[{"data":1,"prerenderedAt":1015},["ShallowReactive",2],{"subject-lu-5818":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5818,"lu-5818","炉","炉画高清赏析","精选中国历代炉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c930694e27b1663d8c4900a84a848bd.jpg",0,112,[14,35,51,60,72,83,96,107,119,129,140,151,162,171,182,192,202,211,221,230,241,250,261,269,279,290,302,313,321,328,336,343,353,360,368,377,386,393,400,407,414,422,428,434,442,450,458,465,475,484,493,500,507,515,524,533,541,549,557,565,575,583,590,597,605,613,620,629,637,644,653,660,670,677,685,694,701,714,724,732,739,746,755,763,770,778,790,798,808,817,824,832,842,855,863,871,879,886,894,902,910,917,925,933,944,951,959,967,976,987,995,1007],{"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},257221,"zheng-de-kuan-qing-hua-chan-zhi-lian-wen-lu-yi-ming-257221","正德款青花缠枝莲纹炉","明","佚名","藏地不详","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。",[18,23,24,25,26,7,27],"陶瓷","青花","釉下彩","缠枝莲纹","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe173664266a143043e669b062bf95391.jpg","未知","Xcm*Xcm","",[],11,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":46,"material":29,"size":30,"collection":47,"collections":48,"showCount":33,"zanCount":49,"manualWeight":11,"mainColor":50},256252,"ge-yao-qing-you-shuang-yu-er-lu-yi-ming-256252","哥窑青釉双鱼耳炉","宋","“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？",[39,23,42,43,44,45,7],"开片","青釉","鱼","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F146b51165f7b4984f1913eedef69c939.jpg","瓷器精选",[47],1,"795548",{"id":52,"slug":53,"title":54,"dynasty":39,"author":19,"museum":20,"description":40,"tags":55,"thumbUrl":57,"material":29,"size":30,"collection":47,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":34},256257,"ge-yao-qing-you-yu-er-lu-yi-ming-256257","哥窑青釉鱼耳炉",[39,23,42,43,7,56,45],"鱼耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76469d692c60dd0d5445590d8a71c61.jpg",[47],6,{"id":61,"slug":62,"title":63,"dynasty":39,"author":19,"museum":20,"description":40,"tags":64,"thumbUrl":70,"material":29,"size":30,"collection":47,"collections":71,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":50},256256,"ge-yao-mi-huang-you-shuang-er-ding-shi-san-zu-lu-yi-ming-256256","哥窑米黄釉双耳鼎式三足炉",[39,23,42,65,66,67,68,69,7],"米黄釉","鼎式","三足","双耳","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef230668f92b56209e6b3644e8ee421a.jpg",[47],{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":80,"material":29,"size":30,"collection":47,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":34},257839,"lang-yao-hong-you-san-zu-lu-yi-ming-257839","郎窑红釉三足炉","清","清代康熙后期景德镇官窑。康熙四十四年到五十一年（1705—1712），江西巡抚郎廷极在景德镇督造瓷器，故名。釉色以宝石红、宝石蓝、宝石绿最佳，宝石红有“郎窑红”之称。法国人称“牛血红”。在红釉中最杰出。洒蓝和霁蓝瓷，再上一道极薄釉子，然后加绘金花金彩，华丽静穆，匠心独运。素三彩创于此时。青花和斗彩也很有名。\n清初郎廷极所监督的江西景德镇窑及其所督造的瓷器之代称。其瓷器仿古暗合，摹仿明永乐、宣德红釉烧制，釉水颜色，桔皮砂眼几可乱真，款字也酷肖，极难辨识。刘廷玑《在园杂记》谈及此事，事距郎廷极督造瓷器时间很近，极可能系刘所目睹。",[23,79,67,7,45],"红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b977fa74af320c423eaf2fbeb057a4.jpg",[47],5,{"id":84,"slug":85,"title":86,"dynasty":18,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":93,"material":29,"size":30,"collection":31,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":50},270364,"xuan-de-kuan-tong-liu-yin-yu-er-lu-yi-ming-270364","宣德款铜鎏银鱼耳炉","敞口束颈，鼓腹下敛，线条婉转舒展，勾勒出端庄柔婉的器型轮廓。双鱼为耳，造型灵动写实，鳍尾宛然，为沉朴的炉身添了几分鲜活意趣。\n\n通体红褐铜色凝厚古朴，鎏银斑痕如流云过水，晕散错落，是岁月浸淫出的自然肌理，暗合了尚简崇古的审美意韵。整器不饰繁缛纹样，以形制彰显功底，素雅间自带着沉穆庙堂之气，历经百年依旧气韵浑朴，带着旧时光的温润质感，是书案清供的绝佳雅器。",[89,90,91,92,44,7,69],"青铜器","铜制","鎏银","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e233eb7f753ebbca5e9d86770e7b39.jpg",[],4,{"id":97,"slug":98,"title":99,"dynasty":18,"author":19,"museum":20,"description":100,"tags":101,"thumbUrl":105,"material":29,"size":30,"collection":31,"collections":106,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":50},270251,"xuan-de-kuan-tong-liu-jin-yun-wen-yu-er-lu-yi-ming-270251","宣德款铜鎏金云纹鱼耳炉","敞口弧腹，下承浅圈足，双鱼耳俏皮灵动，既增装饰意趣又兼顾实用持握。\n鎏金云纹随器身走势舒展漫延，赤金流光与沉实古铜底色相映，苍绿铜锈晕染边角，是百年岁月浸养出的斑驳印记。明暗交错间晕开古雅意蕴，将制式端方与文趣相融。\n铜质精纯，包浆温润内敛，朴拙厚重中带着沉静雅致，尽显沉稳质感，静静诉说着旧时书斋焚香煎茶的闲雅意趣。",[89,90,102,103,44,7,104,92],"鎏金","云纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c6f641dd587f579a6016f35b41e07c.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":76,"author":19,"museum":20,"description":111,"tags":112,"thumbUrl":116,"material":29,"size":30,"collection":31,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":34},250592,"bi-yu-pan-yun-wen-dai-gai-lu-yi-ming-250592","碧玉盘云纹带盖炉","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。",[113,114,115,92,103,7,69],"清代","玉石","碧玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb15b73b75190d856d8b8960c4ad089e.jpg",[],3,{"id":120,"slug":121,"title":122,"dynasty":76,"author":19,"museum":20,"description":21,"tags":123,"thumbUrl":126,"material":29,"size":30,"collection":31,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":50},260159,"ding-wei-nian-kuan-qing-hua-yun-long-wen-lu-yi-ming-260159","丁未年款青花云龙纹炉",[23,24,124,125,7],"龙","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2e26b92e544d7eef641d0e05c6dbf0.jpg",[],2,{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":137,"material":29,"size":30,"collection":31,"collections":138,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":139},259942,"jiang-se-di-bai-feng-wen-lu-yi-ming-259942","酱色地白凤纹炉","酱色釉如凝炼琥珀，温润沉敛，釉面匀净莹润，尽显朴素雅致的质感。器身以留白堆塑出凤凰纹样，凤首昂扬，翎羽舒展飘逸，线条灵动遒劲，素白纹饰与酱色地子冷暖相映，明快醒目却不失和谐。\n\n器型敦厚朴拙，浅腹搭配短小三足，沉稳又带着几分憨态，把瑞鸟的威仪灵秀融于日常炉具之中，静穆里暗含灵动生气。粗朴的胎质搭配巧思装饰，尽显古拙生动的制瓷意趣，是将实用与审美相融的雅致逸品。",[23,45,7,135,136],"凤凰","酱地白纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb24197da67e6d7d503d5a26f561ee0dd.jpg",[],"BDBDBD",{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":149,"material":29,"size":30,"collection":47,"collections":150,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":139},257543,"su-zhou-yao-bai-you-xian-wen-shuang-er-lu-yi-ming-257543","宿州窑白釉弦纹双耳炉","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。",[23,146,147,68,7,148,45],"白釉","弦纹","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acc9bb6a18c193e0b1c2f9f108aeafa.jpg",[47],{"id":152,"slug":153,"title":154,"dynasty":39,"author":19,"museum":20,"description":40,"tags":155,"thumbUrl":160,"material":29,"size":30,"collection":47,"collections":161,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":139},256781,"ge-yao-qing-you-san-zu-tong-shi-lu-yi-ming-256781","哥窑青釉三足筒式炉",[156,23,157,158,43,67,159,7,45],"宋代","哥窑风格","开片技法","筒式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67c0d7b966b6ce1f0c4046d582d992d.jpg",[47],{"id":163,"slug":164,"title":165,"dynasty":39,"author":19,"museum":20,"description":40,"tags":166,"thumbUrl":169,"material":29,"size":30,"collection":47,"collections":170,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":139},256253,"ge-yao-qing-you-shuang-ji-er-lu-yi-ming-256253","哥窑青釉双戟耳炉",[39,167,42,43,23,7,68,168,45],"哥窑","戟耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb8e4106b5bdc1cfaa4a0a5ea8179cc.jpg",[47],{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":180,"material":29,"size":30,"collection":31,"collections":181,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},270390,"hu-wen-ming-kuan-tong-zan-ke-qian-yin-si-long-feng-er-lu-yi-ming-270390","胡文明款铜錾刻嵌银丝龙凤耳炉","此炉口沿双耳鎏金莹亮，与沉深色地子形成鲜明对比，华贵雅致。炉身錾刻龙凤穿游于云间，龙凤身姿矫健灵动，翎羽鳞爪纤毫毕现，嵌银丝衬出纹饰层次，走线匀整细腻。\n\n整器造型端庄舒展，包浆厚重温润，錾刻与错金嵌银工艺相融，尽显明代铜作精工。瑞兽题材自带吉祥意韵，沉稳器型与华美纹饰相辅相成，肃穆不失灵动，尽显庄重雍容的古韵风华，是铜作工艺中的上乘之作。",[89,90,92,177,178,124,179,7],"錾刻","嵌银丝","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e42ec01bf74972c8d4ba97979f2479.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":76,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":190,"material":29,"size":30,"collection":31,"collections":191,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},270302,"qian-long-kuan-tong-yun-lei-wen-chong-er-si-zu-chang-fang-lu-yi-ming-270302","乾隆款铜云雷纹冲耳四足长方炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[89,90,69,188,92,189,7],"饪食器","云雷纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936b7eb44684b2011f72430cab942832.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":76,"a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"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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处。炉身包浆温润莹润，带着岁月摩挲的厚重质感，尽显古造炉工艺的精妙水准，静穆之中自有庙堂雅器的端方气度，是焚香雅事中的绝佳良伴。",[90,89,7,481,92,104],"凤耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7baa8033897b3e84f0dc58628117635.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":18,"author":19,"museum":20,"description":488,"tags":489,"thumbUrl":491,"material":29,"size":30,"collection":31,"collections":492,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},270310,"wan-nian-yong-bao-kuan-tong-shou-mian-wen-shou-er-lu-yi-ming-270310","万年永宝款铜兽面纹兽耳炉","此炉造型端庄饱满，敞口鼓腹配威严兽耳，轮廓雄浑大气。器物以错金错银工艺装饰，腹部兽面卷草纹婉转灵动，鎏金饰件古韵熠熠，颈部与足部走兽纹饰排布规整雅致。铜质厚重莹润，包浆醇厚内敛，岁月赋予其沉静古雅的质感。错金工艺精细入微，金彩历经时光依旧鲜亮，将上古青铜纹饰的古拙意趣，与造炉的精工美学融为一体，尽显匠心造诣，是一件兼具收藏价值与艺术审美水准的铜作佳器。",[89,90,419,490,7,92,188],"兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4647f3b92af5fdb5524ee7cebf56744.jpg",[],{"id":494,"slug":495,"title":496,"dynasty":76,"author":19,"museum":20,"description":186,"tags":497,"thumbUrl":498,"material":29,"size":30,"collection":31,"collections":499,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},270296,"tong-tai-ji-shi-lu-yi-ming-270296","铜台几式炉",[89,90,45,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f09456e4723ef0070bd89d65b88f81.jpg",[],{"id":501,"slug":502,"title":503,"dynasty":76,"author":19,"museum":20,"description":186,"tags":504,"thumbUrl":505,"material":29,"size":30,"collection":31,"collections":506,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270292,"tong-ji-er-quan-zu-lu-yi-ming-270292","铜戟耳圈足炉",[90,89,45,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7c10d49a0b962b569bcf85c97ee7eb.jpg",[],{"id":508,"slug":509,"title":510,"dynasty":18,"author":19,"museum":20,"description":511,"tags":512,"thumbUrl":513,"material":29,"size":30,"collection":31,"collections":514,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270282,"xuan-de-kuan-tong-bo-shi-lu-yi-ming-270282","宣德款铜钵式炉","此炉造型饱满圆融，口沿内敛，腹身自口沿缓缓垂坠，线条温润舒展，尽显敦厚沉静之态。周身红褐包浆深浅晕染，斑驳铜锈凝着时光摩挲的痕迹，将百年岁月悄然沉淀其上。搭配的云纹卷足木座古朴雅致，稳稳承托炉身，更衬器物端庄厚重。整体素面无饰，以极简形制诠释含蓄内敛的审美意趣，静静伫立间，便带着旧日厅堂的沉静雅致，将往昔的烟火气与古意娓娓道来。",[89,90,45,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff317899df18f93f811f080cf982f4ee1.jpg",[],{"id":516,"slug":517,"title":510,"dynasty":18,"author":19,"museum":20,"description":518,"tags":519,"thumbUrl":522,"material":29,"size":30,"collection":31,"collections":523,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270279,"xuan-de-kuan-tong-bo-shi-lu-yi-ming-270279","此炉身形饱满圆融，如钵似盂，线条舒展柔和。醇厚枣红铜色覆身，深浅间晕染着经年累月的斑驳绿锈，包浆温润透亮，凝着岁月沉淀的古朴质感。搭配卷云纹足木座，素雅规整，愈发衬得炉身沉稳内敛。整体摒弃繁缛装饰，以极简形制彰显大气肃穆，静静伫立间便带着旧时光的沉静古韵，是颇具雅意的传世佳器。",[89,90,7,520,521],"钵式","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aebfdc68ea6f90ae2f2933175ac55.jpg",[],{"id":525,"slug":526,"title":527,"dynasty":18,"author":19,"museum":20,"description":528,"tags":529,"thumbUrl":531,"material":29,"size":30,"collection":31,"collections":532,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},270278,"xuan-de-kuan-tong-shi-liu-shi-lu-yi-ming-270278","宣德款铜石榴式炉","此炉仿石榴造型塑就，口沿作舒展榴萼之态，圆鼓腹仿若将熟的饱满榴实。腹身錾刻出肌理分明的榴籽，粒粒鲜活，把榴果的生动意趣融于青铜之中。\n\n古铜色泽沉穆温润，局部晕染斑驳绿锈，带着时光浸润的厚重质感，将寻常风物化为案头清供雅器，既合焚香之用，又可赏玩陈设。明式造物的雅致巧思尽显于此，静穆之中藏着鲜活生机，尽显古朴雅致的中式意韵。",[89,90,7,530,92],"石榴造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b48652ab842dac11cb1385d570463f0.jpg",[],{"id":534,"slug":535,"title":536,"dynasty":18,"author":19,"museum":20,"description":537,"tags":538,"thumbUrl":539,"material":29,"size":30,"collection":31,"collections":540,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},270277,"xuan-de-kuan-tong-chong-er-ru-zu-lu-yi-ming-270277","宣德款铜冲耳乳足炉","冲耳高挑劲挺，利落收拢视觉重心，炉腹饱满圆融，自口沿柔滑下敛至底，线条舒展雅润。三乳足敦实厚重，稳稳承托炉身，与炉体气韵浑然无间。通体栗褐皮色，包浆温润莹亮，凝着岁月摩挲出的沉静质感。\n\n整器无繁饰，全凭简洁线条勾勒出端正古雅之态，尽显古拙沉静的器物美学风骨，肃穆沉静间自带安然古意，静静伫立便晕开焚香伴坐的悠然雅韵，将中式雅器的内敛沉稳诠释尽致。",[90,89,7,69,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bfbc33d63e4e5bdf37a923d29b5475.jpg",[],{"id":542,"slug":543,"title":544,"dynasty":18,"author":19,"museum":20,"description":545,"tags":546,"thumbUrl":547,"material":29,"size":30,"collection":31,"collections":548,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},270275,"xuan-de-kuan-tong-yu-er-lu-yi-ming-270275","宣德款铜鱼耳炉","此炉造型温婉端庄，敞口敛腹下承圈足，线条舒展柔和，自带沉静雅致的气韵。两侧鱼耳古拙灵动，既添装饰意趣，又暗合吉庆有余的美好寓意。周身铜色苍古，斑驳包浆凝着岁月浸蚀的痕迹，沉厚锈色晕染出旧时光的质感，古韵盎然。作为文房焚香的雅器，它以极简形制承载内敛雅致的审美意趣，摩挲间可感时光沉淀的温润，尽显古雅沉静的文人雅韵。",[89,90,7,56,92,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e353715b282e43665e012d4a54c1d95.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":18,"author":19,"museum":20,"description":553,"tags":554,"thumbUrl":555,"material":29,"size":30,"collection":31,"collections":556,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},270268,"xuan-de-kuan-tong-fang-lu-yi-ming-270268","宣德款铜方炉","此方炉器型方正规整，敛口斜腹，线条利落雅致。两侧龙首衔环铺首，鬃毛肌理分明，怒目圆睁，威严中带着灵动，兼具装饰与实用。四颗圆珠矮足沉稳端庄，将炉身衬得愈发舒展挺拔。\n\n铜色沉润古朴，包浆莹厚自然，带着岁月摩挲的温润质感。器身素净无饰，尽显古铜材质的沉静底蕴，暗合明代简约大气的审美意趣。搭配红木底座，朱红古铜相映成趣，更衬出器物古雅庄重，尽显古人文房清供的悠然雅韵，是颇具格调的明炉佳作。",[89,90,92,124,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912a822d09c35fc46e1e7866d9ed45a9.jpg",[],{"id":558,"slug":559,"title":560,"dynasty":18,"author":19,"museum":20,"description":561,"tags":562,"thumbUrl":563,"material":29,"size":30,"collection":31,"collections":564,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},270260,"xuan-de-kuan-tong-shou-er-dun-shi-lu-yi-ming-270260","宣德款铜兽耳墩式炉","此炉敦实圆融，古铜红褐间晕染苍绿铜锈，是岁月浸淫的痕迹。兽耳古朴憨沉，隐露威严意趣。颈部浅刻纹饰婉转回环，线条柔中带刚，底足回纹规整有序，暗合古制章法。\n\n器型端庄内敛，胎质厚重匀净，尽显沉稳静穆的气度。恍惚间似能窥见昔日青烟袅袅、一室幽芬的雅境，兼具礼佛清供的端方与案头赏玩的雅致，古匠的沉心巧思凝于铜胎之中，朴雅风骨历久弥新。",[89,90,419,92,104,7,218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a3058b77f2a4b635bc09d7e918c1e4.jpg",[],{"id":566,"slug":567,"title":568,"dynasty":76,"author":19,"museum":20,"description":186,"tags":569,"thumbUrl":573,"material":29,"size":30,"collection":31,"collections":574,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},269692,"qian-long-kuan-pao-zhi-kai-guang-tuan-shou-zi-pan-feng-wen-lu-yi-ming-269692","乾隆款匏制开光团寿字蟠凤纹炉",[570,92,571,572,7],"匏器","团寿纹","蟠凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef8bed5b5e76389634d95c506f4a4db8.jpg",[],{"id":576,"slug":577,"title":578,"dynasty":76,"author":19,"museum":20,"description":186,"tags":579,"thumbUrl":581,"material":29,"size":30,"collection":31,"collections":582,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},269691,"pao-zhi-shou-mian-wen-yuan-lu-yi-ming-269691","匏制兽面纹圆炉",[92,570,490,7,218,580,45],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58435bc8eee72948ecae697813165039.jpg",[],{"id":584,"slug":585,"title":586,"dynasty":76,"author":19,"museum":20,"description":186,"tags":587,"thumbUrl":588,"material":29,"size":30,"collection":31,"collections":589,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":139},269690,"pao-zhi-gan-zhu-yun-long-wen-shuang-er-san-zu-wan-shi-lu-yi-ming-269690","匏制赶珠云龙纹双耳三足碗式炉",[45,92,124,570,7,104,68,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed8c386abb5fa6383252b4ad5cde95d.jpg",[],{"id":591,"slug":592,"title":593,"dynasty":76,"author":19,"museum":20,"description":77,"tags":594,"thumbUrl":595,"material":29,"size":30,"collection":47,"collections":596,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},263547,"lang-yao-hong-you-lu-yi-ming-263547","郎窑红釉炉",[23,7,79,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93cfb43aa49475c1c351da4a97810b3.jpg",[47],{"id":598,"slug":599,"title":600,"dynasty":18,"author":19,"museum":20,"description":601,"tags":602,"thumbUrl":603,"material":29,"size":30,"collection":31,"collections":604,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},262202,"bai-you-lu-yi-ming-262202","白釉炉","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[23,7,146,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2208933fc9226633384f3a2c30b323d.jpg",[],{"id":606,"slug":607,"title":608,"dynasty":18,"author":19,"museum":20,"description":234,"tags":609,"thumbUrl":611,"material":29,"size":30,"collection":47,"collections":612,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},262054,"de-hua-yao-xuan-de-kuan-bai-you-shi-mian-er-lu-yi-ming-262054","德化窑宣德款白釉狮面耳炉",[23,146,610,7,218,45],"狮面耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf5a17632f813bfe4c67be6171e9e86.jpg",[47],{"id":614,"slug":615,"title":616,"dynasty":18,"author":19,"museum":20,"description":234,"tags":617,"thumbUrl":618,"material":29,"size":30,"collection":47,"collections":619,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},261931,"de-hua-yao-ding-shui-qi-zhen-kuan-bai-you-lu-yi-ming-261931","德化窑丁水奇珍款白釉炉",[23,146,7,68,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0802459f1755936bbdae8a2fdf867265.jpg",[47],{"id":621,"slug":622,"title":623,"dynasty":76,"author":19,"museum":20,"description":186,"tags":624,"thumbUrl":627,"material":29,"size":30,"collection":31,"collections":628,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},261873,"cheng-hua-kuan-lan-di-bai-yun-long-hai-shui-wen-lu-yi-ming-261873","成化款蓝地白云龙海水纹炉",[23,7,124,625,626,104],"海水纹","蓝地白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e714e8db5b5b704e38f09f8b7c2235.jpg",[],{"id":630,"slug":631,"title":632,"dynasty":254,"author":19,"museum":20,"description":601,"tags":633,"thumbUrl":635,"material":29,"size":30,"collection":31,"collections":636,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},261428,"qing-bai-you-shuang-er-san-zu-lu-yi-ming-261428","青白釉双耳三足炉",[23,45,634,68,67,7],"青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc69326a2ebc0d4c99a139c4304e23be6.jpg",[],{"id":638,"slug":639,"title":640,"dynasty":18,"author":19,"museum":20,"description":234,"tags":641,"thumbUrl":642,"material":29,"size":30,"collection":47,"collections":643,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},261400,"de-hua-yao-bai-you-lu-yi-ming-261400","德化窑白釉炉",[23,146,7,45,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9d4f6673c644407e45cdd31509ff69.jpg",[47],{"id":645,"slug":646,"title":647,"dynasty":76,"author":19,"museum":20,"description":186,"tags":648,"thumbUrl":651,"material":29,"size":30,"collection":31,"collections":652,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},261348,"wu-cai-xian-wen-tong-shi-lu-yi-ming-261348","五彩弦纹筒式炉",[23,649,7,104,27,650],"五彩","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6e167d4ae3bd2d006f4c4906f52a62.jpg",[],{"id":654,"slug":655,"title":656,"dynasty":76,"author":19,"museum":20,"description":21,"tags":657,"thumbUrl":658,"material":29,"size":30,"collection":31,"collections":659,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},260917,"qing-hua-yun-long-wen-lu-yi-ming-260917","青花云龙纹炉",[23,24,124,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060b819918504271207e84427134a6ed.jpg",[],{"id":661,"slug":662,"title":663,"dynasty":76,"author":19,"museum":20,"description":664,"tags":665,"thumbUrl":668,"material":29,"size":30,"collection":31,"collections":669,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":139},260857,"guang-xu-ding-wei-yu-hai-tang-zhi-kuan-shan-yu-qing-you-gu-ding-shuang-er-san-zu-lu-yi-ming-260857","光绪丁未玉海堂制款鳝鱼青釉鼓钉双耳三足炉","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。”",[23,7,68,67,666,667,188],"鼓钉","鳝鱼青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677e8529ca11276d548a5c1eed4484d4.jpg",[],{"id":671,"slug":672,"title":673,"dynasty":76,"author":19,"museum":20,"description":234,"tags":674,"thumbUrl":675,"material":29,"size":30,"collection":47,"collections":676,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},260781,"de-hua-yao-bai-you-shou-er-lu-yi-ming-260781","德化窑白釉兽耳炉",[23,45,218,146,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7346af02418e8a28a40044167fb1fc1d.jpg",[47],{"id":678,"slug":679,"title":680,"dynasty":681,"author":19,"mu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