[{"data":1,"prerenderedAt":180},["ShallowReactive",2],{"subject-kai-pian-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4253,"kai-pian-wen","开片纹","开片纹画高清赏析","精选中国历代开片纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ff79a812c761a86d012d223b51f206.jpg",0,15,[14,33,45,57,68,79,90,99,107,121,134,142,150,158,167],{"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},271296,"fang-ge-yao-ci-pi-yong-yan-yi-ming-271296","仿哥窑瓷辟雍砚","清","佚名","藏地不详","“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？",[23,24,25,7],"陶瓷","砚","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc34cb378eb77c9038510da69e4377f34.jpg","未知","Xcm*Xcm","瓷器精选",[29],2,"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":18,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":41,"material":27,"size":28,"collection":42,"collections":43,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":44},263494,"yong-zheng-kuan-fang-ge-you-guan-er-chuan-dai-fang-ping-yi-ming-263494","雍正款仿哥釉贯耳穿带方瓶","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。",[23,39,40,7],"仿哥釉","贯耳瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e42b25f63a2586c85d72133498403.jpg","",[],"795548",{"id":46,"slug":47,"title":48,"dynasty":49,"author":19,"museum":20,"description":21,"tags":50,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":55,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":56},256260,"ge-yao-qing-you-shuang-er-ba-fang-bian-ping-yi-ming-256260","哥窑青釉双耳八方扁瓶","宋",[23,51,52,7,53,54],"哥窑","双耳瓶","金丝铁线","乳浊釉",[29],"37474F",{"id":58,"slug":59,"title":60,"dynasty":18,"author":19,"museum":20,"description":61,"tags":62,"thumbUrl":65,"material":27,"size":28,"collection":42,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":32},261529,"guang-xu-kuan-fang-guan-you-guan-er-ping-yi-ming-261529","光绪款仿官釉贯耳瓶","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。",[23,63,40,7,64],"仿官釉","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf388a37ff35c22c3c25a04647274bbe.jpg",[],1,{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":61,"tags":72,"thumbUrl":77,"material":27,"size":28,"collection":42,"collections":78,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":44},260848,"fang-guan-you-ba-gua-wen-cong-shi-ping-yi-ming-260848","仿官釉八卦纹琮式瓶",[23,73,74,63,7,75,76],"八卦纹","琮式瓶","瓷器","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13261c78877cbb7fe557d7eadc3b135b.jpg",[],{"id":80,"slug":81,"title":82,"dynasty":83,"author":19,"museum":20,"description":61,"tags":84,"thumbUrl":88,"material":27,"size":28,"collection":42,"collections":89,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":44},260620,"fang-ru-you-xi-shuai-guan-yi-ming-260620","仿汝釉蟋蟀罐","明",[23,7,85,86,87],"蟋蟀罐","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d1586dd4f0bb3e2356257217d6d57e.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":61,"tags":94,"thumbUrl":97,"material":27,"size":28,"collection":42,"collections":98,"showCount":67,"zanCount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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。",[23,113,114,115,116,117,7,118],"瓶","青花","赭彩","折枝花卉","兽耳","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625483d363aa810962460a578a57e4e6.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":125,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":132,"material":27,"size":28,"collection":29,"collections":133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},260487,"long-quan-yao-fen-qing-you-yin-hua-wo-zu-xi-yi-ming-260487","龙泉窑粉青釉印花卧足洗","元","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。",[23,128,129,130,131,7],"龙泉窑","粉青釉","印花","卧足洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e51a5aa09f510c225c1ba45329c20c1.jpg",[29],{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":61,"tags":138,"thumbUrl":140,"material":27,"size":28,"collection":42,"collections":141,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},260041,"fang-guan-you-xian-wen-guan-er-ping-yi-ming-260041","仿官釉弦纹贯耳瓶",[23,75,63,7,40,139],"弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cca37d809cb1bba23f8c803a0d7a921.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":20,"description":61,"tags":146,"thumbUrl":148,"material":27,"size":28,"collection":42,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},260020,"wu-shen-xiao-yang-yue-zhi-kuan-fang-ge-you-ye-shi-yan-yi-ming-260020","戊申小阳月制款仿哥釉叶式砚",[23,24,39,7,147],"叶式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33411dfcd09ca478361f2ff0e30d72f.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":37,"tags":154,"thumbUrl":156,"material":27,"size":28,"collection":42,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},259616,"yong-zheng-kuan-fang-guan-you-san-huan-hua-nang-yi-ming-259616","雍正款仿官釉三环花囊",[23,63,7,155],"三系花囊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b4f00d3833548e5ec28d20b8061e71.jpg",[],{"id":159,"slug":160,"title":161,"dynasty":18,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":165,"material":27,"size":28,"collection":42,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},259387,"tong-zhi-kuan-dong-qing-you-xing-yuan-guan-er-ping-yi-ming-259387","同治款冬青釉杏圆贯耳瓶","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。”",[23,75,164,40,7,87],"冬青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53d69f9741cfb90a63e48ad281811b8.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":49,"author":19,"museum":20,"description":61,"tags":171,"thumbUrl":178,"material":27,"size":28,"collection":42,"collections":179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},223785,"nan-xi-yuan-960-1279-nian-yuan-qing-ci-hua-shi-xi-yi-ming-223785","南西元960-1279年-元青瓷花式洗",[23,172,87,173,174,175,176,7,177],"青瓷","开片","花式","宋代","青瓷技法","花式器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb131f1d07648f061ba096da6387d53.jpg",[],1777535725792]