[{"data":1,"prerenderedAt":213},["ShallowReactive",2],{"subject-ju-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5799,"ju-wen","菊纹","菊纹画高清赏析","精选中国历代菊纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad3cd3730f409d9bfa1e7269144fd41.jpg",0,17,[14,33,45,57,67,80,92,106,117,126,142,153,162,173,182,193,202],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},265304,"pin-yue-se-sha-di-mu-dan-ju-wen-tao-yi-ming-265304","品月色纱地牡丹菊纹绦","清","佚名","藏地不详","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[23,24,25,7],"布料","饰品","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492176173eadb43d6e2ee1c307220341.jpg","未知","Xcm*Xcm","",[],33,"9C27B0",{"id":34,"slug":35,"title":36,"dynasty":18,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":41,"material":27,"size":28,"collection":29,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},267716,"fen-se-gou-lian-ju-wen-luo-yi-ming-267716","粉色勾莲菊纹罗","柔粉罗绡通透轻盈，缠枝莲菊蜿蜒铺展，枝蔓勾连往复，将清隽花叶织入肌理。纹样排布繁而不乱，俯仰生姿的莲与菊既有清逸风骨，又借缠枝意境延续出连绵雅致。\n\n经纬交织间尽显旧时织造匠心，柔粉底色晕开温柔质感，让织物在古雅静穆中兼具装饰意趣与实用价值，静静晕染出传统织物的精致审美，将花鸟意趣融于一方罗巾，尽显细腻温婉的旧时工艺之美。",[23,39,7,40],"勾莲纹","丝织品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0921662ba9477422afa2293a92b8132.jpg",[],3,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":18,"author":19,"museum":20,"description":21,"tags":49,"thumbUrl":53,"material":27,"size":28,"collection":29,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},265307,"da-hong-se-sha-di-mu-dan-ju-wen-tao-yi-ming-265307","大红色纱地牡丹菊纹绦",[23,50,51,7,52],"绦带","牡丹纹","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff456146fb26a86cd499d47c202901c62.jpg",[],1,"795548",{"id":58,"slug":59,"title":60,"dynasty":18,"author":19,"museum":20,"description":61,"tags":62,"thumbUrl":65,"material":27,"size":28,"collection":29,"collections":66,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":44},263788,"fen-se-die-ju-wen-zhou-chou-yi-ming-263788","粉色蝶菊纹绉绸","柔粉底色莹润温婉，提花纹样藏于缩绉肌理之间。饱满菊朵次第绽放，层叠瓣晕舒展清隽秋意，粉蝶轻绕花枝，振翅之态灵动鲜活，于光影里若隐若现。\n\n绉绸自带的细微缩绉，让面料在光影下漾起柔润柔光，将花蝶晕染出朦胧柔婉之态。构图疏密得宜，繁而不杂，把秋日赏菊的风雅，融于日常织物之中，尽显旧时织造工艺的细腻精巧，暗合闺阁雅致意趣，将清隽秋意定格为随身的温柔景致。",[23,63,64,7],"绉绸","蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad51895eeadefcebaaf94e5fde2fbfb.jpg",[],{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":78,"material":27,"size":28,"collection":29,"collections":79,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},258863,"ti-he-dian-kuan-huang-you-an-ke-hua-lan-ju-wen-lian-yi-ming-258863","体和殿款黄釉暗刻花篮菊纹奁","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。",[18,73,74,75,76,7,77],"陶瓷","黄釉","暗刻","花篮","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d345d0a5b5bd9fb1d2040b143062cfa.jpg",[],{"id":81,"slug":82,"title":83,"dynasty":84,"author":19,"museum":20,"description":85,"tags":86,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":91,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":44},227654,"you-gai-yuan-he-yi-ming-227654","有盖圆盒","宋","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[87,73,88,89,7,90],"宋代","青白釉","刻划","日用器",[],{"id":93,"slug":94,"title":95,"dynasty":18,"author":19,"museum":20,"description":96,"tags":97,"thumbUrl":103,"material":27,"size":28,"collection":29,"collections":104,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},273589,"ban-zhu-qi-mian-yi-yi-ming-273589","斑竹漆面椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[98,99,100,101,7,102],"椅子","漆器","日用具","竹质","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02dfe893697d84cc64e5140b803c46db.jpg",[],"FFFFFF",{"id":107,"slug":108,"title":109,"dynasty":18,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":115,"material":27,"size":28,"collection":29,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269782,"hong-mu-diao-ju-wen-wei-jiao-chang-fang-he-yi-ming-269782","红木雕菊纹委角长方盒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[112,113,7,100,114],"木质","雕刻","木器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e04a0b8c26cf5eebce5378ae53a04e0.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":21,"tags":121,"thumbUrl":124,"material":27,"size":28,"collection":29,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},264653,"mi-se-duan-di-zhi-jin-san-lan-jiu-hua-wen-tao-yi-ming-264653","米色缎地织金三蓝九花纹绦",[23,24,122,123,7,50],"织金","三蓝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82f8adcb4e8aa8efedd6922ed7c4a084.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":18,"author":19,"museum":20,"description":130,"tags":131,"thumbUrl":140,"material":27,"size":28,"collection":29,"collections":141,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},264255,"lan-se-di-wan-zi-fu-ju-tuan-shuang-kui-wen-xian-jin-dian-liao-yi-ming-264255","蓝色地万字蝠菊团双夔纹线锦垫料","此锦料以沉稳靛蓝为底，朱红主纹鲜亮醒目，青绿、浅橙作为间色提亮层次，色调搭配典雅和谐。\n\n满幅万字纹连绵回环，暗含万福不断的吉意，蝠纹团菊交错其间，谐意福寿安康，对称双夔纹古雅端方。各色条带分割画面，卷草、回纹点缀其中，繁而不乱，排布规整有序。\n\n织工细密紧致，提花晕色过渡自然，经纬之间将祈福寓意尽数织就，是清代织绣中兼具装饰审美与吉祥意涵的上乘之作。",[132,133,134,135,7,136,137,138,139],"织锦","垫料","万字纹","蝙蝠纹","夔纹","设色","传统织物","几何纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736a585b18edfbdde6b05d3281aebd86.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":151,"material":27,"size":28,"collection":29,"collections":152,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},264177,"zi-hong-se-xiao-duo-ju-wen-hui-hui-zhi-jin-chou-yi-ming-264177","紫红色小朵菊纹回回织金绸","红底如凝脂落霞，匀净端庄，细密的小朵菊纹铺陈满幅，排布规整却不失灵动。织金的光泽晕染花心与瓣边，让柔婉的菊色在沉郁底色里跳脱出来，似将秋日清霜缀在了红绸之上。回回织金的工艺带着异域巧思，揉合中式菊纹的清雅意趣，明暗交织间尽显雅致古拙的韵味，既有端方规整的质感，又藏着柔婉生机，经纬之间尽显旧时织造的匠心巧思。",[23,148,7,149,150],"织金绸","紫红色","小朵菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401b7966cbe07ccaf233f187f1537bd9.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":18,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":160,"material":27,"size":28,"collection":29,"collections":161,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},264173,"zi-se-di-ju-wen-hui-hui-jin-yi-ming-264173","紫色地菊纹回回锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[23,132,7,159],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a13de06299762b73ca30b9ecdde95dd.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":171,"material":27,"size":28,"collection":29,"collections":172,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},263642,"zao-hong-se-wan-zi-ju-wen-zhang-duan-jia-pao-yi-ming-263642","枣红色万字菊纹漳缎袷袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[168,23,169,134,7,170],"衣帽","袍服","漳缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8dff5a9898be8916663fbcd12dba6ab.jpg",[],{"id":174,"slug":175,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":178,"thumbUrl":180,"material":27,"size":28,"collection":29,"collections":181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},259167,"yong-zheng-kuan-qing-hua-zan-ju-wen-pan-yi-ming-259167","雍正款青花攒菊纹盘","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。",[73,179,7,100],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1268fb944a11fe7476f2e5ac187d8c.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":190,"material":27,"size":28,"collection":29,"collections":191,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":192},258393,"qing-hua-chan-zhi-ju-wen-xiao-wan-yi-ming-258393","青花缠枝菊纹小碗","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。",[188,73,179,189,7],"清代","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7587f81d62d6fb3e0aa03aec8978b5c0.jpg",[],"37474F",{"id":194,"slug":195,"title":196,"dynasty":197,"author":19,"museum":20,"description":186,"tags":198,"thumbUrl":200,"material":27,"size":28,"collection":29,"collections":201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":192},257279,"jia-jing-kuan-qing-hua-chan-zhi-ju-wen-die-yi-ming-257279","嘉靖款青花缠枝菊纹碟","明",[199,73,179,189,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c376cf455dd770b8d8c17f425b96b0c.jpg",[],{"id":203,"slug":204,"title":205,"dynasty":84,"author":19,"museum":20,"description":206,"tags":207,"thumbUrl":210,"material":27,"size":28,"collection":211,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},257035,"ding-yao-bai-you-yin-hua-ju-wen-li-shi-wan-yi-ming-257035","定窑白釉印花菊纹笠式碗","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。",[84,73,208,209,7,77],"白釉","印花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8516f49fd703477dfe1b2d5dbb5748.jpg","瓷器精选",[211],1777535723028]