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茶叶末莲花式花盆",[132,67,144,145,146,147,148,149,7],"莲花","茶叶末釉","清代","莲花式造型","釉色","清代陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba047a7a89ba0fe3be422189d4bbf015.jpg",[135],9,{"id":154,"slug":155,"title":156,"dynasty":79,"author":53,"museum":20,"description":157,"tags":158,"thumbUrl":177,"material":178,"size":44,"collection":44,"collections":179,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":138},216690,"hong-lou-meng-fu-tu-ce-34-yi-ming-216690","红楼梦赋图册-34","亭榭临阶，绿阴覆檐。亭内女眷凭栏凝睇，或执扇低语，鬓边钗环衬着素色衫裙；庭中三姝款步，一伞轻撑，衣袂沾着淡粉的花影。院角石案上盆花静静吐蕊，围墙漏窗映出远处苔痕。笔墨细腻如丝，设色清雅温润，将红楼闺阁的温婉与庭院幽致融于一纸。人物眉眼间藏着细碎情致，亭内与庭外的呼应似有未言故事，风过枝桠的轻响仿佛在画中流转，尽显清代仕女画的雅致与红楼场景的细腻动人。",[57,83,25,60,159,160,27,161,162,163,7,164,165,166,167,168,169,170,64,171,172,173,174,175,176],"册","界画","楼阁","树木","栏杆","美人","庭院","石阶","围墙","假山","窗棂","建筑","庭院景观","传统服饰","假山石","台阶","中式建筑","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ff7f875c5cffd7c564ec18ca19e6ea.jpg","绢本,设色",[],{"id":181,"slug":182,"title":183,"dynasty":52,"author":53,"museum":20,"description":184,"tags":185,"thumbUrl":188,"material":42,"size":43,"collection":135,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":138},256255,"ge-yao-qing-you-hai-tang-shi-hua-pen-yi-ming-256255","哥窑青釉海棠式花盆","“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？",[52,132,186,187,7],"青釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cd6f5f88c8761366532ac9b8e4cfca9.jpg",[135],6,{"id":192,"slug":193,"title":194,"dynasty":79,"author":53,"museum":20,"description":195,"tags":196,"thumbUrl":202,"material":42,"size":43,"collection":44,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":94},258918,"kang-xi-kuan-qing-hua-ba-xian-tu-hai-tang-shi-hua-pen-yi-ming-258918","康熙款青花八仙图海棠式花盆","青花瓷（blue 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。",[132,197,7,27,198,199,200,201],"青花","八仙","仙鹤","麒麟","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93663059657f4fa1029130ae3169093b.jpg",[],5,{"id":206,"slug":207,"title":208,"dynasty":79,"author":53,"museum":20,"description":209,"tags":210,"thumbUrl":215,"material":42,"size":43,"collection":44,"collections":216,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":47},249880,"qia-si-fa-lang-kai-guang-hua-hui-fu-shou-san-duo-tu-kui-hua-shi-hua-pen-yi-ming-249880","掐丝珐琅开光花卉福寿三多图葵花式花盆","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”。",[79,211,212,35,213,7,214],"掐丝珐琅","开光","福寿三多","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1369f5cb28dc34b5e40443cdbee98e.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":20,"description":222,"tags":223,"thumbUrl":231,"material":42,"size":43,"collection":44,"collections":232,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":138},232310,"a-er-ma-37-lao-lun-si-a-er-ma-ta-de-ma-232310","阿尔玛37","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik 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