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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。",[41,26,42,43,44,7,45],"玉石","饰品","龙","兽","南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608ebcdfd0f5aa597d9f10c1430ee4f.jpg","未知","Xcm*Xcm",[],10,{"id":52,"slug":53,"title":17,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":59,"material":29,"size":29,"collection":30,"collections":60,"showCount":61,"zanCount":62,"manualWeight":11,"mainColor":33},244480,"pan-chi-wen-zhong-yi-ming-244480","此钟钮部为镂空交龙造型，虬曲灵动，带着上古瑞兽的威严气势。钟身乳钉纹规整排布，层叠有序，在沉凝青铜之上刻出庄重韵律，下部蟠螭纹缠绕回旋，线条诡谲灵动，尽显狞厉古拙之美。\n\n铜锈斑驳覆于器表，将千年光阴凝作苍绿痕迹，冷硬青铜质感里，藏着古远礼乐的庄重肃穆。它是礼制与工艺的完美融合，静穆伫立间，仿佛仍能听见千年前庙堂之上的钟鸣之声，携带着上古文明的厚重底蕴缓缓而来。",[23,26,24,56,7,57,58],"周代","纹饰","青铜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635a1c3cfcedaca67308e0f286366675.jpg",[30],9,1,{"id":64,"slug":65,"title":17,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":68,"material":29,"size":29,"collection":30,"collections":69,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":33},244479,"pan-chi-wen-zhong-yi-ming-244479","桥形钮简约沉凝，钟身自上而下缓缓舒张，线条圆融古雅。钟面以乳丁纹界栏排布齐整，蟠螭纹隐于其间暗蕴灵动，苍绿铜锈晕开千年包浆，将先秦礼乐的庄重凝铸其中。\n\n它曾于庙堂之上振起浑重宫商，叩响礼乐文明的悠远回响。冷冽铜色间沉淀上古规制，凸起乳丁如星子错落，衬出对称肃穆之美，静穆之中，似仍能听见千年前的钟磬和鸣，尽显古彝器的厚重品格与审美意趣。",[23,24,7,25,26,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ba155965ebcac579ede7edd44be6bae.jpg",[30],{"id":71,"slug":72,"title":17,"dynasty":18,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":76,"material":29,"size":29,"collection":30,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":33},245031,"pan-chi-wen-zhong-yi-ming-245031","双螭相背攀附拱起提钮，身姿蜷曲灵动，既是悬钟的精巧构件，亦是点睛装饰。钟身乳钉排布齐整饱满，与素净篆区形成疏密张弛的视觉韵律，古朴铜身覆着苍绿锈迹，凝着岁月沉韵。\n\n它作为庙堂雅乐重器，藏着先秦工匠的造物巧思，蟠螭纹饰带着上古狞厉之美，器形庄重浑厚，叩之想必声韵沉浑悠远，静静诉说着古礼雅乐的肃穆信仰。",[23,25,26,24,75,7,18],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f96ca9eeb0e81db7665ce74e615414.jpg",[30],8,{"id":80,"slug":81,"title":82,"dynasty":83,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":93,"material":47,"size":48,"collection":94,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":33},258679,"fang-ding-yao-bai-you-tu-hua-pan-chi-wen-jiu-er-zun-yi-ming-258679","仿定窑白釉凸花蟠螭纹鸠耳尊","清","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[86,87,88,89,7,90,91,26,57,92],"清代","仿定窑","白釉","凸花","鸠耳","陶瓷","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf528fb8c3f1eb2cb754468c3c619f9.jpg","瓷器精选",[94],4,{"id":98,"slug":99,"title":100,"dynasty":38,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":105,"material":47,"size":48,"collection":29,"collections":106,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":33},250296,"bai-yu-pan-chi-wen-dan-bing-bei-yi-ming-250296","白玉蟠螭纹单柄杯","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[38,41,26,7,103,104,43,44],"饮酒器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4390d770a8a5bf4110ba7377670436.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":111,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":116,"material":47,"size":48,"collection":29,"collections":117,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":33},244825,"pan-chi-wen-jing-yi-ming-244825","蟠螭纹镜","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[111,23,25,26,7,114,115],"兽纹","汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ff3d5734ae231a8b6d26f29d42f33.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":122,"tags":123,"thumbUrl":124,"material":47,"size":48,"collection":29,"collections":125,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":33},243479,"pan-chi-wen-tong-yi-ming-243479","蟠螭纹筒","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。",[23,25,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7815a183d0c96426129782e90fada63.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":111,"author":19,"museum":20,"description":130,"tags":131,"thumbUrl":133,"material":47,"size":48,"collection":29,"collections":134,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":135},243358,"pan-chi-wen-dai-kou-yi-ming-243358","蟠螭纹带扣","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。",[111,25,26,7,42,132],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8330ecf85986a007dca0c05254dd334c.jpg",[],"BDBDBD",{"id":137,"slug":138,"title":139,"dynasty":140,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":146,"material":47,"size":48,"collection":29,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":33},270266,"xuan-de-kuan-tong-pan-chi-wen-si-zu-hai-tang-shi-gai-lu-yi-ming-270266","宣德款铜蟠螭纹四足海棠式盖炉","明","此炉取海棠形制，轮廓柔婉舒展，四足敦实沉稳，刚柔相济。双龙探身为耳，昂首拱卫，筋骨灵动，尽显螭龙威仪。莲苞为钮，盖面透雕缠枝卷草，烟气可自镂隙悠然漫出，虚实相映成趣。炉身浅刻蟠螭纹，线条古拙苍劲，纹饰排布疏密得当，尽显制器工法的炉火纯青。周身包浆浑厚温润，铜色内敛沉雅，将庙堂礼制的端重与文房清赏的意趣融为一体，焚香时烟霞穿镂花轻散，闲赏时可摩挲古铜的岁月肌理，是一件集实用与雅赏于一身的上乘铜器。",[23,25,26,43,143,7,144,145],"香炉","海棠式","四足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F208dda40aefc2f4372c4e9ba44ef68cf.jpg",[],3,{"id":150,"slug":151,"title":152,"dynasty":83,"author":19,"museum":20,"description":101,"tags":153,"thumbUrl":157,"material":47,"size":48,"collection":29,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":135},251116,"bai-yu-tou-diao-pan-chi-wen-ji-xin-pei-yi-ming-251116","白玉透雕蟠螭纹鸡心佩",[86,154,155,7,44,156],"白玉","透雕","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e7c98e0507f3c9c6db4674b57bbb99.jpg",[],2,{"id":161,"slug":162,"title":152,"dynasty":83,"author":19,"museum":20,"description":101,"tags":163,"thumbUrl":164,"material":47,"size":48,"collection":29,"collections":165,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":166},251114,"bai-yu-tou-diao-pan-chi-wen-ji-xin-pei-yi-ming-251114",[86,41,155,7,42,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F658152fecc1612abc4aafc8100b989ff.jpg",[],"F48FB1",{"id":168,"slug":169,"title":152,"dynasty":83,"author":19,"museum":20,"description":101,"tags":170,"thumbUrl":171,"material":47,"size":48,"collection":29,"collections":172,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":173},250331,"bai-yu-tou-diao-pan-chi-wen-ji-xin-pei-yi-ming-250331",[86,41,155,26,7,44,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f537ba0d329443b39dfd1f9b040991.jpg",[],"37474F",{"id":175,"slug":176,"title":177,"dynasty":18,"author":19,"museum":20,"description":122,"tags":178,"thumbUrl":179,"material":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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， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[91,88,7,442,26,104],"直颈瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f88ffef1f18c0dcec3460abaab51a44.jpg",[94],{"id":446,"slug":447,"title":448,"dynasty":140,"author":19,"museum":20,"description":440,"tags":449,"thumbUrl":452,"material":47,"size":48,"collection":94,"collections":453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},260586,"de-hua-yao-bai-you-su-tie-pan-chi-wen-ping-yi-ming-260586","德化窑白釉塑贴蟠螭纹瓶",[91,88,7,450,451],"瓶","塑贴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29bf5fe225f8cea042b6f55c4a93ba69.jpg",[94],{"id":455,"slug":456,"title":457,"dynasty":83,"author":19,"museum":20,"description":440,"tags":458,"thumbUrl":460,"material":47,"size":48,"collection":94,"collections":461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":173},260531,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-xi-kou-ping-yi-ming-260531","德化窑白釉凸雕蟠螭纹洗口瓶",[91,88,459,7,450,26],"凸雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05604e95e723b3b9aac9fe5d5d66eead.jpg",[94],{"id":463,"slug":464,"title":465,"dynasty":140,"author":19,"museum":20,"description":440,"tags":466,"thumbUrl":468,"material":47,"size":48,"collection":94,"collections":469,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},260129,"de-hua-yao-bai-you-su-tie-pan-chi-wen-dai-gai-zhi-hu-yi-ming-260129","德化窑白釉塑贴蟠螭纹带盖执壶",[91,204,467,88,451,7],"执壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6203cbf0a98f7ad4896d2b1157306c27.jpg",[94],{"id":471,"slug":472,"title":473,"dynasty":83,"author":19,"museum":20,"description":84,"tags":474,"thumbUrl":478,"material":47,"size":48,"collection":94,"collections":479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":173},258626,"fang-ding-yao-bai-you-tu-pan-chi-wen-shou-er-huo-huan-si-zu-fang-gai-lu-yi-ming-258626","仿定窑白釉凸蟠螭纹兽耳活环四足方盖炉",[91,26,88,475,7,476,477,145,75,43,44],"凸纹","兽耳","活环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b99f1843904e05bc9490e995d0d230.jpg",[94],{"id":481,"slug":482,"title":483,"dynasty":83,"author":19,"museum":20,"description":484,"tags":485,"thumbUrl":488,"material":47,"size":48,"collection":29,"collections":489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":166},258073,"kang-xi-kuan-dan-huang-you-pan-chi-wen-shuang-er-bei-yi-ming-258073","康熙款淡黄釉蟠螭纹双耳杯","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。",[86,91,486,7,487,103,43,26],"淡黄釉","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090b073bec901da7af8013a5f78408de.jpg",[],{"id":491,"slug":492,"title":493,"dynasty":140,"author":19,"museum":20,"description":494,"tags":495,"thumbUrl":498,"material":47,"size":48,"collection":29,"collections":499,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},257595,"ji-lan-you-bai-hua-pan-chi-wen-san-zu-lu-yi-ming-257595","祭蓝釉白花蟠螭纹三足炉","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。",[91,496,497,7,43,44,104],"祭蓝釉","蓝地白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51489fb1b318f730144e6110e94bf32d.jpg",[],{"id":501,"slug":502,"title":503,"dynasty":83,"author":19,"museum":20,"description":440,"tags":504,"thumbUrl":505,"material":47,"size":48,"collection":94,"collections":506,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":173},257522,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-ping-yi-ming-257522","德化窑白釉凸雕蟠螭纹瓶",[91,88,459,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a788a644549b09118b9662d729847b8.jpg",[94],{"id":508,"slug":509,"title":510,"dynasty":213,"author":19,"museum":20,"description":511,"tags":512,"thumbUrl":516,"material":47,"size":48,"collection":29,"collections":517,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},257043,"bai-you-hua-hua-pan-chi-wen-xi-yi-ming-257043","白釉划花蟠螭纹洗","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 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