[{"data":1,"prerenderedAt":394},["ShallowReactive",2],{"subject-ling-hua-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4243,"ling-hua-shi","菱花式","菱花式画高清赏析","精选中国历代菱花式题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c7e9c67b0d998d18a254ba041e5ca5.jpg",0,38,[14,37,52,59,71,83,97,107,117,127,134,144,156,168,178,187,197,208,217,230,240,248,255,263,270,277,283,289,299,305,316,326,337,345,352,363,373,381],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},228531,"guan-yao-tian-bai-hua-hua-hua-hui-ling-hua-shi-pan-yi-ming-228531","官窑 甜白划花花卉菱花式盘","明","佚名","藏地不详","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。",[23,24,25,26,27,7,28,29],"陶瓷","官窑","甜白","划花","花卉","器物","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6491887c28b68f9577a633f6027f6d3a.jpg","未知","Xcm*Xcm","瓷器精选",[33],5,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":48,"material":31,"size":32,"collection":33,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},256299,"jun-yao-mei-gui-zi-you-ling-hua-shi-san-zu-hua-pen-tuo-yi-ming-256299","钧窑玫瑰紫釉菱花式三足花盆托","宋","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。",[41,44,45,46,7,47,23,28],"钧窑","窑变釉","玫瑰紫釉","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20a2d74b9ac85fccd1789c2c75a00395.jpg",[33],3,"37474F",{"id":53,"slug":54,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":55,"thumbUrl":57,"material":31,"size":32,"collection":33,"collections":58,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":36},256188,"jun-yao-mei-gui-zi-you-ling-hua-shi-san-zu-hua-pen-tuo-yi-ming-256188",[41,23,44,46,7,47,56],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5751242fc96a28e72b20c7095bb813c.jpg",[33],{"id":60,"slug":61,"title":62,"dynasty":63,"author":19,"museum":20,"description":64,"tags":65,"thumbUrl":68,"material":31,"size":32,"collection":33,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":36},259654,"shi-wan-yao-fang-jun-you-ling-hua-shi-san-zu-hua-pen-tuo-yi-ming-259654","石湾窑仿钧釉菱花式三足花盆托","清","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。"",[23,66,7,47,67],"仿钧釉","花盆托","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dfbdece28e01cd25c7253e6329dabc1.jpg",[33],2,{"id":72,"slug":73,"title":74,"dynasty":41,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":81,"material":31,"size":32,"collection":33,"collections":82,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":36},256251,"ge-yao-qing-you-ling-hua-shi-xi-yi-ming-256251","哥窑青釉菱花式洗","“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？",[77,23,78,79,7,80],"宋代","青釉","开片","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981dc34e5c9161e4900578f64addcdbe.jpg",[33],{"id":84,"slug":85,"title":86,"dynasty":18,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":93,"material":31,"size":32,"collection":94,"collections":95,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":96},246335,"jia-jing-kuan-ti-hong-feng-tiao-yu-shun-yun-long-wen-ling-hua-shi-pan-yi-ming-246335","嘉靖款剔红风调雨顺云龙纹菱花式盘","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。",[29,89,90,91,92,7,56],"漆器","剔红","龙","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331f2bd4fd6b606808c44400f4ec6c75.jpg","",[],"F48FB1",{"id":98,"slug":99,"title":100,"dynasty":41,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":10,"material":31,"size":32,"collection":94,"collections":105,"showCount":70,"zanCount":106,"manualWeight":11,"mainColor":36},223772,"qing-ci-ling-hua-shi-wan-yi-ming-223772","青瓷菱花式碗","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。",[77,23,103,56,104,7],"青瓷","日用具",[],1,{"id":108,"slug":109,"title":110,"dynasty":18,"author":19,"museum":20,"description":87,"tags":111,"thumbUrl":115,"material":31,"size":32,"collection":94,"collections":116,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":51},270462,"xuan-de-kuan-tong-ling-hua-shi-pan-yi-ming-270462","宣德款铜菱花式盘",[112,113,104,56,7,114],"铜制","青铜器","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee996a0ce85eda4a011471d048660d9.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":101,"tags":121,"thumbUrl":125,"material":31,"size":32,"collection":94,"collections":126,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":36},262177,"you-li-hong-chan-zhi-lian-wen-ling-hua-shi-zhan-tuo-yi-ming-262177","釉里红缠枝莲纹菱花式盏托",[23,122,123,7,124,104],"釉里红","缠枝莲纹","盏托","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e6526d5e0aca1d542e726fabfb08fc.jpg",[],{"id":128,"slug":129,"title":120,"dynasty":18,"author":19,"museum":20,"description":101,"tags":130,"thumbUrl":132,"material":31,"size":32,"collection":94,"collections":133,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":36},262176,"you-li-hong-chan-zhi-lian-wen-ling-hua-shi-zhan-tuo-yi-ming-262176",[23,56,104,122,131,7],"缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6205f3172b2ec9719761a8150046401.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":142,"material":31,"size":32,"collection":94,"collections":143,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":51},257125,"xuan-de-kuan-qing-hua-lian-hua-wen-ling-hua-shi-pan-yi-ming-257125","宣德款青花莲花纹菱花式盘","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。",[23,140,141,7],"青花","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5d95e34c0b00cce543d3bf001045124.jpg",[],{"id":145,"slug":146,"title":147,"dynasty":63,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":154,"material":31,"size":32,"collection":94,"collections":155,"showCount":106,"zanCount":106,"manualWeight":11,"mainColor":51},250213,"qia-si-fa-lang-tuan-hua-wen-ling-hua-shi-huo-guo-yi-ming-250213","掐丝珐琅团花纹菱花式火锅","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 。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”。",[150,151,112,152,153,7],"掐丝珐琅","珐琅器","饪食器","团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978fdba32cd83a9fa658451aff7d1d3d.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":63,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":166,"material":31,"size":32,"collection":94,"collections":167,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":51},250081,"tong-shao-lan-ling-hua-shi-hua-pen-yi-ming-250081","铜烧蓝菱花式花盆","此器取菱花为口沿，鎏金錾边，线条柔婉利落，华贵尽显。器身以竹节纹界出开光，规整雅致。开光内以烧蓝填饰缠枝花卉，宝蓝、湖蓝双色釉料莹亮饱满，鎏金枝脉勾勒花型，金蓝相映，明丽华贵又带着清雅文韵。下承五朵卷云足，蜷曲灵动，稳稳托举器身，细节处暗藏巧思。\n金属錾刻与烧蓝工艺相融，将重工华贵与文人气韵揉为一体，把陈设实用性与装饰美学精妙结合，尽显旧时细作工艺的极致考究。",[112,162,151,56,163,164,7,165],"烧蓝","雕刻","清代","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3612645ab5ad0d1ac67bfa91e8635ca1.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":63,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":176,"material":31,"size":32,"collection":94,"collections":177,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":36},246401,"hei-qi-miao-jin-chan-zhi-lian-wen-ling-hua-shi-xiang-ji-yi-ming-246401","黑漆描金缠枝莲纹菱花式香几","此香几菱花造型雅致婉约，漆黑地子如夜幕，衬得描金缠枝莲愈发华贵明艳。缠枝舒展蜿蜒，卷叶柔婉、莲苞饱满，构图繁而不紊，将富丽堂皇的装饰意趣尽数铺展。\n\n牙板透雕卷草纹，与腿足折枝花卉呼应，线条灵动流转，将雕饰与描金工艺相融无间。三弯腿曲张有度，兜转间流露柔媚气韵，双层圈足既加固结构，亦让整体造型更显稳重舒展。\n\n它将漆艺、描金、木雕工艺精妙结合，尽显华贵雍容的意韵，缠枝莲纹也暗含着生生不息的吉祥寓意，是清代装饰工艺的精巧之作。",[89,174,123,175,7],"描金","香几","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b49ec3f3ae133dfb8f9a55efaefcde.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":101,"tags":182,"thumbUrl":185,"material":31,"size":32,"collection":94,"collections":186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},262178,"you-li-hong-chan-zhi-mu-wen-dan-ling-hua-shi-zhan-tuo-yi-ming-262178","釉里红缠枝牡纹丹菱花式盏托",[23,122,183,184,7,124,104],"牡丹","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12e85024ef906c45304d264d7a9b69d0.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":18,"author":19,"museum":20,"description":191,"tags":192,"thumbUrl":195,"material":31,"size":32,"collection":33,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261581,"long-quan-yao-qing-you-ke-hua-jin-wen-ling-hua-shi-pan-yi-ming-261581","龙泉窑青釉刻花锦纹菱花式盘","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。",[23,56,78,193,194,7,114],"刻花","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d48296805454e96158d00cd46d8b07.jpg",[33],{"id":198,"slug":199,"title":200,"dynasty":18,"author":19,"museum":20,"description":191,"tags":201,"thumbUrl":205,"material":31,"size":32,"collection":33,"collections":206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":207},260093,"long-quan-yao-qing-you-ke-shui-bo-wen-ling-hua-shi-xi-yi-ming-260093","龙泉窑青釉刻水波纹菱花式洗",[23,78,193,202,7,203,204],"水波纹","笔洗","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9f5fe33d9a512602c81398ef26e961.jpg",[33],"BDBDBD",{"id":209,"slug":210,"title":211,"dynasty":63,"author":19,"museum":20,"description":212,"tags":213,"thumbUrl":215,"material":31,"size":32,"collection":33,"collections":216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":207},259060,"yi-xing-yao-chen-yin-shang-kuan-zi-sha-ling-hua-shi-hu-yi-ming-259060","宜兴窑陈殷尚款紫砂菱花式壶","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。",[23,214,7,56,163],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28305cc1d4a45f3e1f0f2a23c345061.jpg",[33],{"id":218,"slug":219,"title":220,"dynasty":63,"author":19,"museum":20,"description":221,"tags":222,"thumbUrl":228,"material":31,"size":32,"collection":94,"collections":229,"showCount":11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