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仿汝莲瓣瓶","清","佚名","藏地不详","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。",[23,24,7,25,26,27,28],"陶瓷","仿汝釉","青釉","清代","器","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a025f86d75e94732cf3711c3d466dc.jpg","未知","Xcm*Xcm","瓷器精选",[32],28,"37474F",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":48,"material":30,"size":31,"collection":49,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},221506,"sang-zang-guan-yi-ming-221506","丧葬罐","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。",[43,23,44,45,7,46,47],"宋代","堆塑","刻划","动物造型","丧葬器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5966a0e0da0ad8700518cf2b5a5e1c.jpg","",[],8,"FFFFFF",{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":64,"material":30,"size":31,"collection":49,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},256923,"qing-you-tu-niu-lian-ban-wen-quan-yi-ming-256923","青釉兔纽莲瓣纹权","隋","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。”",[23,25,60,61,62,7,63,27],"雕刻","兔","兽","隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac4e691a82c5f03171354b30fc5d189.jpg",[],6,"795548",{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":77,"material":30,"size":31,"collection":49,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":67},260520,"qing-hua-lian-ban-wen-da-ping-yi-ming-260520","青花莲瓣纹大瓶","青花瓷（blue 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。",[23,74,7,75,76],"青花","莲花","瓷瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecae6d3d80d73a3bb347759dcbc27234.jpg",[],5,{"id":81,"slug":82,"title":83,"dynasty":84,"author":19,"museum":20,"description":58,"tags":85,"thumbUrl":89,"material":30,"size":31,"collection":49,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":67},260213,"qing-you-ke-hua-lian-ban-wen-wan-yi-ming-260213","青釉刻花莲瓣纹碗","南北朝",[23,86,7,25,87,88],"刻花","日用具","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61caa1c13c1fe93df359c011cf4fc889.jpg",[],4,{"id":93,"slug":94,"title":95,"dynasty":84,"author":19,"museum":20,"description":96,"tags":97,"thumbUrl":103,"material":30,"size":31,"collection":49,"collections":104,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":35},256968,"qian-huang-you-lv-cai-lian-ban-wen-guan-yi-ming-256968","铅黄釉绿彩莲瓣纹罐","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。",[23,98,99,45,7,100,101,27,102],"铅黄釉","绿彩","南北朝风格","低温铅釉","宗教纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfc4444e47da85ca6b3e8941d27e034f.jpg",[],{"id":106,"slug":107,"title":108,"dynasty":40,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":115,"material":30,"size":31,"collection":32,"collections":116,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":67},256268,"long-quan-yao-qing-you-su-tie-shuang-yu-wen-xi-yi-ming-256268","龙泉窑青釉塑贴双鱼纹洗","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。",[23,111,112,113,7,114],"青瓷","龙泉窑","洗","鱼纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e3af1c650d09e238f5e8aaa183f42f5.jpg",[32],{"id":118,"slug":119,"title":83,"dynasty":84,"author":19,"museum":20,"description":58,"tags":120,"thumbUrl":123,"material":30,"size":31,"collection":49,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},261367,"qing-you-ke-hua-lian-ban-wen-wan-yi-ming-261367",[23,86,7,121,87,60,122],"饪食器","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e00e2d40b9a2c684850466477ac0c1f.jpg",[],3,"BDBDBD",{"id":128,"slug":129,"title":130,"dynasty":84,"author":19,"museum":20,"description":96,"tags":131,"thumbUrl":134,"material":30,"size":31,"collection":49,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":35},262188,"huang-you-ke-hua-lian-ban-wen-wan-tuo-yi-ming-262188","黄釉刻花莲瓣纹碗托",[23,87,86,7,132,133],"黄釉","碗托","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455bd79af77929c44014d47d3ec16c4.jpg",[],2,{"id":138,"slug":139,"title":140,"dynasty":57,"author":19,"museum":20,"description":58,"tags":141,"thumbUrl":143,"material":30,"size":31,"collection":49,"collections":144,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":67},260444,"qing-you-ke-lian-ban-wen-bo-yi-ming-260444","青釉刻莲瓣纹钵",[23,27,25,86,7,142],"钵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe63a82e80ded87da24cd1d13949be0.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":57,"author":19,"museum":20,"description":41,"tags":149,"thumbUrl":152,"material":30,"size":31,"collection":32,"collections":153,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":126},260280,"huai-nan-yao-qing-you-hua-hua-lian-ban-wen-si-xi-pan-kou-ping-yi-ming-260280","淮南窑青釉划花莲瓣纹四系盘口瓶",[23,25,150,7,151],"划花","四系盘口瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187d6f76b67274a706dda3462d3f4517.jpg",[32],{"id":155,"slug":156,"title":83,"dynasty":84,"author":19,"museum":20,"description":58,"tags":157,"thumbUrl":158,"material":30,"size":31,"collection":49,"collections":159,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":67},260220,"qing-you-ke-hua-lian-ban-wen-wan-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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。",[202,203,204,7,27],"玉石","浮雕","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a985ff95930af7c858ac5414c023cc7.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":40,"author":19,"museum":20,"description":211,"tags":212,"thumbUrl":215,"material":30,"size":31,"collection":49,"collections":216,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":126},227658,"ci-hu-yi-ming-227658","瓷壶","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。",[40,23,27,213,214,7],"日用器","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96fab527b505f1064dae29c03e3f0244.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":40,"author":19,"museum":20,"description":211,"tags":221,"thumbUrl":225,"material":30,"size":31,"collection":49,"collections":226,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":126},227484,"gao-jiao-die-yi-ming-227484","高脚碟",[43,23,25,7,60,222,223,224],"高足","器物","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe349c94162ba13db0b3b471f71ac88c.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":40,"author":19,"museum":20,"description":41,"tags":231,"thumbUrl":233,"material":30,"size":31,"collection":49,"collections":234,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":35},223770,"qing-ci-lian-ban-pan-yi-ming-223770","青瓷莲瓣盘",[23,43,111,7,45,232,223],"单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff755aada49599a5ff7c83f21f8e8b02d.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":18,"author":19,"museum":20,"description":239,"tags":240,"thumbUrl":244,"material":30,"size":31,"collection":49,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},274975,"yin-he-yi-ming-274975","银盒","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",[241,60,242,243,7],"银器","鎏金","盖盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282b08f37c6a4e376497ef37fde943e1.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":19,"museum":20,"description":164,"tags":250,"thumbUrl":254,"material":30,"size":31,"collection":49,"collections":255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},270128,"qian-long-kuan-bai-se-di-tao-cai-se-bo-li-lian-ban-wen-ping-yi-ming-270128","乾隆款白色地套彩色玻璃莲瓣纹瓶",[251,7,252,253],"玻璃器","套色玻璃","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ec9b6a07f772ebbc10bcf106ff7d06.jpg",[],{"id":257,"slug":258,"title":259,"dynasty":40,"author":19,"museum":20,"description":177,"tags":260,"thumbUrl":261,"material":30,"size":31,"collection":32,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},262197,"yao-zhou-yao-qing-you-hua-hua-lian-ban-wen-zhu-hu-zhu-wan-yi-ming-262197","耀州窑青釉划花莲瓣纹注壶注碗",[23,25,150,7,87,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c14d90a78dcfbd7116a37146b2a1346.jpg",[32],{"id":264,"slug":265,"title":266,"dynasty":267,"author":19,"museum":20,"description":58,"tags":268,"thumbUrl":273,"material":30,"size":31,"collection":49,"collections":274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},262109,"qing-you-hua-hua-lian-ban-wen-ji-tou-hu-yi-ming-262109","青釉划花莲瓣纹鸡头壶","晋",[23,25,150,7,269,270,271,272],"鸡","龙","饮酒器","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0772fb75e125b68a69e2b74fcf5f68.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":192,"author":19,"museum":20,"description":279,"tags":280,"thumbUrl":281,"material":30,"size":31,"collection":32,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},262032,"qiong-yao-qing-you-ke-hua-lian-ban-wen-gai-he-yi-ming-262032","邛窑青釉刻花莲瓣纹盖盒","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 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