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珐瑯彩蓝地开光花卉小碗","清","佚名","藏地不详","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[23,24,25,26,27,28,7],"陶瓷","珐琅器","设色","工笔","花卉","开光","未知","Xcm*Xcm","瓷器精选",[31],27,1,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":47,"material":29,"size":30,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},257342,"wu-cai-jia-jin-lan-di-tu-hua-wen-suan-tou-ping-yi-ming-257342","五彩加金蓝地凸花纹蒜头瓶","明","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,43,44,45,7,46],"器","五彩","加金","凸花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00201cd8352b5bf5ce1af3e9b5ad7732.jpg","",[],2,"795548",{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":20,"description":41,"tags":56,"thumbUrl":64,"material":29,"size":30,"collection":48,"collections":65,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},256905,"yan-zhi-hong-lan-di-ya-dao-fa-lang-cai-zhe-zhi-hua-wen-he-huan-ping-yi-ming-256905","胭脂红、蓝地轧道珐琅彩折枝花纹合欢瓶",[57,58,59,25,26,60,61,27,62,7,24,63],"清代","珐琅彩","轧道","瓶","折枝花纹","胭脂红地","彩瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e39d1604825ff6ac30cd7bc52d8a7dc.jpg",[],{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":75,"material":29,"size":30,"collection":48,"collections":76,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},250222,"guang-fa-lang-lan-di-jin-hua-cuan-he-yi-ming-250222","广珐琅蓝地金花攒盒","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",[57,72,24,43,25,7,73,74],"广珐琅","金饰","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72530cf3b4dc2336dc15ddb864e30124.jpg",[],{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":41,"tags":81,"thumbUrl":84,"material":29,"size":30,"collection":48,"collections":85,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},281530,"lan-di-ju-hua-wen-qi-bao-shao-pie-kou-ping-yi-ming-281530","蓝地菊花纹七宝烧撇口瓶",[82,43,83,27,7,60],"琺瑯器","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec70801d115829f9d56cdd71e92ffdd4.jpg",[],{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":95,"material":29,"size":30,"collection":48,"collections":96,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":51},249905,"jia-qing-kuan-qia-si-fa-lang-lan-di-shou-zi-wan-yi-ming-249905","嘉庆款掐丝珐琅蓝地寿字碗","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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釉上彩蓝地花卉纹鼻烟壶","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。",[18,103,7,104,23,43],"釉上彩","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61bef803e72dcad6cf554ce3a5bf584f.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":18,"author":19,"museum":20,"description":111,"tags":112,"thumbUrl":115,"material":29,"size":30,"collection":48,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},281594,"de-guo-ma-yi-sen-fang-lan-di-miao-jin-kai-guang-ren-wu-tu-pan-yi-ming-281594","德国马意森仿蓝地描金开光人物图盘","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。",[23,43,113,7,114,25,28],"描金","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2536fc0d6d909f5533d4d8650b60eb1e.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":125,"material":29,"size":30,"collection":48,"collections":126,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},263530,"qian-long-kuan-lan-di-miao-jin-gai-wan-yi-ming-263530","乾隆款蓝地描金盖碗","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。",[23,74,123,113,7,124],"盖碗","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae57811e616cadce7e72b31a5e395ba.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":138,"material":29,"size":30,"collection":48,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},258883,"lan-di-mo-cai-hua-niao-wen-fang-sheng-shi-hua-pen-yi-ming-258883","蓝地墨彩花鸟纹方胜式花盆","此器取方胜吉形，天蓝色地釉匀净莹亮，似将晴空凝练成瓷。墨彩细绘花鸟景致，白鹭独立汀洲，身姿清雅安然，菰草、花枝随风轻曳，线条婉转工细，素墨与蓝地相映，愈见明净雅致。器内松石绿釉柔润清新，与外壁蓝调形成冷暖呼应，四矮足稳稳承托，更添端庄静雅。整器融吉祥形制与工笔绘饰于一体，将文人意趣与制瓷巧思相合，于沉静釉色间晕染出幽然生机，尽显清逸隽秀的古典雅致。",[57,23,133,7,25,134,135,136,137],"墨彩","花鸟","鹤","植物","方胜式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0378a735911d22778cff6f5c1f376411.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":111,"tags":144,"thumbUrl":149,"material":29,"size":30,"collection":48,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},258868,"chu-xiu-gong-zhi-kuan-lan-di-huang-cai-yun-long-wen-da-pan-yi-ming-258868","储秀宫制款蓝地黄彩云龙纹大盘",[23,57,7,145,146,43,147,148,25],"黄彩","云龙纹","龙","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d3ffcf0ad166581a4db9f6eaafee54.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":111,"tags":155,"thumbUrl":158,"material":29,"size":30,"collection":48,"collections":159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":160},258308,"lan-di-huang-yun-long-wen-pan-yi-ming-258308","蓝地黄云龙纹盘",[23,57,113,7,145,156,157],"龙纹","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565803597aeefcf5d3e0655021ff1773.jpg",[],"37474F",{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":121,"tags":165,"thumbUrl":166,"material":29,"size":30,"collection":48,"collections":167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":160},258069,"kang-xi-kuan-lan-di-huang-yun-long-wen-wan-yi-ming-258069","康熙款蓝地黄云龙纹碗",[23,156,157,7,145,25,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0869d2914d43c3153f90a4fb56042aa4.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":18,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":176,"material":29,"size":30,"collection":48,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},250036,"hua-fa-lang-lan-di-miao-jin-bao-xiang-hua-wen-mian-pen-yi-ming-250036","画珐琅蓝地描金宝相花纹面盆","内壁以宝蓝为底，缠枝宝相花随金线肆意舒展，饱满繁复的花型在深沉底色烘托下愈显华贵雍容，描金走线细腻流畅，将宫廷式富丽尽显无余。\n\n外壁取浅青为地，蜿蜒灵动的夔龙纹随器身延展，红蓝彩料鲜亮明快，龙身卷曲间带着古雅威严，又藏着柔婉韵律。\n\n内外风格对比鲜明，一面是簇锦繁花的奢靡，一面是瑞兽游走的清隽，尽显精工巧思，将吉祥纹饰融于日用器物，让实用之具兼具陈设赏玩的雅致意趣，是传统工艺美学与实用功能的绝妙融合。",[174,113,7,25,43,175,147],"画珐琅","宝相花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c5c12202713681f911d8ce256b40b6.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":187,"material":29,"size":30,"collection":48,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},229398,"tong-tai-lan-di-fa-lang-wan-yi-ming-229398","铜胎蓝地珐瑯碗","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[18,184,185,25,7,186,43],"铜胎","珐瑯器","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77ad92b8b16ccdf309e9b906ae870d3.jpg",[],1777535725272]