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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。",[132,133,7,134],"陶瓷","青花","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae28045ede6fe21a439dfeb01e9cefb5.jpg","未知","Xcm*Xcm","瓷器精选",[138],13,{"id":142,"slug":143,"title":144,"dynasty":18,"author":129,"museum":63,"description":145,"tags":146,"thumbUrl":154,"material":136,"size":137,"collection":54,"collections":155,"showCount":156,"zanCount":86,"manualWeight":11,"mainColor":43},272977,"ti-hong-bian-qian-yu-hua-guo-tu-gua-ping-yi-ming-272977","剔红边嵌玉花果图挂屏","此挂屏边框剔红纹饰古雅规整，屏心以百宝嵌工艺造景。虬曲苍劲的桃枝舒展于上，莹润玉桃悬于枝头，翠叶随枝点缀，旁侧修竹清瘦挺拔，下方配奇石小花，层次分明。将玉石的温润肌理、材质天然色泽巧妙结合，写实还原花果生机，文人雅致的意趣尽显其中。匠师以精妙手法把天然材质之美与造景巧思相融，整体气韵沉静古雅，将百宝镶嵌工艺的精湛造诣诠释得淋漓尽致，雅致静美，尽显古典造物的隽秀意韵。",[147,148,149,30,150,151,152,7,153],"挂屏","漆器","玉石镶嵌","飞鸟","竹","桃","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c381749d7aa76383dfa701b93bdf08.jpg",[],12,{"id":158,"slug":159,"title":160,"dynasty":18,"author":161,"museum":63,"description":162,"tags":163,"thumbUrl":164,"material":165,"size":54,"collection":54,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":87},234285,"hua-guo-ce-wang-yun-234285","花果册","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,26,29,30,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae4160eda03cf356dbede39622686fc.jpg","纸本，设色",[],10,{"id":169,"slug":170,"title":171,"dynasty":18,"author":129,"museum":63,"description":172,"tags":173,"thumbUrl":176,"material":136,"size":137,"collection":54,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":43},270179,"sha-tie-rong-juan-hua-guo-tu-mian-ran-diao-gu-bing-tuan-shan-yi-ming-270179","纱贴绒绢花果图面染雕骨柄团扇","清灰纱地如漾浅波，绒绢为花为果，在纱面晕开鲜活意趣。饱满石榴悬垂枝桠，暗合多子祥瑞，月季吐艳、榴花燃红，将融融生机凝于扇面。两只禽鸟姿态灵动，或侧目啄羽，或静望繁花，为画面添上灵动生气。\n\n花棱形扇沿饰以卷草纹，染雕骨柄朱色缠枝与扇面雅致呼应，雕绘细腻入微。纱地的朦胧质感衬得绒贴装饰层次愈发生动，把贴绒工艺的精巧与吉祥画意相融，既有文人审美清隽底色，又藏着世俗祈福的温柔心意，是工艺与画意合璧的精巧佳物。",[174,29,50,30,150,66,7,175],"扇面","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410e0dacadbdb00034a565b797f1b315.jpg",[],7,{"id":180,"slug":181,"title":160,"dynasty":18,"author":161,"museum":63,"description":162,"tags":182,"thumbUrl":184,"material":165,"size":54,"collection":54,"collections":185,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":87},234279,"hua-guo-ce-wang-yun-234279",[24,25,26,29,50,30,7,183,52],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0830683b75ff643ff80fe51876d000a4.jpg",[],{"id":187,"slug":188,"title":144,"dynasty":18,"author":129,"museum":63,"description":189,"tags":190,"thumbUrl":193,"material":136,"size":137,"collection":54,"collections":194,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},272978,"ti-hong-bian-qian-yu-hua-guo-tu-gua-ping-yi-ming-272978","此件挂屏以朱红剔红为边，回纹缠枝细密古雅，晕染出沉静古拙的底色。画面取折枝花果为景，以百宝嵌工艺生发意趣：枯褐枝干虬曲苍劲，玉石、彩石拼接出层叠花叶，莹润白玉塑就盛放茶花，榴果丹红饱满，仿佛正待绽露琼实，各式花果错落点缀，将生机藏于古雅之间。\n它将传统花鸟画的笔墨意趣与镶嵌工艺融合，花叶舒展自然，色彩柔和雅致，于方寸间尽显雅致清隽的中式美学，是匠心与文心的精妙结合，晕染出闲淡雅致的案头韵致。",[147,148,191,7,30,192],"玉石","工艺画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99cbaf3060fc2a5aa9d62596186f4213.jpg",[],{"id":196,"slug":197,"title":160,"dynasty":18,"author":161,"museum":63,"description":162,"tags":198,"thumbUrl":199,"material":165,"size":54,"collection":54,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":87},234278,"hua-guo-ce-wang-yun-234278",[24,25,26,29,50,183,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc27e81b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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。",[214,208,209,29,7,225,226,132],"蝴蝶","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31b144b0099b92dda75fc7d8a65ec9a.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":18,"author":233,"museum":63,"description":234,"tags":235,"thumbUrl":244,"material":136,"size":137,"collection":54,"collections":245,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":87},239137,"zhi-hua-hua-guo-juan-gan-shi-diao-239137","指画花果卷","甘士调","甘士调及其子弟的指画艺术甘士调是高其佩的嫡传弟子之一。甘氏生卒年未详,为康熙雍正年间(1662—1735)人。字和庵,亦字怀园,号凤矶山人,鸭绿江南人,清代铁岭人。",[80,24,25,23,236,237,28,7,225,238,239,240,241,242,243],"长卷","指画","瓶","篮子","葡萄","莲蓬","花卉","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87139f9df0a743599f3d2148679c2647.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":129,"museum":63,"description":250,"tags":251,"thumbUrl":256,"material":136,"size":137,"collection":54,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":87},270499,"hua-fa-lang-mei-hua-shi-pen-yu-shi-bo-li-hua-guo-pen-jing-yi-ming-270499","画珐琅梅花式盆玉石玻璃花果盆景","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。",[252,191,253,254,210,7,255],"琺瑯器","玻璃器","盆景","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128110109bf17f21c97e6f2a74d12d7e.jpg",[],3,{"id":260,"slug":261,"title":262,"dynasty":18,"author":129,"museum":63,"description":263,"tags":264,"thumbUrl":273,"material":136,"size":137,"collection":54,"collections":274,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":43},268789,"qing-se-duan-xiu-hua-guo-jin-long-wen-ding-guang-pian-xiang-xue-qing-se-duan-bian-nan-mang-yi-ming-268789","青色缎绣花果金龙纹钉广片镶雪青色缎边男蟒","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[265,266,267,268,269,7,183,270,271,272],"衣帽","蟒袍","刺绣","钉广片","龙","布料","缎面","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d6fe8d2a45d24247b4eaa4d86e73f9.jpg",[],{"id":276,"slug":277,"title":205,"dynasty":18,"author":129,"museum":63,"description":206,"tags":278,"thumbUrl":280,"material":136,"size":137,"collection":54,"collections":281,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":218},249572,"hua-fa-lang-hua-guo-kai-guang-ren-wu-tu-hu-lu-shi-bi-ping-yi-ming-249572",[208,226,29,209,7,210,211,134,279],"葫芦式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5012c85b4db3b2f485dbcecb201c00.jpg",[],{"id":283,"slug":284,"title":285,"dynasty":18,"author":129,"museum":63,"description":286,"tags":287,"thumbUrl":291,"material":136,"size":137,"collection":54,"collections":292,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":218},249414,"qia-si-fa-lang-kai-guang-tu-hua-guo-wen-mei-hua-kou-ping-yi-ming-249414","掐丝珐琅开光凸花果纹梅花口瓶","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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