[{"data":1,"prerenderedAt":196},["ShallowReactive",2],{"subject-ke-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6925,"ke-wen","刻纹","刻纹画高清赏析","精选中国历代刻纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dbe00c6f43397a49b0cc3bb5968588f.jpg",0,16,[14,35,50,64,75,88,99,108,120,129,137,146,154,166,178,186],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},261714,"ding-yao-bai-you-ke-qian-long-yu-zhi-shi-tian-lu-liu-yun-wen-fang-xi-yi-ming-261714","定窑白釉刻乾隆御制诗天禄流云纹方洗","明","佚名","藏地不详","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。",[23,24,25,7,26,27],"陶瓷","定窑","白釉","文房用具","天禄流云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda966f4a58e44f21ca51c1fce9bc5ebe.jpg","未知","Xcm*Xcm","瓷器精选",[31],2,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":46,"material":29,"size":30,"collection":47,"collections":48,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":49},260302,"shao-xing-wu-nian-kuan-ke-ren-wu-wen-san-cai-zhen-yi-ming-260302","绍兴五年款刻人物纹三彩枕","宋","敦实的长方枕身，绿釉如苍苔漫过石面，晕染出深浅错落的肌理，釉面的剥蚀是岁月镌下的痕迹，带着旧时光的温润质感。开光之内浅刻人物，线条简淡清逸，寥寥数笔便将人物情态勾勒宛然，藏着内敛雅致的意趣。\n\n侧边小圆孔暗合匠人之巧，既减胎透气，又添了几分灵动。它将纳凉实用与审美意趣相融，带着市井日常的鲜活温度，静静承载着千年前夏夜的悠然闲情，将俗世清欢凝在一方枕上。",[23,42,7,43,44,45],"三彩","人物纹","日用具","枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053dacc316ee3207912610296d3f6e5e.jpg","",[],"795548",{"id":51,"slug":52,"title":53,"dynasty":39,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":61,"material":29,"size":30,"collection":31,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":34},261461,"yao-zhou-yao-qing-you-ke-xi-niu-wen-wan-yi-ming-261461","耀州窑青釉刻犀牛纹碗","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。",[23,56,7,57,58,59,44,60],"青釉","犀牛","兽","饪食器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb94fa86aeba14c8f2972588c9a8034c.jpg",[31],1,{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":72,"material":29,"size":30,"collection":31,"collections":73,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":74},260698,"long-quan-yao-qing-you-ke-ba-gua-wen-san-zu-lu-yi-ming-260698","龙泉窑青釉刻八卦纹三足炉","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。",[23,56,70,71,7],"八卦纹","三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2475f4be9354100b388408715e7ee2c.jpg",[31],"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":79,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":86,"material":29,"size":30,"collection":47,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},272544,"cao-su-gong-qing-lin-sui-mo-tian-yi-qi-ju-chang-fang-mo-yi-ming-272544","曹素功青麟髓墨-天一气句长方墨","清","曹素功（1615—1689年），原名圣臣，号素功，安徽歙县人，清代四大制墨名家之一。他早年潜心科举仕宦之途，因不遂心愿，便返乡以制墨为业。最初借用名家吴叔大的墨模和墨名，并开店营业，以后墨质和工艺造型日渐精良，名声亦渐远扬，其墨业更加兴旺。后移店至苏州、上海等地，常为权贵和名流定版制墨，在社会上层影响很大，被誉为“天下之墨推歙州，歙州之墨推曹氏”。",[82,26,83,7,84,85],"墨","书法","金面","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5eb12fb82fee792940ed3bfeff3e92.jpg",[],{"id":89,"slug":90,"title":91,"dynasty":79,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":97,"material":29,"size":30,"collection":47,"collections":98,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},261118,"yong-zheng-kuan-dou-lv-you-ke-hui-wen-wan-yi-ming-261118","雍正款豆绿釉刻回纹碗","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。",[23,94,95,96,7,44,60],"碗","豆绿釉","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0654a87346df1f777f787e3913ff3914.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":68,"tags":103,"thumbUrl":106,"material":29,"size":30,"collection":31,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},260700,"long-quan-yao-qing-you-ba-fang-san-zu-lu-yi-ming-260700","龙泉窑青釉八方三足炉",[23,56,71,104,7,105,70],"八方炉","吉语","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a982357f5f5ff9f66d40c5dcb40da58.jpg",[31],{"id":109,"slug":110,"title":111,"dynasty":112,"author":19,"museum":20,"description":113,"tags":114,"thumbUrl":118,"material":29,"size":30,"collection":47,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},260357,"qing-you-ke-xian-wen-gu-ding-guan-yi-ming-260357","青釉刻弦纹鼓钉罐","晋","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。”",[23,115,56,116,117,7],"罐","弦纹","鼓钉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff235ac57002226ba86b85d70876e22e6.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":127,"material":29,"size":30,"collection":31,"collections":128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},260338,"de-hua-yao-bai-you-ke-long-gan-zhu-wen-pan-yi-ming-260338","德化窑白釉刻龙赶珠纹盘","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,44,25,7,126],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8389866d0a2776e30931ac4ee44657ed.jpg",[31],{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":20,"description":113,"tags":134,"thumbUrl":135,"material":29,"size":30,"collection":47,"collections":136,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},260249,"qing-you-ke-shu-tiao-wen-xi-yi-ming-260249","青釉刻竖条纹洗","唐",[23,56,7,44,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaff81dce0231dbbf584746015bf2806.jpg",[],{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":144,"material":29,"size":30,"collection":47,"collections":145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},260181,"bai-you-ke-shui-bo-wen-shou-er-san-zu-lu-yi-ming-260181","白釉刻水波纹兽耳三足炉","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。",[23,60,25,7,143,71],"兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3671be26a70d78b638a92d2b05f36a1.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":112,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":152,"material":29,"size":30,"collection":31,"collections":153,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},259592,"yue-yao-qing-you-da-xi-yi-ming-259592","越窑青釉大洗","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[23,60,56,44,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359f4814ca4cdc9f2dd7dd1e0da68a7b.jpg",[31],{"id":155,"slug":156,"title":157,"dynasty":79,"author":19,"museum":20,"description":158,"tags":159,"thumbUrl":164,"material":29,"size":30,"collection":47,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},258942,"huang-you-ke-he-lian-wen-shuang-er-bao-yue-ping-yi-ming-258942","黄釉刻荷莲纹双耳宝月瓶","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。",[23,160,7,161,162,163],"黄釉","荷莲","清代","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c12842b8d58231dd505bef10846d0b.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":18,"author":19,"museum":20,"description":170,"tags":171,"thumbUrl":176,"material":29,"size":30,"collection":47,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},257346,"huang-di-su-san-cai-ke-shuang-long-wen-zuo-dun-yi-ming-257346","黄地素三彩刻双龙纹坐墩","此坐墩取鼓形，周身缀饰凸鼓钉，摹仿木鼓榫卯意趣，古雅敦实。黄釉为底，明丽华贵，以素三彩技法绘就双龙穿池：墨蓝龙躯矫健遒劲，爪牙锋利，翻涌于莲藻碧波之间，须发张扬尽显威严气势。辅以缠枝花卉间杂点缀，花叶娇妍柔婉，刚柔并济。素三彩施色匀净沉静，于鲜亮黄地间更显雅致脱俗，不见红彩却自彰器物的庄重华贵，尽显古彩瓷工艺的精妙造诣，将威严瑞气与装饰意趣融于一体。",[23,172,7,126,173,174,175],"素三彩","明代","设色","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd619c4171947e4d07dce2869d9f36e5c.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":39,"author":19,"museum":20,"description":21,"tags":182,"thumbUrl":184,"material":29,"size":30,"collection":31,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},256700,"ding-yao-bai-you-ke-yu-wen-wan-yi-ming-256700","定窑白釉刻鱼纹碗",[39,23,25,7,183,60],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2de6d1774c3ab3927fd73bccde102c.jpg",[31],{"id":187,"slug":188,"title":189,"dynasty":39,"author":19,"museum":20,"description":190,"tags":191,"thumbUrl":10,"material":29,"size":30,"collection":47,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},231858,"bai-ci-wen-die-yi-ming-231858","白瓷纹碟","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[192,23,193,7,194],"宋代","白瓷","日用器",[],1777535724529]