-260939","青花松竹梅纹花插",[81,82,70,69,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357b78f7ea7b60f68b344698f522b974.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":139,"author":19,"museum":20,"description":247,"tags":248,"thumbUrl":252,"material":46,"size":47,"collection":33,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},260147,"long-quan-yao-qing-you-liu-kong-hua-cha-yi-ming-260147","龙泉窑青釉六孔花插","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。",[81,7,249,250,251],"青釉","开片","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8165d71ecbda7f5c87e828db27d41ad0.jpg",[33],{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":20,"description":140,"tags":258,"thumbUrl":261,"material":46,"size":47,"collection":33,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":147},259941,"shi-wan-yao-lan-you-ku-mei-wen-hua-cha-yi-ming-259941","石湾窑蓝釉枯梅纹花插",[81,7,259,26,260],"枯梅","蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489f014d4ba32574c3327954cf993f29.jpg",[33],{"id":264,"slug":265,"title":266,"dynasty":139,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":271,"material":46,"size":47,"collection":33,"collections":272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},257538,"yi-xing-yao-fang-jun-you-qi-kong-hua-cha-yi-ming-257538","宜兴窑仿钧釉七孔花插","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有\"宜钧\"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[269,270,81,31,7],"明代","仿钧釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe976e3b44874931e9ef9fb43a255f771.jpg",[33],{"id":274,"slug":275,"title":276,"dynasty":18,"author":19,"museum":20,"description":277,"tags":278,"thumbUrl":283,"material":46,"size":47,"collection":32,"collections":284,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},251705,"bi-yu-fu-diao-shuang-feng-song-zhu-shu-zhuang-xing-shuang-kong-hua-cha-yi-ming-251705","碧玉浮雕双凤松竹树桩形双孔花插","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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。",[279,23,280,69,70,281,282,7],"玉石","浮雕","凤","树桩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d67acbac35b91a8a2f9fc6ce27dcfa3.jpg",[],{"id":286,"slug":287,"title":288,"dynasty":18,"author":19,"museum":20,"description":289,"tags":290,"thumbUrl":295,"material":46,"size":47,"collection":32,"collections":296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":147},249118,"qia-si-fa-lang-hua-hui-bian-fu-wen-tong-shi-hua-cha-yi-ming-249118","掐丝珐琅花卉蝙蝠纹筒式花插","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 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[23,291,292,293,294,7],"掐丝珐琅","花卉纹","蝙蝠纹","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff206f586307fa0c1ae8ed57302dccb97.jpg",[],{"id":298,"slug":299,"title":17,"dynasty":18,"author":19,"museum":20,"description":300,"tags":301,"thumbUrl":303,"material":46,"size":47,"collection":32,"collections":304,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},246898,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246898","此花取方胜造型，自带吉庆古雅之意。朱红细线勾连起四层纹饰，口沿下以回纹界开篇章，夔龙蜿蜒流转，蕉叶舒展雅致，剔刻线条细腻灵动，将青铜古纹的厚重意蕴揉入文房花器之中。\n\n岁月晕开了表层色泽，却让刀工肌理更显温润沉朴，既是案头挹花清供的雅物，也藏着传统剔红工艺的精巧心思，静静晕染出旧时书斋里的闲雅意趣。",[23,24,25,26,302,28,31,7,29],"夔龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4787d95d55141f8a693c7c56fe86a70.jpg",[],{"id":306,"slug":307,"title":17,"dynasty":18,"author":19,"museum":20,"description":308,"tags":309,"thumbUrl":311,"material":46,"size":47,"collection":32,"collections":312,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},246897,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246897","此花插取方胜连体造型，形制别致清雅，自带古吉意趣。朱漆层层髹涂，雕工精湛细腻，四层纹饰疏密得宜：首以回纹卷草打底，浅浮雕夔龙盘桓辗转，线条劲健古拙；次为仰覆蕉叶，舒展柔婉，尽显清雅之态；下一层缠枝花卉饱满繁茂，生机盎然。口沿包铜提亮，更衬红漆莹润厚重。整器繁饰而不冗杂，雕纹层次分明，刀锋圆融利落，将传统纹饰与吉祥形制相融，尽显庄重雅致的审美意韵，陈设插花皆相宜，是清代雕漆工艺的精巧之作。",[24,25,26,27,28,29,7,310],"清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55307201fbee5b9868292f49a359238d.jpg",[],{"id":314,"slug":315,"title":17,"dynasty":18,"author":19,"museum":20,"description":316,"tags":317,"thumbUrl":319,"material":46,"size":47,"collection":32,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},246896,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246896","此作取方胜联体形制，铜口包边古雅沉静，朱漆堆髹厚重鲜亮。四层纹饰排布井然，口沿回纹勾连环绕，上层夔龙缠枝辗转灵动，中层蕉叶垂坠舒展如凝露含光，下层锦地细密如织。雕工峻深圆润，刀痕利落凝练，将纹样的层次立体感尽数凸显，朱红漆面莹润亮泽，尽显剔刻工艺的精湛功力。整体器型挺拔端方，繁饰却丝毫不显冗杂，将吉瑞形制与髹饰匠心融于一体，尽显清代雕漆华贵工致的风韵，是古典髹漆造物中的精巧之作。",[23,24,25,26,302,28,7,31,318],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3f3867645700848d7917414f40d3b7.jpg",[],1777535715695]