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青瓷碟（「丙蔡」铭）","汝窑瓷器以其“温润似玉而胜于玉”的质感、及“雨过天青云破处”的独特釉色闻名于世，被视为青瓷之冠。因烧制时间短，传世品极少，历代视为稀世珍宝。目前全世界记录在册仅存70余件，其中21件藏于中国台北故宫博物院。器型为1件温碗、4件水仙盆、5件碟、4件洗、4件盘、3件瓶。\n侈圆口、镶铜釦、壁稍深、平底、圈足微外撇。底有三细小支钉痕；内周壁积釉处，有冰裂纹。这件汝窑青瓷碟，底心刻篆书「丙」字；",[18,23,24,7,41,42],"器物","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c569baae581801e926bd9f194364e63.jpg",[30],90,{"id":47,"slug":48,"title":49,"dynasty":18,"author":19,"museum":20,"description":50,"tags":51,"thumbUrl":53,"material":28,"size":29,"collection":30,"collections":54,"showCount":55,"zanCount":33,"manualWeight":11,"mainColor":34},223777,"guan-yao-qing-ci-kui-kou-pan-yi-ming-223777","官窑青瓷葵口盘","北宋官窑椭圆洗北宋官窑是宋徽宗政和年间下旨在汝州张公巷建造的官窑，主要烧制青瓷；器物造型往往带有雍容典雅的宫廷风格，釉色以月色，粉青，大绿三种颜色最为流行。官窑胎体天青色釉略带粉红颜色，釉面开大纹片，这是北宋官窑的典型特点。",[52,23,24,7,25],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff24333c21fc27b6deab09d6f93b9325.jpg",[30],52,{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":60,"description":61,"tags":62,"thumbUrl":63,"material":64,"size":65,"collection":30,"collections":66,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":34},223725,"bei-song-ru-yao-qing-ci-dan-ping-yi-ming-223725","北宋汝窑青瓷胆瓶","台北故宫博物院","北宋汝窑青釉刻花鹅颈瓶，口径5.8厘米，足径8.4厘米，高19.6厘米。敞口，细长颈，球形腹，下有圈足；颈部和腹部分别刻以折枝莲花，器表满施天蓝釉，光亮滋润，布满开片。为存世御用汝瓷中绝无仅有，也为刻花汝官瓷的鉴定提供了实物依据。刻花鹅颈瓶不仅造型讲究，而且用刻花装饰，更饰以天蓝釉，保存完整无缺，实在弥足珍贵。宝丰清凉寺汝官窑址发掘出土。",[23,25,24,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d70c028618f512306114c6b57e702c.jpg","瓷器","19.6厘米",[30],{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":74,"material":28,"size":29,"collection":30,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":77},223721,"bei-song-12-shi-ji-zao-qi-ru-yao-qing-ci-pan-yi-ming-223721","北宋-12世纪早期 汝窑青瓷盘","汝窑为五大名窑之首，窑址在河南省宝丰清凉寺，据考证烧造时间为宋哲宗元祐元年（1086年）到宋徽宗崇宁五年（1106年）二十年间，因烧造时间短，数量少，在南宋时就有“近尤难得”之说。汝窑瓷器如此珍贵，在博物馆界和收藏界无不以收藏到汝瓷为至高荣誉。",[18,23,24,7,64,25,73],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11567cc82a158cf9aa02f287ccc3a22.jpg",[30],30,"37474F",{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":84,"material":28,"size":29,"collection":30,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":87},227316,"lie-wen-guan-yao-pan-yi-ming-227316","裂纹官窑盘","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[18,23,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb84ff548ea4a6dbf9f0de8c1f23792.jpg",[30],25,"BDBDBD",{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":96,"material":28,"size":29,"collection":30,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":34},256180,"long-quan-yao-qing-you-feng-er-ping-yi-ming-256180","龙泉窑青釉凤耳瓶","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。",[18,23,94,7,95,25],"青釉","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714807ee8518db1647bc5f41e3848bca.jpg",[30],20,{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":109,"material":28,"size":29,"collection":30,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":87},256185,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256185","哥窑青灰釉葵口碗","“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？",[52,23,105,7,106,107,108],"青灰釉","葵口","碗","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86655a024f7ed13acb4f164083a6026.jpg",[30],18,{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":71,"tags":116,"thumbUrl":117,"material":28,"size":29,"collection":30,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":34},223719,"ru-yao-qing-ci-pan-yi-ming-223719","汝窑青瓷盘",[18,23,24,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093a00b2329ec4f05e97de404f0f7805.jpg",[30],17,{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":82,"tags":124,"thumbUrl":126,"material":28,"size":29,"collection":30,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":34},227792,"nan-song-yuan-guan-yao-qing-ci-zha-dou-shi-zun-yi-ming-227792","南宋-元 官窑 青瓷渣斗式尊",[23,24,125,7,25],"官窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5498f27d115956573c4683df3344f68f.jpg",[30],14,{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":139,"material":28,"size":29,"collection":30,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":34},256290,"ru-yao-tian-qing-you-xian-wen-zun-yi-ming-256290","汝窑天青釉弦纹樽","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[52,23,135,136,137,7,138],"汝窑","天青釉","弦纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aab0d54fb62564712701ea71c71f128.jpg",[30],11,{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":20,"description":103,"tags":146,"thumbUrl":149,"material":28,"size":29,"collection":30,"collections":150,"showCount":141,"zanCount":33,"manualWeight":11,"mainColor":34},256252,"ge-yao-qing-you-shuang-yu-er-lu-yi-ming-256252","哥窑青釉双鱼耳炉",[18,23,7,94,147,25,148],"鱼","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F146b51165f7b4984f1913eedef69c939.jpg",[30],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":133,"tags":155,"thumbUrl":156,"material":28,"size":29,"collection":30,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":34},256293,"ru-yao-tian-qing-you-wan-yi-ming-256293","汝窑天青釉碗",[52,64,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc353e0e577c403d49141d5dc1b2e960b.jpg",[30],10,{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":168,"material":28,"size":29,"collection":30,"collections":169,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":87},223806,"long-quan-yao-qing-ci-cong-shi-ping-yi-ming-223806","龙泉窑青瓷琮式瓶","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。",[18,23,24,25,165,166,167,7],"青绿","釉色","仿古造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f46eaf8e9e7a8d6317cc7a06213ab50.jpg",[30],{"id":171,"slug":172,"title":173,"dynasty":18,"author":19,"museum":20,"description":133,"tags":174,"thumbUrl":175,"material":28,"size":29,"collection":30,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":34},256292,"ru-yao-tian-qing-you-san-zu-zun-cheng-pan-yi-ming-256292","汝窑天青釉三足樽承盘",[52,23,136,7,138,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d47b1d6eae227da61c4328254e3101c.jpg",[30],8,{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":103,"tags":182,"thumbUrl":183,"material":28,"size":29,"collection":30,"collections":184,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":87},256261,"ge-yao-qing-you-dan-shi-ping-yi-ming-256261","哥窑青釉胆式瓶",[18,23,94,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd9ba4a680a01630dc25187f12c8916.jpg",[30],{"id":186,"slug":187,"title":188,"dynasty":18,"author":19,"museum":20,"description":103,"tags":189,"thumbUrl":191,"material":28,"size":29,"collection":30,"collections":192,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":87},256259,"ge-yao-dan-shi-ping-yi-ming-256259","哥窑胆式瓶",[18,23,7,190,25],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d3db12ea323c3100dcb103f76b243c.jpg",[30],{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":50,"tags":197,"thumbUrl":199,"material":28,"size":29,"collection":30,"collections":200,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":34},223783,"guan-yao-qing-ci-kui-kou-wan-yi-ming-223783","官窑青瓷葵口碗",[18,125,24,23,7,198,106,41],"冰裂纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46332be70e9b7b09bd730926943dea0.jpg",[30],{"id":202,"slug":203,"title":204,"dynasty":18,"author":19,"museum":20,"description":133,"tags":205,"thumbUrl":207,"material":28,"size":29,"collection":30,"collections":208,"showCount":209,"zanCount":33,"manualWeight":11,"mainColor":34},260182,"lin-ru-yao-qing-you-ji-xin-guan-yi-ming-260182","临汝窑青釉鸡心罐",[23,94,206,7,42],"鸡心罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e44cdebfab93657f339d57c3e2e5d68.jpg",[30],6,{"id":211,"slug":212,"title":213,"dynasty":18,"author":19,"museum":20,"description":133,"tags":214,"thumbUrl":215,"material":28,"size":29,"collection":30,"collections":216,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":34},256291,"ru-yao-tian-qing-you-pan-yi-ming-256291","汝窑天青釉盘",[18,23,136,7,25,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfac4b598cc99daa425cc4e20475e5.jpg",[30],{"id":218,"slug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