[{"data":1,"prerenderedAt":2203},["ShallowReactive",2],{"subject-lou-kong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4354,"lou-kong","镂空","镂空画高清赏析","精选中国历代镂空题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1bbe9ae5f2de43eb3001b0b4d12a81.jpg",0,255,[14,34,51,69,82,96,110,127,139,153,165,181,192,203,216,225,235,245,255,266,278,288,299,307,317,324,336,345,352,360,370,379,386,395,403,412,425,436,446,458,466,477,489,501,508,514,523,530,540,552,564,573,584,596,605,617,625,631,640,651,659,668,677,685,693,701,709,718,726,735,744,755,763,772,782,792,802,811,817,823,832,841,853,867,875,882,888,894,904,913,921,928,939,948,958,968,978,986,994,1002,1011,1018,1025,1033,1040,1050,1057,1065,1072,1079,1090,1099,1107,1116,1123,1131,1138,1147,1154,1165,1173,1180,1188,1195,1206,1214,1225,1234,1240,1248,1258,1267,1275,1284,1292,1300,1310,1318,1326,1334,1344,1351,1360,1368,1376,1384,1391,1398,1405,1414,1422,1428,1434,1441,1449,1455,1461,1467,1473,1479,1485,1494,1502,1511,1518,1526,1534,1544,1553,1562,1570,1577,1585,1592,1603,1613,1619,1625,1631,1637,1643,1649,1655,1661,1667,1673,1679,1685,1691,1697,1704,1711,1717,1723,1733,1740,1750,1757,1765,1773,1781,1789,1797,1804,1811,1818,1825,1833,1841,1847,1854,1862,1870,1877,1885,1892,1900,1907,1917,1927,1936,1943,1950,1956,1965,1972,1979,1987,1995,2001,2008,2015,2022,2029,2036,2043,2053,2059,2067,2074,2082,2088,2096,2106,2114,2122,2132,2140,2149,2156,2164,2172,2180,2187,2196],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":11,"mainColor":33},226722,"lou-kong-shen-ling-dong-wu-mian-wen-yu-shi-yi-ming-226722","镂空神灵动物面纹玉饰","新石器时代","佚名","藏地不详","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。",[18,23,7,24,25],"玉石","雕刻","神灵动物面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca17e9d79c8554ede4029a65d6b7ff5.jpg","未知","Xcm*Xcm","",[],46,1,"BDBDBD",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":46,"material":27,"size":28,"collection":29,"collections":47,"showCount":48,"zanCount":49,"manualWeight":11,"mainColor":50},226911,"bo-shan-lu-yi-ming-226911","博山炉","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[41,42,43,24,7,44,45],"汉代","青铜器","铜制","器","山形纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09dd3d1f4cd7fd27e6bce37e3282e80.jpg",[],44,2,"795548",{"id":52,"slug":53,"title":54,"dynasty":55,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":66,"material":27,"size":28,"collection":29,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":50},256169,"mu-diao-cai-hui-lou-kong-feng-huang-mu-dan-hua-hui-jian-zhu-qian-jian-yi-ming-256169","木雕彩绘镂空凤凰牡丹花卉建筑嵌件","明","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[58,59,60,61,7,24,62,63,64,65],"明代","木质","木雕","彩绘","凤凰","牡丹","花卉","建筑嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5effde7e95a6a03425a0e292ed5eee91.jpg",[],29,{"id":70,"slug":71,"title":72,"dynasty":73,"author":19,"museum":20,"description":74,"tags":75,"thumbUrl":79,"material":27,"size":28,"collection":29,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":33},229077,"lou-kong-long-wen-he-yi-ming-229077","镂空龙纹盒","清","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",[76,77,7,24,78,44],"清代","金器","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d79a11f172ba3fdf15ef94952f3853.jpg",[],28,{"id":83,"slug":84,"title":85,"dynasty":86,"author":19,"museum":20,"description":21,"tags":87,"thumbUrl":93,"material":27,"size":28,"collection":29,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":50},223972,"he-tang-lu-si-yu-ding-xi-zhou-ding-fu-jian-yi-ming-223972","河塘鹭鸶玉顶，西周鼎附件","周",[23,24,88,89,90,91,7,92],"西周","河塘","鹭鸶","礼器","透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1f5c2a20879f87e0e54c12d3372cb.jpg",[],20,{"id":97,"slug":98,"title":99,"dynasty":100,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":106,"material":29,"size":29,"collection":107,"collections":108,"showCount":109,"zanCount":32,"manualWeight":11,"mainColor":50},243451,"lou-kong-kui-wen-che-shi-yi-ming-243451","镂空夔纹车饰","商","这件车饰环形器身宛若一轮上古神日，中心镂空放射出犀利芒角，藏着先民对太阳神的敬畏崇拜。夔龙蜷曲缠绕器表，线条诡谲灵动，将商代特有的狞厉之美尽致挥洒。青绿铜锈爬满斑驳肌理，把三千年岁月凝刻在冷硬青铜之上，古拙庄重的器型与灵动纹饰交织，尽显先秦青铜工艺的精妙，静静晕开上古车马舆饰的肃穆威仪与浪漫神思。",[103,42,7,104,24,105],"商代","夔纹","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4070f421ef4ca7b4145f6290c20eda29.jpg","青铜器精选",[107],17,{"id":111,"slug":112,"title":113,"dynasty"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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 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[116,546,7,579,580,581,561,120,44],"开光","山水","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce793ff31de4002faf2322f4715556a.jpg",[],{"id":585,"slug":586,"title":587,"dynasty":55,"author":19,"museum":20,"description":588,"tags":589,"thumbUrl":593,"material":27,"size":28,"collection":594,"collections":595,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":33},260695,"long-quan-yao-qing-you-lou-kong-qi-zuo-yi-ming-260695","龙泉窑青釉镂空器座","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。",[116,590,591,7,592],"器座","青釉","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc165661caae5e95f9dcc6c5d91d7e06e.jpg","瓷器精选",[594],{"id":597,"slug":598,"title":599,"dynasty":73,"author":19,"museum":20,"description":600,"tags":601,"thumbUrl":603,"material":27,"size":28,"collection":29,"collections":604,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},260589,"qing-hua-lou-kong-wan-yi-ming-260589","青花镂空碗","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。",[116,602,7,222,221],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2a31981bcd6f3938b0a7206122c254.jpg",[],{"id":606,"slug":607,"title":608,"dynasty":73,"author":19,"museum":20,"description":609,"tags":610,"thumbUrl":614,"material":27,"size":28,"collection":29,"collections":615,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":616},258558,"qian-long-kuan-zi-di-fen-cai-lou-kong-lv-you-ba-ji-xiang-lian-wen-ru-yi-yi-ming-258558","乾隆款紫地粉彩镂空绿釉八吉祥莲纹如意","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。",[76,546,7,611,612,613,44],"绿釉","八吉祥","莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c545ebcf3fa1db535993ef14280ff5d.jpg",[],"FFFFFF",{"id":618,"slug":619,"title":620,"dynasty":73,"author":19,"museum":20,"description":600,"tags":621,"thumbUrl":623,"material":27,"size":28,"collection":29,"collections":624,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},258233,"qing-hua-lou-kong-mao-hong-yi-ming-258233","青花镂空帽烘",[116,602,7,76,622],"日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7569b9b2c98738bc542ed98f0a2202f2.jpg",[],{"id":626,"slug":627,"title":587,"dynasty":55,"author":19,"museum":20,"description":588,"tags":628,"thumbUrl":629,"material":27,"size":28,"collection":594,"collections":630,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},257558,"long-quan-yao-qing-you-lou-kong-qi-zuo-yi-ming-257558",[58,116,591,7,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2692c4c25ddafb846b2db7f440fc4126.jpg",[594],{"id":632,"slug":633,"title":634,"dynasty":73,"author":19,"museum":20,"description":635,"tags":636,"thumbUrl":638,"material":27,"size":28,"collection":29,"collections":639,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":33},256670,"qing-you-liu-fang-lou-kong-tao-ping-yi-ming-256670","青釉六方镂空套瓶","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。”",[116,591,7,637,44,76],"六方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febbfa623f21f74c703b03c3be0ea8ceb.jpg",[],{"id":641,"slug":642,"title":643,"dynasty":73,"author":19,"museum":20,"description":609,"tags":644,"thumbUrl":649,"material":27,"size":28,"collection":29,"collections":650,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},256646,"song-shi-lv-you-lou-kong-hua-lan-yi-ming-256646","松石绿釉镂空花篮",[76,116,645,7,44,646,647,648],"松石绿釉","装饰","链条","花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1daec52439925538e672816c247e3c1.jpg",[],{"id":652,"slug":653,"title":654,"dynasty":55,"author":19,"museum":20,"description":56,"tags":655,"thumbUrl":657,"material":27,"size":28,"collection":29,"collections":658,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},255301,"mu-diao-cai-hui-lou-kong-zuo-qing-wa-jian-zhu-qian-jian-yi-ming-255301","木雕彩绘镂空座青蛙建筑嵌件",[59,24,7,61,656,65],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2178a29c224d5531ec3e536ac3a3ea.jpg",[],{"id":660,"slug":661,"title":662,"dynasty":55,"author":19,"museum":20,"description":207,"tags":663,"thumbUrl":666,"material":27,"size":28,"collection":29,"collections":667,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":33},250765,"bai-yu-zi-chen-yuan-pei-yi-ming-250765","白玉子辰圆佩",[23,24,7,121,664,105,665],"鼠","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab1cf7acfd665795203401d3ec792df.jpg",[],{"id":669,"slug":670,"title":671,"dynasty":73,"author":19,"museum":20,"description":74,"tags":672,"thumbUrl":675,"material":27,"size":28,"collection":29,"collections":676,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":126},245569,"jin-qian-bao-shi-lou-kong-hua-hui-wen-ba-jiao-he-yi-ming-24556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)较前减少，组成佩饰的各种佩玉在种类上趋于简化，用于丧葬的玉器显著增加，玉制的日用品和装饰品也有较大的发展。在雕琢工艺方面，圆雕、高浮雕、透雕的玉器和镶玉器物较前增多。纹饰的风格由以抽象为主转向以写实为主，一些像生类玉器也有了现实感和生命力，形神能巧妙地结合于一体，这些都为先秦玉器所不及。",[38,42,43,24,7,121,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6182b7e1b4de3ac7726ee0d3868395f7.jpg",[],{"id":686,"slug":687,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":688,"thumbUrl":691,"material":27,"size":28,"collection":29,"collections":692,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},244490,"bo-shan-lu-yi-ming-244490",[41,42,43,24,7,376,689,690,44],"承盘","熏香器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a30e43cb6194df855e1a738eb1e8ca.jpg",[],{"id":694,"slug":695,"title":696,"dynasty":38,"author":19,"museum":20,"description":39,"tags":697,"thumbUrl":699,"material":27,"size":28,"collection":29,"collections":700,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":126},243545,"lou-kong-ji-he-wen-pai-shi-yi-ming-243545","镂空几何纹牌饰",[38,42,43,24,7,698,105],"几何纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1184fca4b7b89ca8d40d9f2b61f24d36.jpg",[],{"id":702,"slug":703,"title":704,"dynasty":169,"author":19,"museum":20,"description":21,"tags":705,"thumbUrl":707,"material":27,"size":28,"collection":29,"collections":708,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},230771,"lou-kong-mu-gai-yuan-yang-yu-ding-yi-ming-230771","镂空木盖鸳鸯玉顶",[23,59,24,7,706],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8559882a709ebbb52c5a340771433475.jpg",[],{"id":710,"slug":711,"title":712,"dynasty":73,"author":19,"museum":20,"description":577,"tags":713,"thumbUrl":716,"material":27,"size":28,"collection":29,"collections":717,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},229581,"diao-huang-yang-mu-lou-kong-gua-die-bi-tong-yi-ming-229581","雕黄杨木镂空瓜瓞笔筒",[76,714,59,24,7,210,715,44],"黄杨木","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d1ea9060bfc5dc94a899f4a7fa42b.jpg",[],{"id":719,"slug":720,"title":721,"dynasty":73,"author":19,"museum":20,"description":722,"tags":723,"thumbUrl":724,"material":27,"size":28,"collection":29,"collections":725,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},229307,"zi-sun-wan-dai-jin-hu-lu-yi-ming-229307","子孙万代金葫芦","此器取葫芦造型，谐音福禄，暗合子嗣绵延的美好祈愿。通体以累丝透雕工艺打造，缠枝花果疏密交织，花叶婉转灵动，玲珑通透间尽显清代细金工艺的极致工巧。\n\n器身花果并茂，隐现生生不息的意趣，蒂纽巧作翻卷藤蔓，宛若新摘的鲜活葫芦，浑然天成。黄金的暖辉与镂空的光影相映，华贵间不失清雅，将祈福心意凝注在缕金缠枝之中，把东方吉祥愿景融于精妙造物，尽显传统金工里的温柔期许。",[73,77,24,7,44,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030d0133e2d3bf6ee88b51a401f98ee9.jpg",[],{"id":727,"slug":728,"title":729,"dynasty":86,"author":19,"museum":20,"description":730,"tags":731,"thumbUrl":733,"material":27,"size":28,"collection":29,"collections":734,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":126},226842,"lou-kong-pan-kui-wen-pu-yi-ming-226842","镂空蟠夔纹铺","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[42,43,7,24,732,91,86],"蟠夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc9eb69682f4c6ef654ad48e3c31706.jpg",[],{"id":736,"slug":737,"title":738,"dynasty":73,"author":19,"museum":20,"description":739,"tags":740,"thumbUrl":742,"material":27,"size":28,"collection":29,"collections":743,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":50},277226,"tong-du-jin-lou-kong-liu-long-niu-fang-xi-yi-ming-277226","铜镀金镂空六龙纽方玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[741,43,24,121,77,7],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90bd48cf9debee4e44103228b08f9d61.jpg",[],{"id":745,"slug":746,"title":747,"dynasty":73,"author":19,"museum":20,"description":748,"tags":749,"thumbUrl":753,"material":27,"size":28,"collection":29,"collections":754,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":126},274984,"tong-du-jin-qian-liao-shi-lou-kong-ta-yi-ming-274984","铜镀金嵌料石镂空塔","宝顶高挑玲珑，鎏金光晕覆着塔刹，层层收束间嵌镶的料石如星子错落，晕开细碎华彩。覆钵塔身镂空通透，繁复錾纹勾缠出空灵韵律，光影透过孔隙流动，似能引动梵音绕梁。\n\n铜胎镀金凝出温润厚重的质感，沉稳基座承托塔身，纹饰规整庄重，将藏式佛塔的静穆意境，与宫廷精工的华贵气质相融。\n\n每一处细节都藏着匠心巧思，錾刻纹理带着虔诚温度，嵌石排布晕开雅致流光，把信仰的庄重与工艺精巧揉为一体，静立间尽显极致工艺水准，将神圣祈愿凝于金与石的交融之中。",[483,750,751,77,43,752,7,24,44],"佛教","佛塔","嵌料石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4c9f8c8750d92a407bc00aadb8a5df.jpg",[],{"id":756,"slug":757,"title":758,"dynasty":73,"author":19,"museum":20,"description":364,"tags":759,"thumbUrl":761,"material":27,"size":28,"collection":29,"collections":762,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":50},273345,"tong-du-jin-lou-kong-qian-liao-shi-lu-yi-ming-273345","铜镀金镂空嵌料石炉",[43,77,7,752,331,486,24,760],"工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa03fef249fd878d9144836df34f3a1c8.jpg",[],{"id":764,"slug":765,"title":766,"dynasty":73,"author":19,"museum":20,"description":767,"tags":768,"thumbUrl":770,"material":27,"size":28,"collection":29,"collections":771,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":126},272772,"zi-tan-mu-ge-yi-ming-272772","紫檀木格","此器取紫檀为材，木色沉敛莹润，包浆醇厚古雅。整体布局打破规整对称，大小格层错落排布，虚实相生，既满足陈列收纳之用，又颇具错落韵律之美。\n\n边框皆以回纹缠枝雕饰，走线婉转流畅，刀工细腻圆熟，将古朴雅致的中式意趣藏于卷转纹理之中。格门嵌配铜质暗扣，低调内敛，与紫檀的沉穆底色相映成趣。整体造型方正端庄，静穆雅致，将匠人巧思融入古典审美，尽显清式家具的隽永质感。",[59,24,769,7,284],"博古架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf783a13ddadc41b404d562feb15d759.jpg",[],{"id":773,"slug":774,"title":775,"dynasty":73,"author":19,"museum":20,"description":776,"tags":777,"thumbUrl":780,"material":27,"size":28,"collection":29,"collections":781,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":50},270896,"she-shi-lou-kong-tong-he-nuan-yan-yi-ming-270896","歙石镂空铜盒暖砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[44,559,43,24,778,7,779],"歙石","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1a88326db252838ea46182f5d03c90.jpg",[],{"id":783,"slug":784,"title":785,"dynasty":73,"author":19,"museum":20,"description":786,"tags":787,"thumbUrl":790,"material":27,"size":28,"collection":29,"collections":791,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},270190,"bian-teng-kong-hua-mu-bing-tuan-shan-yi-ming-270190","编藤空花木柄团扇","此扇以柔细青藤编织扇面，取同心圆环层层铺展，留白处镂作网格冰纹，虚实相映间尽显通透灵秀，既为暑气留出散逸空隙，又凭精巧排布勾勒出雅致肌理。\n\n乌黑髹漆木柄与素色扇面冷暖相称，柄身饰以雕花小饰，于简约中暗藏巧思。整体圆融温婉，藤编的天然朴拙晕染出静雅东方意韵，将纳凉实用与赏玩之美相融，藏着旧时夏日的清润闲趣，尽显传统工艺的温润匠心。",[788,789,59,7,285],"扇面","藤编","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd20ec0380772a962c25d320ca68e7d2.jpg",[],{"id":793,"slug":794,"title":795,"dynasty":73,"author":19,"museum":20,"description":577,"tags":796,"thumbUrl":800,"material":27,"size":28,"collection":29,"collections":801,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},270000,"zhu-diao-ren-wu-tu-bi-tong-yi-ming-270000","竹雕人物图笔筒",[797,24,7,798,431,581,799],"竹雕","笔筒","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b3c494aa08cb52fc71ee53d9e706f49.jpg",[],{"id":803,"slug":804,"title":805,"dynasty":73,"author":19,"museum":20,"description":806,"tags":807,"thumbUrl":809,"material":27,"size":28,"collection":594,"collections":810,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":126},262152,"de-hua-yao-bai-you-xian-wen-lu-yi-ming-262152","德化窑白釉弦纹炉","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， 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