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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。",[23,24,25,26,27,7,28],"陶瓷","青花","明代","缠枝莲","枇杷","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb1d2dd195ae5e1486a45ecc5759b93.jpg","未知","Xcm*Xcm","",[],59,2,"9C27B0",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":49,"material":30,"size":31,"collection":32,"collections":50,"showCount":51,"zanCount":52,"manualWeight":11,"mainColor":53},248671,"hei-qi-miao-jin-chan-zhi-lian-wen-ju-ban-shi-shou-lu-yi-ming-248671","黑漆描金缠枝莲纹菊瓣式手炉","清","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[44,45,46,47,48,28,26,7],"清代","黑漆描金","缠枝莲纹","菊瓣式","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a3c99099e7e8a5057b3aefde3acd1c.jpg",[],9,1,"BDBDBD",{"id":55,"slug":56,"title":57,"dynasty":41,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":63,"material":30,"size":31,"collection":32,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},262218,"yong-zheng-kuan-lv-you-ju-ban-pan-yi-ming-262218","雍正款绿釉菊瓣盘","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。",[23,60,7,28,61,62],"绿釉","日用具","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf8fec1a0462c78e2174ac7313d71edf.jpg",[],3,"0D904F",{"id":68,"slug":69,"title":70,"dynasty":71,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":75,"material":30,"size":31,"collection":76,"collections":77,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":78},259681,"jun-yao-tian-lan-you-ju-ban-wan-yi-ming-259681","钧窑天蓝釉菊瓣碗","元","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。",[23,28,62,61,74,7],"天蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373d8bb4a74befd4ef3dde0cac5e8aac.jpg","瓷器精选",[76],"37474F",{"id":80,"slug":81,"title":82,"dynasty":41,"author":19,"museum":20,"description":58,"tags":83,"thumbUrl":87,"material":30,"size":31,"collection":32,"collections":88,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":78},258121,"yong-zheng-kuan-fang-ru-you-xian-wen-ju-ban-ping-yi-ming-258121","雍正款仿汝釉弦纹菊瓣瓶",[23,84,85,7,86,44],"仿汝釉","弦纹","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40e9a974e063694ef2188725f35b4797.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":41,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":97,"material":30,"size":31,"collection":32,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},262216,"bai-you-ju-ban-pan-yi-ming-262216","白釉菊瓣盘","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。",[23,95,7,96,61,28],"白釉","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d299e6b615a892fdf4e5cba7466abe6.jpg",[],"795548",{"id":101,"slug":102,"title":103,"dynasty":41,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":108,"material":30,"size":31,"collection":76,"collections":109,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},261750,"yi-xing-yao-zi-sha-ju-ban-cha-hu-yi-ming-261750","宜兴窑紫砂菊瓣茶壶","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。",[23,61,106,107,7],"紫砂","茶壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040fc36cd414960377646a666702622e.jpg",[76],{"id":111,"slug":112,"title":113,"dynasty":114,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":119,"material":30,"size":31,"collection":76,"collections":120,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},261489,"ding-yao-bai-you-yin-hua-bo-gu-tu-ju-ban-pan-yi-ming-261489","定窑白釉印花博古图菊瓣盘","宋","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。",[23,28,95,117,7,118],"印花","博古图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015fcd77d69f3fefa00f2f7bfbd1f384.jpg",[76],{"id":122,"slug":123,"title":124,"dynasty":114,"author":19,"museum":20,"description":93,"tags":125,"thumbUrl":127,"material":30,"size":31,"collection":32,"collections":128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},261410,"qing-bai-you-ju-ban-xi-yi-ming-261410","青白釉菊瓣洗",[23,61,126,7],"青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1aa55cda2d020c32b38f920a46c779d.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":114,"author":19,"museum":20,"description":115,"tags":133,"thumbUrl":137,"material":30,"size":31,"collection":76,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},261371,"ding-yao-bai-you-yin-hua-gui-he-xian-ren-tu-ju-ban-pan-yi-ming-261371","定窑白釉印花龟鹤仙人图菊瓣盘",[23,95,117,134,135,136,7,61,28],"龟","鹤","仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3883984f1ce477dbeca36afcf7ebfb90.jpg",[76],{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":21,"tags":143,"thumbUrl":145,"material":30,"size":31,"collection":32,"collections":146,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},261023,"qing-hua-hua-niao-wen-ju-ban-pan-yi-ming-261023","青花花鸟纹菊瓣盘",[23,24,144,7,61],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5326e259df6746eb2ff1ea85392c380f.jpg",[],{"id":148,"slug":149,"title":150,"dynasty":18,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":156,"material":30,"size":31,"collection":76,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},260673,"long-quan-yao-qing-you-yin-hua-ju-ban-pan-yi-ming-260673","龙泉窑青釉印花菊瓣盘","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。",[23,153,154,117,7,96,155],"龙泉窑","青釉","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa02c49ecf80834d7efb508cd57c95a.jpg",[76],{"id":159,"slug":160,"title":161,"dynasty":41,"author":19,"museum":20,"description":58,"tags":162,"thumbUrl":165,"material":30,"size":31,"collection":32,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},259618,"yong-zheng-kuan-fang-jun-you-ju-ban-hua-pen-tuo-yi-ming-259618","雍正款仿钧釉菊瓣花盆托",[23,163,164,7,61],"花盆托","仿钧釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77853f5de9e0fe7999704a38c2b00b02.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":41,"author":19,"museum":20,"description":58,"tags":171,"thumbUrl":173,"material":30,"size":31,"collection":32,"collections":174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},258363,"yong-zheng-kuan-hu-lv-you-ju-ban-pan-yi-ming-258363","雍正款湖绿釉菊瓣盘",[44,23,172,7,28],"湖绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb400221a6f417e7a0c2ba0f6f8ee165.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":41,"author":19,"museum":20,"description":58,"tags":179,"thumbUrl":181,"material":30,"size":31,"collection":32,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},258189,"yong-zheng-kuan-sa-lan-you-ju-ban-pan-yi-ming-258189","雍正款洒蓝釉菊瓣盘",[41,23,180,7,96,28],"洒蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a99c310dd97b2285d6a448b41351aff.jpg",[],{"id":184,"slug":185,"title":178,"dynasty":41,"author":19,"museum":20,"description":58,"tags":186,"thumbUrl":187,"material":30,"size":31,"collection":32,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},258188,"yong-zheng-kuan-sa-lan-you-ju-ban-pan-yi-ming-258188",[41,23,180,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc7374d6ce5811c3619b0815326a965.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":197,"material":30,"size":31,"collection":76,"collections":198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},257510,"shi-wan-yao-jiang-you-ju-ban-pan-yi-ming-257510","石湾窑酱釉菊瓣盘","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。"",[23,195,196,7,61],"石湾窑","酱釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F788e81009f64277f28e0b01a738fa8b3.jpg",[76],{"id":200,"slug":201,"title":202,"dynasty":18,"author":19,"museum":20,"description":193,"tags":203,"thumbUrl":205,"material":30,"size":31,"collection":76,"collections":206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},257509,"shi-wan-yao-hui-lan-you-ju-ban-pan-yi-ming-257509","石湾窑灰蓝釉菊瓣盘",[25,23,195,204,7],"灰蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184de6298bb38395be5590d1de88b53e.jpg",[76],{"id":208,"slug":209,"title":210,"dynasty":18,"author":19,"museum":20,"description":21,"tags":211,"thumbUrl":213,"material":30,"size":31,"collection":32,"collections":214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},257366,"wan-li-kuan-qing-hua-ju-ban-kou-die-yi-ming-257366","万历款青花菊瓣口碟",[23,24,18,212,7],"碟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268acffd5f4f6ffa6ae67e36d356fcaf.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":18,"author":19,"museum":20,"description":21,"tags":219,"thumbUrl":222,"material":30,"size":31,"collection":32,"collections":223,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},257099,"qing-hua-ju-ban-wen-wan-yi-ming-257099","青花菊瓣纹碗",[25,24,220,7,23,28,221],"釉下彩","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1d0f1a060e8b62965031e03e7a627c.jpg",[],{"id":225,"slug":226,"title":227,"dynasty":114,"author":19,"museum":20,"description":151,"tags":228,"thumbUrl":231,"material":30,"size":31,"collection":76,"collections":232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},257017,"long-quan-yao-qing-you-ju-ban-xi-yi-ming-257017","龙泉窑青釉菊瓣洗",[229,23,154,7,230,28],"宋代","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4578b53939a568d57fab33e017c7187.jpg",[76],{"id":234,"slug":235,"title":236,"dynasty":41,"author":19,"museum":20,"description":237,"tags":238,"thumbUrl":243,"material":30,"size":31,"collection":32,"collections":244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},256627,"dou-cai-gou-lian-ju-ban-zun-yi-ming-256627","斗彩勾莲菊瓣尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽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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。",[260,28,7,261,262],"玉石","痕都斯坦风格","薄胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e588bdfbab682b89a438e94ff9964cb.jpg",[],{"id":266,"slug":267,"title":268,"dynasty":41,"author":19,"museum":20,"description":258,"tags":269,"thumbUrl":271,"material":30,"size":31,"collection":32,"collections":272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},251535,"hen-dou-si-tan-qing-yu-ju-ban-shi-xi-yi-ming-251535","痕都斯坦青玉菊瓣式洗",[41,260,270,7,261,28],"雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a91c4cb3d723d83f052b0fb68884aea.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":41,"author":19,"museum":20,"description":258,"tags":277,"thumbUrl":278,"material":30,"size":31,"collection":32,"collections":279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},250497,"hen-dou-si-tan-qing-yu-ju-ban-shi-pan-yi-ming-250497","痕都斯坦青玉菊瓣式盘",[41,260,270,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab17821d2f37fa68f5d155f71b96f3d.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":41,"author":19,"museum":20,"description":258,"tags":284,"thumbUrl":285,"material":30,"size":31,"collection":32,"collections":286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},250322,"qing-yu-ju-ban-pan-yi-ming-250322","青玉菊瓣盘",[44,260,7,28,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a086b516051fefb728ef9e62e6e40b7.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":41,"author":19,"museum":20,"description":291,"tags":292,"thumbUrl":295,"material":30,"size":31,"collection":32,"collections":296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},250077,"qia-si-fa-lang-ju-ban-shi-hua-pen-yi-ming-250077","掐丝珐琅菊瓣式花盆","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”。",[41,293,294,241,7,28],"掐丝珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fcb63930ea18047a6506d69b13fe2f7.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":41,"author":19,"museum":20,"description":301,"tags":302,"thumbUrl":308,"material":30,"size":31,"collection":32,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},248656,"tuo-tai-zhu-qi-ju-ban-shi-gai-wan-yi-ming-248656","脱胎朱漆菊瓣式盖碗","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。",[48,303,7,28,304,305,44,47,306,307],"脱胎朱漆","朱红","盖碗","朱漆","脱胎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e31b35bb34e9dbb3235d1134adcba44.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":41,"author":19,"museum":20,"description":301,"tags":314,"thumbUrl":316,"material":30,"size":31,"collection":32,"collections":317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},248655,"qian-long-kuan-tuo-tai-zhu-qi-ju-ban-shi-gai-wan-yi-ming-248655","乾隆款脱胎朱漆菊瓣式盖碗",[48,303,241,315,28,61,7],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ff9eca3a8a0cd731ad263149404618a.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":41,"author":19,"museum":20,"description":322,"tags":323,"thumbUrl":324,"material":30,"size":31,"collection":32,"collections":325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},248575,"qian-long-kuan-tuo-tai-zhu-qi-ju-ban-shi-pan-yi-ming-248575","乾隆款脱胎朱漆菊瓣式盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[44,48,303,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc764140898d2feef2569bec2a210ec4.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":41,"author":19,"museum":20,"description":330,"tags":331,"thumbUrl":332,"material":30,"size":31,"collection":32,"collections":333,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},248552,"tuo-tai-zhu-qi-ju-ban-shi-he-yi-ming-248552","脱胎朱漆菊瓣式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[44,48,307,306,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa4b8b269216a62193366f52085fc90.jpg",[],{"id":335,"slug":336,"title":337,"dynasty":41,"author":19,"museum":20,"description":330,"tags":338,"thumbUrl":340,"material":30,"size":31,"collection":32,"collections":341,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},247627,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247627","剔红菊花纹菊瓣式盒",[41,48,270,339,315,7,28],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa265c2b4f23f30535bc298a8968cd54a.jpg",[],{"id":343,"slug":344,"title":337,"dynasty":41,"author":19,"museum":20,"description":330,"tags":345,"thumbUrl":347,"material":30,"size":31,"collection":32,"collections":348,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},247624,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247624",[44,48,339,346,7,28],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4aa67c874b7cae52ff83aa638dbcd7.jpg",[],{"id":350,"slug":351,"title":337,"dynasty":41,"author":19,"museum":20,"description":330,"tags":352,"thumbUrl":353,"material":30,"size":31,"collection":32,"collections":354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":99},247618,"ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247618",[44,48,339,270,315,346,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dad698fcdfb1249db96230e0e4a2cc0.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":41,"author":19,"museum":20,"description":330,"tags":359,"thumbUrl":360,"material":30,"size":31,"collection":32,"collections":361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},247110,"qian-long-kuan-ti-hong-ju-hua-wen-ju-ban-shi-he-yi-ming-247110","乾隆款剔红菊花纹菊瓣式盒",[41,48,339,270,346,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffafdba5848b119d1ea5795322388990f.jpg",[],{"id":363,"slug":364,"title":365,"dynasty":41,"author":19,"museum":20,"description":258,"tags":366,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},230036,"qing-yu-ju-ban-wen-shi-fu-mu-zuo-yi-ming-230036","青玉菊瓣纹饰（附木座）",[260,270,44,7,315,28,367,242],"青玉",[],1777535712640]