[{"data":1,"prerenderedAt":915},["ShallowReactive",2],{"subject-hua-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4194,"hua-hua","划花","划花画高清赏析","精选中国历代划花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b7049543bafc7e0a959fc08ec927df.jpg",0,107,[14,35,50,63,74,89,102,114,123,132,143,152,163,172,183,193,200,210,219,227,234,244,251,259,267,275,284,293,301,308,317,325,334,343,351,359,368,378,386,392,398,406,418,425,433,441,449,460,469,476,484,491,499,507,515,523,531,539,546,555,564,573,582,590,599,607,614,623,630,636,642,649,655,663,670,678,685,691,697,703,709,715,725,734,740,746,752,758,764,770,776,785,792,801,808,818,825,838,845,853,860,866,872,880,888,896,907],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256935,"jing-de-zhen-yao-you-li-hong-hua-hua-tu-wen-yu-hu-chun-ping-yi-ming-256935","景德镇窑釉里红划花兔纹玉壶春瓶","元","佚名","藏地不详","景德镇窑是中国传统窑炉之一，景德镇窑系属于宋代六大窑系之一。诞生于今江西省景德镇，故称景德镇窑，实际上由数个窑口组成。\n景德镇有着悠久的制瓷历史，完备的陶瓷产业体系，广泛的国际影响，是一座因瓷而生、因瓷而兴、因瓷而名的城市，也是一座“因开放而生，因开放而兴”的深度开放城市。\n景德镇窑据记载始烧于唐武德(618一626)年间。建国后发现瓷窑遗址多处，以杨梅亭窑、石虎湾窑、黄泥头窑最早，均为五代时期。\n中国传统的陶瓷可分为三大类：龙窑（倾斜式隧道窑）、阶级窑（倾斜式冷底多室窑）以及景德镇窑（平焰窑）。 景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[23,24,7,25,26,27],"元代","釉里红","陶瓷","兔","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b92df513282e5897132d9eb201936e.jpg","未知","Xcm*Xcm","瓷器精选",[31],16,"BDBDBD",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":45,"material":29,"size":30,"collection":31,"collections":46,"showCount":47,"zanCount":48,"manualWeight":11,"mainColor":49},260483,"long-quan-yao-qing-you-hua-hua-ping-yi-ming-260483","龙泉窑青釉划花瓶","宋","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。",[25,42,7,43,44,27],"青釉","瓶","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782e4f9df9d79c354ded088b16744da.jpg",[31],11,1,"37474F",{"id":51,"slug":52,"title":53,"dynasty":39,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":59,"material":29,"size":30,"collection":60,"collections":61,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":62},223709,"bai-ci-hua-hua-lian-wen-mei-ping-yi-ming-223709","白瓷划花莲纹梅瓶","梅瓶是古代汉族劳动人民智慧和艺术的结晶，传世所看到的梅瓶都制作的相当精美。宋代时也称为“经瓶”，书香气十足，梅瓶在当时是用做装酒的，到明代后也成为陈设赏具了，甚至成为了上层统治者等级低位的标志和风水寓意的象征。",[39,25,56,7,57,58,27],"白瓷","莲纹","梅瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ed4d03a8cf89f8cdd98bce378b7a55.jpg","",[],"795548",{"id":64,"slug":65,"title":66,"dynasty":39,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":10,"material":29,"size":30,"collection":60,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":62},223723,"hua-hua-yu-fu-xi-yi-ming-223723","划花鱼凫洗","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。",[69,25,7,70,71,27],"宋代","鱼","凫",[],7,{"id":75,"slug":76,"title":77,"dynasty":78,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":86,"material":29,"size":30,"collection":60,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":49},228697,"qing-ci-hua-hua-ba-jiao-hu-shi-zhi-hu-yi-ming-228697","青瓷划花芭蕉湖石执壶","明","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。",[81,82,7,25,83,84,85],"明代","青瓷","执壶","芭蕉","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6346b0042236483a6e9adcfb9dd912.jpg",[],5,{"id":90,"slug":91,"title":92,"dynasty":78,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":100,"material":29,"size":30,"collection":31,"collections":101,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":62},228531,"guan-yao-tian-bai-hua-hua-hua-hui-ling-hua-shi-pan-yi-ming-228531","官窑 甜白划花花卉菱花式盘","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。",[25,95,96,7,97,98,99,81],"官窑","甜白","花卉","菱花式","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6491887c28b68f9577a633f6027f6d3a.jpg",[31],{"id":103,"slug":104,"title":105,"dynasty":106,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":111,"material":29,"size":30,"collection":60,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":62},258199,"bai-you-hua-hua-wen-mei-ping-yi-ming-258199","白釉划花纹梅瓶","清","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。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。",[25,109,7,110,27],"白釉","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992f98b54bbf6f7e49f1a91494a38142.jpg",[],4,{"id":115,"slug":116,"title":117,"dynasty":78,"author":19,"museum":20,"description":107,"tags":118,"thumbUrl":121,"material":29,"size":30,"collection":60,"collections":122,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":34},256946,"tian-bai-you-hua-hua-chan-zhi-lian-wen-mei-ping-yi-ming-256946","甜白釉划花缠枝莲纹梅瓶",[25,119,7,120,27,81],"甜白釉","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc8dd02ffbd0939a5c90b495d351542.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":39,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":130,"material":29,"size":30,"collection":60,"collections":131,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":62},223743,"qing-ci-hua-hua-pan-chi-pan-yi-ming-223743","青瓷划花蟠螭盘","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。",[39,25,82,7,129,27],"螭龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc58bd97d0d5eea3a73c956495f050970.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":39,"author":19,"museum":20,"description":127,"tags":136,"thumbUrl":140,"material":29,"size":30,"collection":60,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":34},261349,"lv-you-san-cai-hua-hua-ren-wu-wen-zhen-yi-ming-261349","绿釉三彩划花人物纹枕",[25,137,7,138,97,139],"三彩","人物","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec1ff514b8b0c5bbb5a6c073329269f.jpg",[],3,{"id":144,"slug":145,"title":146,"dynasty":147,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":150,"material":29,"size":30,"collection":31,"collections":151,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":62},259599,"yue-yao-qing-you-hua-hua-pan-yi-ming-259599","越窑青釉划花盘","南北朝","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。",[25,139,42,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9fe3380b19fdf2dfbf9154a8efa6bf.jpg",[31],{"id":153,"slug":154,"title":155,"dynasty":106,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":161,"material":29,"size":30,"collection":31,"collections":162,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":49},257695,"fang-ding-yao-bai-you-hua-hua-chan-zhi-hua-wen-yu-hu-chun-ping-yi-ming-257695","仿定窑白釉划花缠枝花纹玉壶春瓶","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[25,158,109,7,159,160],"仿定窑","缠枝花纹","玉壶春瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bea5131e90e9b42e98541408d7a55ad.jpg",[31],{"id":164,"slug":165,"title":166,"dynasty":78,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":170,"material":29,"size":30,"collection":31,"collections":171,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":49},257597,"peng-cheng-yao-bai-you-hua-hua-chan-zhi-lian-wen-hu-lu-ping-yi-ming-257597","彭城窑白釉划花缠枝莲纹葫芦瓶","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[78,25,109,7,120,169],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac83f91ae597dfa6d6ae3628993a481.jpg",[31],{"id":173,"slug":174,"title":175,"dynasty":147,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":180,"material":29,"size":30,"collection":60,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":62},261804,"qing-you-hua-hua-pan-yi-ming-261804","青釉划花盘","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。”",[25,27,7,42,178,179,139],"盘","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f98774ab3f2c14382e9a08fb101472e.jpg",[],2,{"id":184,"slug":185,"title":186,"dynasty":106,"author":19,"museum":20,"description":187,"tags":188,"thumbUrl":191,"material":29,"size":30,"collection":31,"collections":192,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":62},260956,"de-hua-yao-bai-you-hua-hua-deng-yi-ming-260956","德化窑白釉划花灯","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[25,109,7,189,190],"灯具","日用器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60152cc73e1cfc04d071449cd6f5d664.jpg",[31],{"id":194,"slug":195,"title":196,"dynasty":78,"author":19,"museum":20,"description":40,"tags":197,"thumbUrl":198,"material":29,"size":30,"collection":31,"collections":199,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":34},260410,"long-quan-yao-qing-you-hua-hua-chan-zhi-lian-wen-mei-ping-yi-ming-260410","龙泉窑青釉划花缠枝莲纹梅瓶",[25,42,7,120,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1166e344c28b059c55ae9bcb0daa7c0d.jpg",[31],{"id":201,"slug":202,"title":203,"dynasty":204,"author":19,"museum":20,"description":127,"tags":205,"thumbUrl":208,"material":29,"size":30,"collection":31,"collections":209,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":34},260280,"huai-nan-yao-qing-you-hua-hua-lian-ban-wen-si-xi-pan-kou-ping-yi-ming-260280","淮南窑青釉划花莲瓣纹四系盘口瓶","隋",[25,42,7,206,207],"莲瓣纹","四系盘口瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187d6f76b67274a706dda3462d3f4517.jpg",[31],{"id":211,"slug":212,"title":213,"dynasty":106,"author":19,"museum":20,"description":156,"tags":214,"thumbUrl":217,"material":29,"size":30,"collection":31,"collections":218,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":49},257615,"fang-ding-yao-bai-you-hua-hua-long-feng-wen-dan-shi-ping-yi-ming-257615","仿定窑白釉划花龙凤纹胆式瓶",[25,106,158,109,7,215,216],"龙凤纹","胆式瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf77e0927c391d4594b20c6d5b7d7c38.jpg",[31],{"id":220,"slug":221,"title":222,"dynasty":39,"author":19,"museum":20,"description":40,"tags":223,"thumbUrl":225,"material":29,"size":30,"collection":31,"collections":226,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},260492,"long-quan-yao-qing-you-hua-hua-xiao-pan-yi-ming-260492","龙泉窑青釉划花小盘",[25,42,7,224,139,27],"小盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F252aac39939145802e2c2ec7ba2c8307.jpg",[31],{"id":228,"slug":229,"title":230,"dynasty":78,"author":19,"museum":20,"description":187,"tags":231,"thumbUrl":232,"material":29,"size":30,"collection":31,"collections":233,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":34},260171,"de-hua-yao-bai-you-hua-hua-pan-yi-ming-260171","德化窑白釉划花盘",[25,139,109,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2267c64363fdfb047a9881790dc700.jpg",[31],{"id":235,"slug":236,"title":237,"dynasty":39,"author":19,"museum":20,"description":107,"tags":238,"thumbUrl":242,"material":29,"size":30,"collection":60,"collections":243,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":62},259716,"qing-bai-you-hua-hua-lian-hua-wen-zhu-wan-yi-ming-259716","青白釉划花莲花纹注碗",[25,27,7,239,240,241],"莲花纹","青白釉","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc90e4a041b0f498b01997763935f5e90.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":39,"author":19,"museum":20,"description":176,"tags":248,"thumbUrl":249,"material":29,"size":30,"collection":60,"collections":250,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":34},259608,"qing-you-hua-hua-gang-yi-ming-259608","青釉划花缸",[25,7,42,27,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f3cad426635b6d9279f67a717c4a9f.jpg",[],{"id":252,"slug":253,"title":146,"dynasty":254,"author":19,"museum":20,"description":148,"tags":255,"thumbUrl":257,"material":29,"size":30,"collection":31,"collections":258,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":62},259591,"yue-yao-qing-you-hua-hua-pan-yi-ming-259591","唐",[25,42,7,256,178],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2186f8fe4ec0b7d15e5fbcb328dceed1.jpg",[31],{"id":260,"slug":261,"title":262,"dynasty":78,"author":19,"museum":20,"description":40,"tags":263,"thumbUrl":265,"material":29,"size":30,"collection":31,"collections":266,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},257549,"long-quan-yao-qing-you-hua-hua-xiang-cao-wen-pan-yi-ming-257549","龙泉窑青釉划花香草纹盘",[81,25,42,7,264,82],"香草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87761cdcb7a2fd69148af22f26c40af6.jpg",[31],{"id":268,"slug":269,"title":270,"dynasty":18,"author":19,"museum":20,"description":40,"tags":271,"thumbUrl":273,"material":29,"size":30,"collection":31,"collections":274,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},257083,"long-quan-yao-qing-you-he-ban-hua-hua-die-yi-ming-257083","龙泉窑青釉褐斑划花碟",[18,25,42,272,7,27],"褐斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b7a93db719b515c92608624ad0b36a.jpg",[31],{"id":276,"slug":277,"title":278,"dynasty":39,"author":19,"museum":20,"description":156,"tags":279,"thumbUrl":282,"material":29,"size":30,"collection":31,"collections":283,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},256865,"ding-yao-hua-hua-chan-zhi-lian-wen-kui-ban-kou-wan-yi-ming-256865","定窑划花缠枝莲纹葵瓣口碗",[39,280,25,7,120,281,27],"定窑","葵瓣口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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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。",[39,137,7,25,290],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9f7f23d960c0bbab70756a8cef7fc3a.jpg",[],{"id":294,"slug":295,"title":296,"dynasty":78,"author":19,"museum":20,"description":40,"tags":297,"thumbUrl":299,"material":29,"size":30,"collection":31,"collections":300,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":62},256519,"long-quan-yao-qing-you-hua-hua-mu-dan-wen-wan-yi-ming-256519","龙泉窑青釉划花牡丹纹碗",[25,42,7,298,27],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7624b040aa1d4b79b76a2da9cab6f032.jpg",[31],{"id":302,"slug":303,"title":304,"dynasty":106,"author":19,"museum":20,"description":127,"tags":305,"thumbUrl":306,"material":29,"size":30,"collection":60,"collections":307,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":62},229066,"you-hua-hua-hua-hui-ba-fang-hua-pen-yi-ming-229066","釉划花花卉八方花盆",[25,7,97,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe04da248054ed8004e7b7021a876ac.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":78,"author":19,"museum":20,"description":312,"tags":313,"thumbUrl":315,"material":29,"size":30,"collection":60,"collections":316,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":34},228699,"qing-ci-hua-hua-hua-hui-wen-yu-hu-chun-ping-yi-ming-228699","青瓷划花花卉纹玉壶春瓶","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。",[25,82,7,314,27],"花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb3c3bd361b42b1d4a87d805258d160.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":39,"author":19,"museum":20,"description":67,"tags":321,"thumbUrl":323,"material":29,"size":30,"collection":60,"collections":324,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":62},223726,"hua-hua-lian-he-wen-mei-ping-yi-ming-223726","划花莲荷纹梅瓶",[25,7,322,27],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9b1e668c438f04c86edaf146f17607.jpg",[],{"id":326,"slug":327,"title":328,"dynasty":39,"author":19,"museum":20,"description":127,"tags":329,"thumbUrl":332,"material":29,"size":30,"collection":60,"collections":333,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262256,"lv-you-hua-hua-yu-wen-xi-yi-ming-262256","绿釉划花鱼纹洗",[25,27,330,7,331,70,139],"绿釉","鱼纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f82ff84c8c76450cfdd75e487d4ecd.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":39,"author":19,"museum":20,"description":338,"tags":339,"thumbUrl":341,"material":29,"size":30,"collection":31,"collections":342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},262197,"yao-zhou-yao-qing-you-hua-hua-lian-ban-wen-zhu-hu-zhu-wan-yi-ming-262197","耀州窑青釉划花莲瓣纹注壶注碗","耀州窑是中国传统制瓷工艺中的珍品，宋代六大窑系。位于今陕西省铜川市的黄堡镇，唐宋时属耀州治，在唐代就是中国陶瓷烧制的著名产地，宋代更进一步达到鼎盛，成为我国“宋代六大窑系”中的一个窑系。\n耀州窑是北方青瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[25,42,7,206,139,340],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c14d90a78dcfbd7116a37146b2a1346.jpg",[31],{"id":344,"slug":345,"title":346,"dynasty":347,"author":19,"museum":20,"description":176,"tags":348,"thumbUrl":349,"material":29,"size":30,"collection":60,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},262187,"qing-you-hua-hua-xiao-wan-yi-ming-262187","青釉划花小碗","晋",[25,27,139,340,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7433dd9cfe85da46fefb2abcef1dcd6.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":78,"author":19,"museum":20,"description":40,"tags":355,"thumbUrl":357,"material":29,"size":30,"collection":31,"collections":358,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262151,"long-quan-yao-qing-you-hua-hua-zhu-ge-wan-yi-ming-262151","龙泉窑青釉划花诸葛碗",[44,25,42,7,356,340],"诸葛碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5295a02ed3e2339fbcc9c3a80c0a43.jpg",[31],{"id":360,"slug":361,"title":362,"dynasty":347,"author":19,"museum":20,"description":176,"tags":363,"thumbUrl":366,"material":29,"size":30,"collection":60,"collections":367,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},262109,"qing-you-hua-hua-lian-ban-wen-ji-tou-hu-yi-ming-262109","青釉划花莲瓣纹鸡头壶",[25,42,7,206,364,290,241,365],"鸡","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0772fb75e125b68a69e2b74fcf5f68.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":39,"author":19,"museum":20,"description":372,"tags":373,"thumbUrl":376,"material":29,"size":30,"collection":60,"collections":377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},261996,"huang-you-hua-hua-ti-liang-hu-yi-ming-261996","黄釉划花提梁壶","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[25,374,7,375,241,139,27],"黄釉","提梁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112978f243a66b6ff1af16ebc322bd0.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":78,"author":19,"museum":20,"description":187,"tags":382,"thumbUrl":384,"material":29,"size":30,"collection":31,"collections":385,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},261989,"de-hua-yao-bai-you-hua-hua-zhe-yan-pan-yi-ming-261989","德化窑白釉划花折沿盘",[25,109,7,383,139,340],"折沿盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e9197166d5a0b3b065817040f9f05a.jpg",[31],{"id"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