[{"data":1,"prerenderedAt":359},["ShallowReactive",2],{"subject-kui-hua-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4221,"kui-hua-shi","葵花式","葵花式画高清赏析","精选中国历代葵花式题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e9d51b4154c82374d19dcc6264120e.jpg",0,34,[14,35,50,61,79,90,100,109,117,133,146,159,169,180,188,196,205,213,222,232,240,248,256,263,271,280,289,298,306,317,326,335,343,351],{"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},262000,"fen-cai-bian-fu-wen-kui-hua-shi-xiao-bei-yi-ming-262000","粉彩蝙蝠纹葵花式小杯","清","佚名","藏地不详","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[23,24,25,7,26,27],"陶瓷","粉彩","蝙蝠","饮酒器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaded8739fc2e20f263347bbe1cdfb10.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":46,"material":29,"size":30,"collection":31,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},250579,"bai-yu-kui-long-bing-kui-hua-shi-wan-yi-ming-250579","白玉夔龙柄葵花式碗","唐","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[42,43,44,26,27,45,7],"玉石","雕刻","龙","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff63e711b935d1d7c92771ca4c1a786f0.jpg",[],4,"37474F",{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":59,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":60},223741,"qing-ci-kui-hua-shi-wan-yi-ming-223741","青瓷葵花式碗","宋","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。",[54,23,57,58,7],"青瓷","碗",[],"BDBDBD",{"id":62,"slug":63,"title":64,"dynasty":54,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":75,"material":29,"size":30,"collection":76,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":34},256302,"jun-yao-mei-gui-zi-you-kui-hua-shi-san-zu-hua-pen-tuo-yi-ming-256302","钧窑玫瑰紫釉葵花式三足花盆托","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。",[67,23,68,69,70,7,71,72,73,74],"宋代","钧窑","玫瑰紫釉","窑变","三足","花盆托","釉色","器型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b12bcd65d4c27929a9ded6863ce4c73.jpg","瓷器精选",[76],3,{"id":80,"slug":81,"title":82,"dynasty":54,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":88,"material":29,"size":30,"collection":76,"collections":89,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":34},256225,"ge-yao-qing-you-kui-hua-shi-zhe-yan-pan-yi-ming-256225","哥窑青釉葵花式折沿盘","“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？",[67,23,85,86,7,87],"青釉","开片","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ab12f2a01047d63d03d984902c6890.jpg",[76],{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":65,"tags":94,"thumbUrl":97,"material":29,"size":30,"collection":76,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":49},258403,"fang-jun-yao-bian-you-kui-hua-shi-san-zu-hua-pen-tuo-yi-ming-258403","仿钧窑变釉葵花式三足花盆托",[18,23,95,7,71,96],"仿钧窑变釉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049f76222bbbc9f95e5d02e9e8fd15fd.jpg",[76],2,{"id":101,"slug":102,"title":103,"dynasty":54,"author":19,"museum":20,"description":65,"tags":104,"thumbUrl":107,"material":29,"size":30,"collection":76,"collections":108,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":34},256297,"jun-yao-mei-gui-zi-you-kui-hua-shi-hua-pen-yi-ming-256297","钧窑玫瑰紫釉葵花式花盆",[54,23,68,69,7,105,106],"器物","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd951c8891356d23b98f0cc09a6b1236d.jpg",[76],{"id":110,"slug":111,"title":112,"dynasty":54,"author":19,"museum":20,"description":83,"tags":113,"thumbUrl":115,"material":29,"size":30,"collection":76,"collections":116,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":34},256228,"ge-yao-qing-hui-you-kui-hua-shi-pan-yi-ming-256228","哥窑青灰釉葵花式盘",[54,23,114,86,7],"青灰釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394c4fe359fc0a14aa6de904c7cdd90.jpg",[76],{"id":118,"slug":119,"title":120,"dynasty":121,"author":19,"museum":20,"description":122,"tags":123,"thumbUrl":131,"material":29,"size":30,"collection":31,"collections":132,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":49},249602,"qia-si-fa-lang-hai-wu-tian-chou-tu-kui-hua-shi-tan-pen-yi-ming-249602","掐丝珐琅海屋添筹图葵花式炭盆","明","葵花口沿舒展雅致，鎏金边饰晕开华贵气韵。盆心海屋添筹图景仙气悠然，瑞鹤灵鹿伴琼楼隐于缠枝花卉之间。外壁松石釉色铺底，以朱黄诸彩晕染山海瑞兽，灵动鲜活仿佛踏浪而来。\n\n掐丝纤细匀整，勾勒出每一处纹饰的婉转棱角，珐琅釉色温润古朴，带着岁月沉淀的柔润光泽。吉庆的祝寿意涵藏于铜胎寸厘之间，将实用与陈设雅趣相融，把厚重工艺质感，凝练成一方可赏可用的绝美器物。",[124,125,126,27,7,127,128,129,130],"掐丝珐琅","琺瑯器","铜制","海","屋","筹","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e6835b885fa272d609d18a542b7884.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":121,"author":19,"museum":20,"description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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。",[139,23,96,140,141,142,143,7],"明代","青花","釉下彩","花卉纹","缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e2dbdd95320e7309e3d32120a79163.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":18,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":156,"material":29,"size":30,"collection":31,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":34},269474,"zi-tan-qian-yu-diao-shi-er-chen-wen-kui-hua-shi-he-yi-ming-269474","紫檀嵌玉雕十二辰纹葵花式盒","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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。",[152,42,43,27,153,154,155,7],"木质","盒","十二辰纹","嵌玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2caa6192ac6648162a49ab1357a4783f.jpg",[],1,{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":167,"material":29,"size":30,"collection":76,"collections":168,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":34},259007,"yi-xing-yao-zi-sha-kui-hua-shi-he-yi-ming-259007","宜兴窑紫砂葵花式盒","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。",[23,165,96,43,7,166],"紫砂","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f247c55e7d7f35d8dab8ef2971ac9f.jpg",[76],{"id":170,"slug":171,"title":172,"dynasty":54,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":178,"material":29,"size":30,"collection":76,"collections":179,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":49},256872,"ding-yao-bai-you-ke-hua-duo-hua-wen-kui-hua-shi-pan-yi-ming-256872","定窑白釉刻划朵花纹葵花式盘","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。",[23,54,175,176,177,7,96],"白釉","刻划","朵花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37199f0f47ffa884c0b59d31b7c42423.jpg",[76],{"id":181,"slug":182,"title":183,"dynasty":121,"author":19,"museum":20,"description":137,"tags":184,"thumbUrl":186,"material":29,"size":30,"collection":31,"collections":187,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":34},223933,"qing-hua-ling-zhi-wen-kui-hua-shi-bei-yi-ming-223933","青花灵芝纹葵花式杯",[23,140,185,7,139],"灵芝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc212c35610144d7ba3f2a36bf9e52def.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":54,"author":19,"museum":20,"description":55,"tags":192,"thumbUrl":194,"material":29,"size":30,"collection":31,"collections":195,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":34},223893,"pu-tao-zi-kui-hua-shi-hua-pen-yi-ming-223893","葡萄紫葵花式花盆",[54,23,7,193,96],"葡萄紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c5be877f032cc10d776cd535be2b2b.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":18,"author":19,"museum":20,"description":200,"tags":201,"thumbUrl":203,"material":29,"size":30,"collection":31,"collections":204,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},269487,"zi-tan-diao-kui-hua-shi-he-yi-ming-269487","紫檀雕葵花式盒","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",[152,43,7,153,202,27],"木器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48464856bece4dae9112a9abb400092.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":150,"tags":209,"thumbUrl":211,"material":29,"size":30,"collection":31,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},269462,"ying-mu-qian-yu-shi-kui-hua-shi-he-yi-ming-269462","硬木嵌玉石葵花式盒",[152,42,43,96,27,210,7],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2021cd54f65010d3721e0f082e96aab.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":121,"author":19,"museum":20,"description":217,"tags":218,"thumbUrl":220,"material":29,"size":30,"collection":31,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},261880,"xuan-de-kuan-dong-qing-you-kui-hua-shi-pan-yi-ming-261880","宣德款冬青釉葵花式盘","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。”",[23,27,87,219,7],"冬青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c0be238a93d71aa8be25c0573ee41a.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":121,"author":19,"museum":20,"description":226,"tags":227,"thumbUrl":230,"material":29,"size":30,"collection":76,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},260062,"shi-wan-yao-hui-lan-you-kui-hua-shi-san-zu-xi-yi-ming-260062","石湾窑灰蓝釉葵花式三足洗","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。"",[23,228,7,229,96],"三足洗","灰蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b78d7dfdf220c905cbc7c754668d097.jpg",[76],{"id":233,"slug":234,"title":235,"dynasty":121,"author":19,"museum":20,"description":55,"tags":236,"thumbUrl":238,"material":29,"size":30,"collection":31,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},257623,"fang-guan-you-kui-hua-shi-xi-yi-ming-257623","仿官釉葵花式洗",[139,23,237,86,7,96],"仿官釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb010cc5649add5fab88b6997a3ae9982.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":18,"author":19,"museum":20,"description":55,"tags":244,"thumbUrl":246,"material":29,"size":30,"collection":31,"collections":247,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256629,"kong-que-lv-you-kui-hua-shi-san-zu-hua-pen-tuo-yi-ming-256629","孔雀绿釉葵花式三足花盆托",[18,23,245,7,71,96],"孔雀绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d310b87eae68071e8eacc616d135e0.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":121,"author":19,"museum":20,"description":55,"tags":252,"thumbUrl":254,"material":29,"size":30,"collection":31,"collections":255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256386,"xian-hong-you-kui-hua-shi-xi-yi-ming-256386","鲜红釉葵花式洗",[139,23,253,7,96],"鲜红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb463f07bdd8b30cacdd4ec26793f2af6.jpg",[],{"id":257,"slug":258,"title":259,"dynasty":18,"author":19,"museum":20,"description":150,"tags":260,"thumbUrl":261,"material":29,"size":30,"collection":31,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},251627,"qing-yu-kui-hua-shi-pan-yi-ming-251627","青玉葵花式盘",[42,43,18,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68c6ea1328fb5da136a918d781127db.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":20,"description":150,"tags":267,"thumbUrl":269,"material":29,"size":30,"collection":31,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},251586,"qing-yu-kui-hua-shi-xi-yi-ming-251586","青玉葵花式洗",[42,96,43,268,7],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013022d528d270a759ac080b682501fb.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":121,"author":19,"museum":20,"description":150,"tags":275,"thumbUrl":278,"material":29,"size":30,"collection":31,"collections":279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},250862,"bi-yu-hua-er-qian-shi-kui-hua-shi-bei-yi-ming-250862","碧玉花耳嵌石葵花式杯",[42,43,276,7,277,26,96],"嵌石","花耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa031dbe342268985c673eb9bed30a042.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":18,"author":19,"museum":20,"description":150,"tags":284,"thumbUrl":287,"material":29,"size":30,"collection":31,"collections":288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},250514,"hen-dou-si-tan-qing-yu-shuang-er-kui-hua-shi-wan-yi-ming-250514","痕都斯坦青玉双耳葵花式碗",[42,43,96,285,7,286],"双耳","痕都斯坦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f77cec9b75acb41bc026aba3662e06.jpg",[],{"id":290,"slug":291,"title":292,"dynasty":18,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":296,"material":29,"size":30,"collection":31,"collections":297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},250404,"qian-long-kuan-ma-nao-kui-hua-shi-die-yi-ming-250404","乾隆款玛瑙葵花式碟","此器取葵花为形，花口轻撇，器身随花瓣起伏流转，线条柔婉舒展，将天然意趣融于形制之中。玛瑙质地清透莹润，底色如冰似玉，澄澈干净。天然晕染的朱砂俏色错落分布，似霞光点染于冰魄之上，恍若盛放葵瓣间凝着朝露落红，自带清灵雅致的韵致。整体打磨光润细腻，器壁轻薄如翼，入手温润。静置于案头，既有天然宝玉的清隽质感，又暗含匠人的精巧心思，将造化之美与匠心工致融为一体，尽显清雅隽秀的文房意趣。",[295,43,96,7,27],"玛瑙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07a7faa29995ac9e2fafb2e38c205ced.jpg",[],{"id":299,"slug":300,"title":259,"dynasty":1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。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”。",[124,125,96,312,313,314,71,7],"缠枝莲","云龙纹","象首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3c66af7a9ef86358850d3324bc9bfa.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":18,"author":19,"museum":20,"description":321,"tags":322,"thumbUrl":324,"material":29,"size":30,"collection":31,"collections":325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},245823,"yin-kui-hua-shi-pan-yi-ming-245823","银葵花式盘","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。",[18,323,96,43,7],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64f8a7c95db4f59b38f79eaf4a33673d.jpg",[],{"id":327,"slug":328,"title":329,"dynasty":18,"author":19,"museum":20,"description":330,"tags":331,"thumbUrl":333,"material":29,"size":30,"collection":31,"collections":334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},245809,"yin-kui-hua-shi-dai-gai-ge-die-yi-ming-245809","银葵花式带盖格碟","此器造型温婉舒展，葵花式器身柔婉雅致，圆鼓盖面搭配精巧提环，拿捏之间尽显匠心巧思。银质胎体历经岁月浸润，凝出温润古雅的包浆，斑驳色泽里藏着时光的痕迹。整体不作过多繁复錾刻，以极简形制凸显银料本身清隽质感，将日常实用与审美意趣相融，尽显内敛雅致的造物心思，静静诉说旧时日常的闲雅意韵，晕开中式器物独有的含蓄美学。",[323,7,332,27],"带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b8e6a01d5e6795298563de0bfa24b0.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":121,"author":19,"museum":20,"description":321,"tags":339,"thumbUrl":341,"material":29,"size":30,"collection":31,"collections":342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},228592,"tian-bai-hua-hui-wen-kui-hua-shi-pan-yi-ming-228592","甜白花卉纹葵花式盘",[139,23,340,142,7,96],"甜白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2cd15808b8b643576c570007c51f9dc.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":54,"author":19,"museum":20,"description":347,"tags":348,"thumbUrl":349,"material":29,"size":30,"collection":31,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},224083,"qing-ci-kui-hua-shi-dan-ba-bei-yi-ming-224083","青瓷葵花式单把杯","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。",[23,57,67,26,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd9e77b0e46045226b81bc5dbfcba3e.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":121,"author":19,"museum":20,"description":137,"tags":355,"thumbUrl":357,"material":29,"size":30,"collection":31,"collections":358,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},223957,"qing-hua-hua-hui-wen-kui-hua-shi-pan-yi-ming-223957","青花花卉纹葵花式盘",[121,23,140,356,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99fe8df8a408f4ceb642a375f2a15d77.jpg",[],1777535713805]