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冬青菊瓣纹瓶","清","佚名","藏地不详","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[23,24,7,25,26],"陶瓷","冬青釉","瓶","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784c972567baf0e50bb613309c507b98.jpg","未知","Xcm*Xcm","瓷器精选",[30],42,"795548",{"id":35,"slug":36,"title":37,"dynasty":18,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":42,"material":28,"size":29,"collection":43,"collections":44,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},258411,"kong-que-lv-you-ju-ban-zha-dou-yi-ming-258411","孔雀绿釉菊瓣渣斗","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。",[40,23,41,7,26],"清代","孔雀绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc287abfa36e37ddefdbcad39a6bbf9e.jpg","",[],12,"2A56C6",{"id":48,"slug":49,"title":50,"dynasty":18,"author":19,"museum":20,"description":38,"tags":51,"thumbUrl":58,"material":28,"size":29,"collection":43,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},256568,"kang-xi-kuan-jiang-dou-hong-you-ju-ban-ping-yi-ming-256568","康熙款豇豆红釉菊瓣瓶",[23,52,7,40,53,54,55,56,57],"豇豆红釉","单色釉","瓷器","器物","釉色","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748288ff5827e6d93f7ea96e9244d8d2.jpg",[],3,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":66,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":73,"material":28,"size":29,"collection":30,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":61},261189,"long-quan-yao-qing-you-yin-hua-ju-ban-pan-yi-ming-261189","龙泉窑青釉印花菊瓣盘","明","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。",[23,69,70,71,7,72],"日用具","青釉","印花","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cfb4df4a7a4e754951c6b5c4a032d1.jpg",[30],2,{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":21,"tags":80,"thumbUrl":83,"material":28,"size":29,"collection":43,"collections":84,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":61},259614,"yong-zheng-kuan-qing-hua-ju-ban-wen-hua-jiao-yi-ming-259614","雍正款青花菊瓣纹花浇",[23,81,7,82,69],"青花","花浇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16491c38031a8972c559c73c39bf6a29.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":66,"author":19,"museum":20,"description":67,"tags":89,"thumbUrl":92,"material":28,"size":29,"collection":30,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":61},261245,"long-quan-yao-qing-you-ke-hua-ju-ban-wan-tuo-yi-ming-261245","龙泉窑青釉刻花菊瓣碗托",[23,69,90,70,7,91],"刻花","碗托","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24ebf4fc37368799f10fc81589eaa34.jpg",[30],1,{"id":96,"slug":97,"title":98,"dynasty":18,"author":19,"museum":20,"description":21,"tags":99,"thumbUrl":103,"material":28,"size":29,"collection":43,"collections":104,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":61},258191,"yong-zheng-kuan-ou-he-se-you-ju-ban-pan-yi-ming-258191","雍正款藕荷色釉菊瓣盘",[40,23,100,7,101,53,102],"藕荷色釉","施釉","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a0335900a496c4b4d5f2b38ea96ff1.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":66,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":112,"material":28,"size":29,"collection":30,"collections":113,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262266,"shi-wan-yao-zu-kang-ju-kuan-huang-you-ju-ban-pan-yi-ming-262266","石湾窑祖康居款黄釉菊瓣盘","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[23,69,7,111],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8007f0a318aa3d602bf7c8fc4f2f7e1d.jpg",[30],{"id":115,"slug":116,"title":117,"dynasty":66,"author":19,"museum":20,"description":67,"tags":118,"thumbUrl":121,"material":28,"size":29,"collection":30,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},261268,"long-quan-yao-qing-you-an-hua-ju-ban-wen-pan-yi-ming-261268","龙泉窑青釉暗划菊瓣纹盘",[23,70,119,7,72,69,120],"暗划","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b9b28fb48a65b890010e256ba4371a.jpg",[30],{"id":124,"slug":125,"title":126,"dynasty":66,"author":19,"museum":20,"description":67,"tags":127,"thumbUrl":129,"material":28,"size":29,"collection":30,"collections":130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},260677,"long-quan-yao-qing-you-ju-ban-pan-yi-ming-260677","龙泉窑青釉菊瓣盘",[23,70,7,72,69,128],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c20623ec98c44cbfdb103512988125f.jpg",[30],{"id":132,"slug":133,"title":134,"dynasty":135,"author":19,"museum":20,"description":67,"tags":136,"thumbUrl":139,"material":28,"size":29,"collection":30,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},260495,"long-quan-yao-qing-you-ke-ju-ban-wen-wan-yi-ming-260495","龙泉窑青釉刻菊瓣纹碗","宋",[23,70,7,137,69,128,138],"碗","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ba8e3c10d43f211f2f5056ee04a369.jpg",[30],"37474F",{"id":143,"slug":144,"title":145,"dynasty":135,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":150,"material":28,"size":29,"collection":30,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},260318,"yao-zhou-yao-qing-you-ke-shui-bo-ju-ban-wen-xiao-zhi-hu-yi-ming-260318","耀州窑青釉刻水波菊瓣纹小执壶","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。",[23,69,148,90,149,7],"执壶","水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2a81a3de1081beade76f9362ea091d.jpg",[30],{"id":153,"slug":154,"title":155,"dynasty":156,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":161,"material":28,"size":29,"collection":43,"collections":162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},260137,"qing-bai-you-ju-ban-zhe-yao-xiao-xi-yi-ming-260137","青白釉菊瓣折腰小洗","元","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。",[23,159,7,160,26,69],"青白釉","折腰洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfdc477e72a407b21a4f0a3f0223ed7.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":135,"author":19,"museum":20,"description":67,"tags":167,"thumbUrl":168,"material":28,"size":29,"collection":30,"collections":169,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},259889,"long-quan-yao-qing-you-ju-ban-qian-wan-yi-ming-259889","龙泉窑青釉菊瓣浅碗",[23,70,7,137,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F590b152394dcbf970e6693dd74b7b5af.jpg",[30],{"id":171,"slug":172,"title":173,"dynasty":135,"author":19,"museum":20,"description":67,"tags":174,"thumbUrl":177,"material":28,"size":29,"collection":30,"collections":178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},259839,"long-quan-yao-qing-you-ju-ban-xi-yi-ming-259839","龙泉窑青釉菊瓣洗",[23,70,7,175,138,176],"笔洗","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cb111813797fd4efe0cacb596a690ee.jpg",[30],{"id":180,"slug":181,"title":182,"dynasty":18,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":187,"material":28,"size":29,"collection":43,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},258656,"qian-long-kuan-fang-zhu-qi-ju-ban-gai-wan-yi-ming-258656","乾隆款仿朱漆菊瓣盖碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[40,23,185,7,186],"仿朱漆","盖碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdd34c104f5b27b4bb21ed21a22c28d.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":183,"tags":193,"thumbUrl":196,"material":28,"size":29,"collection":43,"collections":197,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},258547,"qian-long-kuan-fang-zhu-qi-ju-ban-shi-gai-wan-yi-ming-258547","乾隆款仿朱漆菊瓣式盖碗",[23,185,7,26,40,186,194,195],"菊瓣式","仿漆器工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea4aafee935e80825a8440ab3905eeb.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":18,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":204,"material":28,"size":29,"collection":43,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},258410,"dong-qing-you-ke-hua-ju-ban-pan-yi-ming-258410","冬青釉刻花菊瓣盘","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。”",[23,90,24,7,40,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121577f127f60c7910fada36795453b8.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":21,"tags":210,"thumbUrl":212,"material":28,"size":29,"collection":43,"collections":213,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":214},258326,"yong-zheng-kuan-tian-lan-you-ju-ban-hua-pen-tuo-yi-ming-258326","雍正款天蓝釉菊瓣花盆托",[23,26,211,7,53],"天蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11976bbf2273747074f87226303afc74.jpg",[],"F48FB1",{"id":216,"slug":217,"title":218,"dynasty":18,"author":19,"museum":20,"description":21,"tags":219,"thumbUrl":221,"material":28,"size":29,"collection":43,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":141},258314,"yong-zheng-kuan-huang-you-ju-ban-pan-yi-ming-258314","雍正款黄釉菊瓣盘",[18,23,111,7,220,56],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38a691d254a805f9464e607216b23ac.jpg",[],{"id":224,"slug":225,"title":218,"dynasty":18,"author":19,"museum":20,"description":21,"tags":226,"thumbUrl":227,"material":28,"size":29,"collection":43,"collections":228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},258313,"yong-zheng-kuan-huang-you-ju-ban-pan-yi-ming-258313",[40,23,111,7,53,220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bc6a7a6171397e7eff5bcec9e45780.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":18,"author":19,"museum":20,"description":233,"tags":234,"thumbUrl":235,"material":28,"size":29,"collection":43,"collections":236,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},258312,"huang-you-ju-ban-pan-yi-ming-25831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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。",[298,23,81,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163c6a7fdfa22ef54311eab58155ff1b.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":156,"author":19,"museum":20,"description":333,"tags":334,"thumbUrl":337,"material":28,"size":29,"collection":30,"collections":338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},257074,"jun-yao-tian-lan-you-zi-hong-ban-ju-ban-wan-yi-ming-257074","钧窑天蓝釉紫红斑菊瓣碗","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[156,23,335,211,336,7,137,26],"钧窑","紫红斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e75300584fef66ea1aa4cbff8fb97f.jpg",[30],{"id":340,"slug":341,"title":324,"dynasty":66,"author":19,"museum":20,"description":325,"tags":342,"thumbUrl":343,"material":28,"size":29,"collection":43,"collections":344,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256829,"qing-hua-ju-ban-wen-wan-yi-ming-256829",[66,23,81,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbaea32be5a61e9e13a1a296eb42394.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":66,"author":19,"museum":20,"description":38,"tags":349,"thumbUrl":351,"material":28,"size":29,"collection":43,"collections":352,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256821,"fang-ge-you-ju-ban-wan-yi-ming-256821","仿哥釉菊瓣碗",[298,23,350,138,7],"仿哥釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366f4e7a675bd3881035fcfb627f96.jpg",[],{"id":354,"slug":355,"title":356,"dynasty":18,"author":19,"museum":20,"description":202,"tags":357,"thumbUrl":358,"material":28,"size":29,"collection":43,"collections":359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},256575,"kang-xi-kuan-dong-qing-you-ju-ban-ping-yi-ming-256575","康熙款冬青釉菊瓣瓶",[18,23,24,7,25,261,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505c8b46a850e395add0f84b2e02e5dc.jpg",[],{"id":361,"slug":362,"title":324,"dynasty":66,"author":19,"museum":20,"description":325,"tags":363,"thumbUrl":369,"material":28,"size":29,"collection":43,"collections":370,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256335,"qing-hua-ju-ban-wen-wan-yi-ming-256335",[23,81,364,7,365,366,367,57,368],"釉下彩","回纹","卷草纹","明代风格","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4818740d47b95268b37ca014feac151c.jpg",[],{"id":372,"slug":373,"title":374,"dynasty":18,"author":19,"museum":20,"description":375,"tags":376,"thumbUrl":380,"material":28,"size":29,"collection":43,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},252076,"hen-dou-si-tan-qing-yu-hua-er-ju-ban-wen-dai-gai-ping-yi-ming-252076","痕都斯坦青玉花耳菊瓣纹带盖瓶","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。 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