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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,26,29,97,7,98,74,57,58,75],"花鸟","菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg","",[61,85],76,1,{"id":105,"slug":106,"title":107,"dynasty":92,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":121,"material":122,"size":123,"collection":41,"collections":124,"showCount":125,"zanCount":103,"manualWeight":11,"mainColor":45},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","冷枚","天津博物馆","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,112,113,24,25,26,28,29,30,114,115,116,117,118,7,119,120],"清代","名画","美人","狗","牡丹","桌","凳","书卷","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","绢本","170x100cm",[41],71,{"id":127,"slug":128,"title":129,"dynasty":92,"author":19,"museum":130,"description":131,"tags":132,"thumbUrl":136,"material":137,"size":138,"collection":139,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":45},224101,"yong-zheng-yao-dong-qing-ju-ban-wen-ping-yi-ming-224101","雍正窑 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景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[133,192,193,194,195,7],"青花","龙","海水","八方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5686cc95112656096e3613a7b9bcd5f2.jpg",[139],33,"37474F",{"id":201,"slug":202,"title":203,"dynasty":92,"author":19,"museum":71,"description":204,"tags":205,"thumbUrl":214,"material":39,"size":215,"collection":100,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":87},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[206,29,24,207,208,209,210,211,169,7,212,213],"缂丝","山水","松树","山峰","飞鸟","云","山石","水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg","93.8x25.6",[],30,{"id":219,"slug":220,"title":221,"dynasty":92,"author":19,"museum":130,"description":131,"tags":222,"thumbUrl":226,"material":137,"size":138,"collection":139,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":199},229497,"yong-zheng-yao-fang-ru-lian-ban-ping-yi-ming-229497","雍正窑 仿汝莲瓣瓶",[133,223,224,225,112,79,7],"仿汝釉","莲瓣纹","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a025f86d75e94732cf3711c3d466dc.jpg",[139],28,{"id":230,"slug":231,"title":232,"dynasty":92,"author":19,"museum":130,"description":233,"tags":234,"thumbUrl":240,"material":137,"size":138,"collection":100,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":45},256880,"fen-cai-tao-hua-wen-zhi-jing-ping-yi-ming-256880","粉彩桃花纹直颈瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[133,112,235,29,97,236,237,7,238,239],"粉彩","桃花","蝴蝶","直颈","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0097d204b92d0e6672a8a26e5287203.jpg",[],24,{"id":244,"slug":245,"title":246,"dynasty":92,"author":19,"museum":130,"description":247,"tags":248,"thumbUrl":252,"material":137,"size":138,"collection":100,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":199},260948,"sa-lan-you-miao-jin-feng-huang-mu-dan-wen-ping-yi-ming-260948","洒蓝釉描金凤凰牡丹纹瓶","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。",[133,7,249,250,251,116,97],"洒蓝釉","描金","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bdecd8419504082199b7970f0d420.jpg",[],22,{"id":256,"slug":257,"title":258,"dynasty":92,"author":19,"museum":130,"description":233,"tags":259,"thumbUrl":267,"material":137,"size":138,"collection":100,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":87},246707,"ti-hong-kai-guang-an-ba-xian-wen-dai-zuo-hu-lu-shi-shou-dai-ping-yi-ming-246707","剔红开光暗八仙纹带座葫芦式绶带瓶",[112,260,261,262,263,264,265,7,266],"漆器","剔红","雕刻","暗八仙纹","葫芦式","绶带","带座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d7cc51af71f7e44ee7ec54b4200356.jpg",[],19,{"id":271,"slug":272,"title":273,"dynasty":274,"author":275,"museum":276,"description":277,"tags":278,"thumbUrl":285,"material":100,"size":100,"collection":61,"collections":286,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":287},202959,"san-duo-tu-zhou-zhao-yun-he-202959","三多图轴","近代","赵云壑","上海博物馆","画面以瓶梅、佛手、石榴等清供元素入题，暗合“福寿多子”的吉祥寓意。瓶中梅枝虬劲，白花疏朗有致；青瓷高足盘内，金黄佛手饱满圆润，色泽明快；旁侧石榴果实开裂，殷红籽实显露，生机盎然。背景陶罐朴拙厚重，与雅致器物相映成趣。笔墨兼工带写，线条简练洒脱，设色清雅温润，既含文人画的淡远意趣，又具世俗祝福的鲜活气息，尽显海派花鸟的灵动韵味。",[24,97,279,29,152,280,281,7,282,283,284,23],"写意","佛手","石榴","陶罐","清供","文人意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aae60a69c3f0a485ff224f1c0c1259.jpg",[61],"cbbea9",{"id":289,"slug":290,"title":291,"dynasty":92,"author":19,"museum":130,"description":233,"tags":292,"thumbUrl":295,"material":137,"size":138,"collection":100,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":45},261225,"guang-cai-lv-di-kai-guang-ren-wu-tu-hai-tang-shi-ping-yi-ming-261225","广彩绿地开光人物图海棠式瓶",[133,293,29,30,294,7],"广彩","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fe84ae36543084bada6efba90149f9.jpg",[],15,{"id":299,"slug":300,"title":301,"dynasty":302,"author":19,"museum":130,"description":233,"tags":303,"thumbUrl":307,"material":137,"size":138,"collection":100,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":45},262146,"zhi-zhai-zhu-ren-kuan-fen-cai-shi-nv-tu-ping-yi-ming-262146","觯斋主人款粉彩仕女图瓶","民国",[133,235,304,305,212,170,306,7],"仕女","鹿","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559d9eed3f22fe56d093e19e7540de.jpg",[],11,{"id":311,"slug":312,"title":313,"dynasty":69,"author":19,"museum":130,"description":314,"tags":315,"thumbUrl":318,"material":137,"size":138,"collection":139,"collections":319,"showCount":309,"zanCount":103,"manualWeight":11,"mainColor":199},260483,"long-quan-yao-qing-you-hua-hua-ping-yi-ming-260483","龙泉窑青釉划花瓶","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。",[133,225,316,7,317,79],"划花","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782e4f9df9d79c354ded088b16744da.jpg",[139],{"id":321,"slug":322,"title":323,"dynasty":92,"author":19,"museum":130,"description":233,"tags":324,"thumbUrl":325,"material":137,"size":138,"collection":100,"collections":326,"showCount":327,"zanCount":103,"manualWeight":11,"mainColor":45},260161,"qian-long-kuan-fen-cai-mu-dan-wen-zhi-kou-ping-yi-ming-260161","乾隆款粉彩牡丹纹直口瓶",[133,235,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f502677b024c2a213b1e901ed540fd.jpg",[],10,{"id":329,"slug":330,"title":331,"dynasty":92,"author":19,"museum":130,"description":332,"tags":333,"thumbUrl":337,"material":137,"size":138,"collection":100,"collections":338,"showCount":327,"zanCount":103,"manualWeight":11,"mainColor":199},250490,"qing-yu-tou-diao-mei-hua-wen-dai-gai-ping-yi-ming-250490","青玉透雕梅花纹带盖瓶","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。",[112,334,335,262,336,7],"玉石","透雕","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb1b76f8b83c7684dd2c096aa5654b7.jpg",[],{"id":340,"slug":341,"title":342,"dynasty":92,"author":19,"museum":130,"description":233,"tags":343,"thumbUrl":345,"material":137,"size":138,"collection":100,"collections":346,"showCount":347,"zanCount":11,"manualWeight":11,"mainColor":87},256663,"qian-long-kuan-fa-lang-cai-hua-hui-wen-ping-yi-ming-256663","乾隆款珐琅彩花卉纹瓶",[344,29,133,7,76,116,212],"珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7079fa16f1845e6434e303a09bfd3a1.jpg",[],9,{"id":349,"slug":350,"title":351,"dynasty":92,"author":19,"museum":130,"description":233,"tags":352,"thumbUrl":357,"material":137,"size":138,"collection":100,"collections":358,"showCount":347,"zanCount":11,"manualWeight":11,"mainColor":87},246680,"ti-hong-yun-fu-an-ba-xian-wen-shou-er-huo-huan-ping-yi-ming-246680","剔红云蝠暗八仙纹兽耳活环瓶",[92,260,261,262,353,354,355,356,263,7],"兽耳","活环","云纹","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa5cb048547859dc8a9cc8f7d7ce54f.jpg",[],{"id":360,"slug":361,"title":362,"dynasty":69,"author":19,"museum":130,"description":247,"tags":363,"thumbUrl":366,"material":137,"size":138,"collection":139,"collections":367,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":199},260628,"ling-wu-yao-hei-you-ti-hua-ping-yi-ming-260628","灵武窑黑釉剔花瓶",[133,364,116,365,7],"剔花","黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6780cd8cd32041f65e7676709362266d.jpg",[139],8,{"id":370,"slug":371,"title":372,"dynasty":69,"author":19,"museum":130,"description":373,"tags":374,"thumbUrl":376,"material":137,"size":138,"collection":139,"collections":377,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":87},256259,"ge-yao-dan-shi-ping-yi-ming-256259","哥窑胆式瓶","“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？",[69,133,375,7,79],"开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d3db12ea323c3100dcb103f76b243c.jpg",[139],{"id":379,"slug":380,"title":381,"dynasty":92,"author":19,"museum":130,"description":332,"tags":382,"thumbUrl":386,"material":137,"size":138,"collection":100,"collections":387,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":45},246706,"ti-hong-hu-lu-wen-qian-yu-da-ji-hu-lu-shi-ping-yi-ming-246706","剔红葫芦纹嵌玉大吉葫芦式瓶",[112,260,261,383,262,384,385,7],"嵌玉","葫芦纹","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2fd64b8d75d4662c34ac81bf8ab825.jpg",[],{"id":389,"slug":390,"title":391,"dynasty":92,"author":19,"museum":130,"description":392,"tags":393,"thumbUrl":396,"material":100,"size":100,"collection":139,"collections":397,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":87},246694,"ti-hong-chan-zhi-lian-wen-ru-yi-er-ping-yi-ming-246694","剔红缠枝莲纹如意耳瓶","如意双耳婉转萦回，衬得瓶身线条愈发饱满柔润。满工雕刻的缠枝莲纹舒展蔓延，花叶层叠、枝蔓交缠，刀工圆熟利落，将朱漆剔刻出深浅错落的肌理，每一处纹路都立体鲜活，让沉静的漆色拥有了灵动的层次。\n朱漆色泽莹润沉凝，历经年月依旧鲜亮饱满。整体形制端庄妍丽，把雕刻工艺的精巧与器物的典雅气韵相融，缠枝莲的吉庆寓意藏于往复的纹路之中，尽显手作工艺的匠心底蕴，静穆间流露着雅致庄重的东方美感。",[112,260,261,394,395,7],"缠枝莲纹","如意耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9761accec7b5a9227647fa9d8e42ea.jpg",[139],7,{"id":400,"slug":401,"title":402,"dynasty":50,"author":19,"museum":130,"description":403,"tags":404,"thumbUrl":407,"material":137,"size":138,"collection":100,"collections":408,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":45},228505,"qing-hua-fan-lian-yu-hu-chun-ping-yi-ming-228505","青花番莲玉壶春瓶","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。",[405,133,192,406,7],"明代","缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa335c7ed820d7779eefa5051fd769a.jpg",[],{"id":410,"slug":411,"title":412,"dynasty":69,"author":19,"museum":130,"description":413,"tags":414,"thumbUrl":417,"material":137,"size":138,"collection":100,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":87},256325,"qing-bai-you-ke-hua-ping-yi-ming-256325","青白釉刻花瓶","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。",[69,133,415,416,7],"青白釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd18d7d7f4bd5af51de0d2a1e9d7e56.jpg",[],6,{"id":421,"slug":422,"title":423,"dynasty":92,"author":19,"museum":130,"description":424,"tags":425,"thumbUrl":429,"material":137,"size":138,"collection":100,"collections":430,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":87},249878,"qia-si-fa-lang-ru-yi-hua-hui-wen-lu-tuo-ping-yi-ming-249878","掐丝珐琅如意花卉纹鹿驮瓶","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[426,29,305,427,7,79,428,239],"掐丝珐琅","兽","如意纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949a32cb0725d9b9ec1a98f7c3dca9df.jpg",[],{"id":432,"slug":433,"title":434,"dynasty":302,"author":19,"museum":130,"description":131,"tags":435,"thumbUrl":437,"material":137,"size":138,"collection":100,"collections":438,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":199},261738,"yong-zheng-kuan-fen-cai-ying-su-hua-hui-wen-ping-yi-ming-261738","雍正款粉彩罂粟花卉纹瓶",[133,235,239,7,436,29],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c56fe19dbd3d8a66e99b09a1903a859.jpg",[],{"id":440,"slug":441,"title":442,"dynasty":92,"author":19,"museum":130,"description":443,"tags":444,"thumbUrl":449,"material":137,"size":138,"collection":139,"collections":450,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":199},257835,"lang-yao-hong-you-dan-shi-xiao-ping-yi-ming-257835","郎窑红釉胆式小瓶","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。",[92,133,7,445,446,447,448],"红釉","高温釉","胆式造型","铜红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb12a4ca45ce618c924893d68239b5f.jpg",[139],{"id":452,"slug":453,"title":454,"dynasty":92,"author":19,"museum":130,"description":443,"tags":455,"thumbUrl":457,"material":137,"size":138,"collection":139,"collections":458,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":199},256543,"lang-yao-hong-you-chuan-dai-zhi-kou-ping-yi-ming-256543","郎窑红釉穿带直口瓶",[112,133,456,7],"郎窑红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c78771d3f308e7ccf0c2de42840278.jpg",[139],{"id":460,"slug":461,"title":462,"dynasty":69,"author":19,"museum":130,"description":463,"tags":464,"thumbUrl":467,"material":137,"size":138,"collection":139,"collections":468,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":45},256295,"jun-yao-yue-bai-you-ping-yi-ming-256295","钧窑月白釉瓶","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。",[69,133,7,465,466],"月白釉","钧窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6acfd25134bae4d4d7bc01e852253e.jpg",[139],{"id":470,"slug":471,"title":472,"dynasty":92,"author":19,"museum":130,"description":473,"tags":474,"thumbUrl":479,"material":137,"size":138,"collection":100,"collections":480,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":45},249266,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-kai-guang-shuang-shi-tu-shuang-er-huo-huan-ping-yi-ming-249266","乾隆款掐丝珐琅勾莲纹开光双狮图双耳活环瓶","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 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