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。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”。",[128,129,130,47,131,7],"掐丝珐琅","珐琅器","清代","缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8e341ef5425a9fcc969cc796b750cf.jpg",[],"37474F",{"id":136,"slug":137,"title":138,"dynasty":139,"author":19,"museum":20,"description":140,"tags":141,"thumbUrl":148,"material":30,"size":31,"collection":62,"collections":149,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":150},226686,"jiu-min-yi-ming-226686","酒皿","元","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。",[24,142,143,144,145,146,7,147],"饮酒器","黑釉","刻划纹","卷草纹","几何纹","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa54ede0aa83fa1fd37726d449e179a.jpg",[],"FFFFFF",{"id":152,"slug":153,"title":154,"dynasty":155,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":163,"material":30,"size":31,"collection":62,"collections":164,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":35},225572,"fu-shi-hui-55-yi-ming-225572","浮世绘55","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[158,159,47,160,49,161,162,7],"浮世绘","木刻","美人","梅花","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0501e10f99e5b322c1389476a05b444.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":40,"author":19,"museum":20,"description":140,"tags":169,"thumbUrl":174,"material":30,"size":31,"collection":62,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":35},281475,"ri-ben-tong-zhu-zi-hua-hui-wen-ai-jing-ping-yi-ming-281475","日本铜竹子花卉纹矮颈瓶",[170,171,172,94,173,7],"铜制","雕刻","竹","铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbd94ef66f98c98b03a0654fbb6127d.jpg",[],4,{"id":178,"slug":179,"title":180,"dynasty":40,"author":19,"museum":20,"description":181,"tags":182,"thumbUrl":185,"material":30,"size":31,"collection":32,"collections":186,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":134},259042,"yi-xing-yao-zi-sha-lv-you-guan-yi-ming-259042","宜兴窑紫砂绿釉罐","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。",[130,24,183,184,7],"紫砂","绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60179a56e8d6892b7ad6c6ff8c0f457.jpg",[32],{"id":188,"slug":189,"title":190,"dynasty":18,"author":191,"museum":20,"description":192,"tags":193,"thumbUrl":197,"material":30,"size":31,"collection":62,"collections":198,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":98},226556,"shuang-bing-guan-you-mian-ci-226556","双柄罐","釉面瓷","青玉,琢一小圆罐,有双柄。肩部雕一周图案化的莨苕叶,再以双柄的下方为中心,向左右上方浮雕狗尾草类的植物纹,颇有飘逸的动感。",[18,24,194,195,7,196],"釉面","双柄","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c736811cd4f851e0d8dc60854e8a23d.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":203,"author":19,"museum":20,"description":204,"tags":205,"thumbUrl":210,"material":30,"size":31,"collection":62,"collections":211,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":134},261962,"san-cai-hei-he-you-shuang-long-bing-zun-yi-ming-261962","三彩黑褐釉双龙柄尊","唐","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。",[24,206,207,208,209,7],"三彩","黑褐釉","龙","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a1f77c5e950e442647b727adae4a56.jpg",[],3,{"id":214,"slug":215,"title":216,"dynasty":18,"author":19,"museum":20,"description":217,"tags":218,"thumbUrl":221,"material":30,"size":31,"collection":32,"coll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历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 以上。在1300多度的高温熔烧过程中，窑温的变化，使釉面产生奇特的花纹。\n由于宋代斗茶风尚盛行，而主烧适宜为斗茶的黑釉茶盏，亦称建盏，以水吉镇窑制品为最，北宋后期曾为宫廷烧制斗茶使用的黑釉盏，并于器底刻"进盏"、"供御"字样。建阳窑产品使用含铁高的原料做胎，因而胎色深黑坚硬，有"铁胎"之俗称，或名乌泥窑、黑建、乌泥建等。盏内外均施黑釉，外壁釉不到底，露黑色胎。",[18,24,143,219,7,220],"兔毫纹","结晶釉技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579c57a4322a155aa2da9cac24c9a56e.jpg",[32],"F48FB1",{"id":225,"slug":226,"title":227,"dynasty":40,"author":19,"museum":20,"description":228,"tags":229,"thumbUrl":233,"material":234,"size":235,"collection":62,"collections":236,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":35},215906,"qing-ren-xiao-xiang-tu-ce-9-yi-ming-215906","清人肖像图册-9","墨袍靛边轻垂，端坐床榻的身影透着儒雅沉稳。床前织锦软垫纹理细腻，右侧条案上青瓷瓶簪花吐蕊，案角茶具闲放，寥寥几笔勾勒出雅致生活场景。人物面容温和，眼神沉静，似在静思或小憩，神态捕捉恰到好处。画家以写实之笔摹写衣纹褶皱与器物质感，色调古朴温润，整体氛围清宁雅致。旧时文人的从容情态与居所闲逸意趣凝于尺幅间，尽显古典肖像画的含蓄韵味，将彼时生活的静美与精神的内敛悄然定格。",[74,75,47,46,49,230,231,232,94,162,7],"床","桌子","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138347fcbdd052a1a079f72e123be293.jpg","绢本,设色","44x40",[],{"id":238,"slug":239,"title":240,"dynasty":155,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":248,"material":30,"size":31,"collection":62,"collections":249,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":35},289092,"jean-jacques-lagrene-e-still-life-vases-a-cassolette-on-a-pedestal-yi-ming-289092","Jean Jacques Lagrenée--Still Life Vases, a Cassolette on a Pedestal","帷幔轻展，铺陈出一方古典雅致的陈列空间。利落的线条勾勒出洛可可式柔婉的器物轮廓，台座上的香炉浮雕精巧，两侧银壶缠枝纹饰华贵细腻。左侧藤篮倾溢出饱满鲜果与葡萄，搭配角落贝壳，将人工造物的精致与自然野趣柔和相融。淡灰水色晕染出明暗层次，烘托出静谧庄重的氛围，让华丽的陈设褪去张扬，尽显复古沉静的美学张力，将巴洛克式的装饰感与松弛的写生意趣平衡恰好，勾勒出古典静物独有的典雅质感。",[243,244,47,245,7,246,247],"静物","素描","银器","果物","帷幔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff044dca9bd7f90a110e95738f9a4fe4e.jpg",[],2,{"id":252,"slug":253,"title":254,"dynasty":40,"author":19,"museum":20,"description":255,"tags":256,"thumbUrl":260,"material":30,"size":31,"collection":62,"collections":261,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":98},269457,"zi-tan-qian-yu-ru-yi-yun-shi-he-yi-ming-269457","紫檀嵌玉如意云式盒","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。",[257,171,258,7,259],"木质","玉石","如意云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d96cbff3268d90faa7b518a837fa39.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":203,"author":19,"museum":20,"description":140,"tags":266,"thumbUrl":268,"material":30,"size":31,"collection":62,"collections":269,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":134},259760,"san-cai-shuang-long-er-ping-yi-ming-259760","三彩双龙耳瓶",[24,206,208,267,7],"双耳瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede8f38253981e2ac4c46b8edcf1f208.jpg",[],{"id":271,"slug":272,"title":273,"dynasty":40,"author":19,"museum":20,"description":255,"tags":274,"thumbUrl":277,"material":30,"size":31,"collection":62,"collections":278,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":223},230033,"qing-yu-guan-yi-ming-230033","青玉罐",[130,258,171,275,7,276],"玉器","青玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44897051732954c4fd27842d52f35e57.jpg",[],{"id":280,"slug":281,"title":282,"dynasty":40,"author":19,"museum":20,"description":283,"tags":284,"thumbUrl":287,"material":30,"size":31,"collection":62,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":35},270568,"xi-ya-shi-guo-yi-ming-270568","锡鸭式锅","此器取凫鸭为形，写实传神。鸭身丰腴饱满，脖颈修长舒展，尖喙挺翘有神，目珠圆凝，将野凫的灵动之态凝练其中。整体以锡为料，色泽沉穆温润，自带古雅沉静之气。\n\n采用开合式结构，将炊具巧化为清趣雅物，兼具实用与赏玩价值。下部镂空底座饰以回纹格棂，虚实相间，既抬高器型尽显挺拔，又增添装饰层次，与仿生器身相映成趣，尽显匠人造物巧思，将日常功用与审美意趣相融，把寻常炊具淬炼成兼具风雅与意趣的工艺佳作。",[285,286,119,7],"锡制","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8155b7f0817232dc2dee907e67b780a.jpg",[],1,{"id":291,"slug":292,"title":293,"dynasty":40,"author":19,"museum":20,"description":204,"tags":294,"thumbUrl":298,"material":30,"size":31,"collection":62,"collections":299,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":35},261529,"guang-xu-kuan-fang-guan-you-guan-er-ping-yi-ming-261529","光绪款仿官釉贯耳瓶",[24,295,296,297,7],"仿官釉","贯耳瓶","开片纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf388a37ff35c22c3c25a04647274bbe.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":40,"author":19,"museum":20,"description":304,"tags":305,"thumbUrl":310,"material":30,"size":31,"collection":62,"collections":311,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":35},261516,"cheng-hua-kuan-dou-cai-ji-tu-bei-yi-ming-261516","成化款斗彩鸡图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[24,306,307,308,309,142,7],"斗彩","鸡","雏鸡","草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7f72b6f7ea7e58e424027616617a0a.jpg",[],{"id":313,"slug":314,"title":315,"dynasty":69,"author":19,"museum":20,"description":316,"tags":317,"thumbUrl":320,"material":30,"size":31,"collection":62,"collections":321,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":98},261423,"bai-you-dai-gai-mei-ping-yi-ming-261423","白釉带盖梅瓶","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。",[24,318,319,7],"梅瓶","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bcbb75c20f6bf2706bc2136ee4f9b6.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":40,"author":19,"museum":20,"description":116,"tags":326,"thumbUrl":330,"material":30,"size":31,"collection":62,"collections":331,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":134},259937,"yong-zheng-kuan-dong-qing-you-wu-kong-xian-wen-fang-ping-yi-ming-259937","雍正款冬青釉五孔弦纹方瓶",[24,327,328,329,7],"冬青釉","弦纹","五孔方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b49693b386435550d8f3936cea2511b.jpg",[],{"id":333,"slug":334,"title":335,"dynasty":40,"author":19,"museum":20,"description":336,"tags":337,"thumbUrl":339,"material":30,"size":31,"collection":62,"collections":340,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":35},259273,"qian-long-kuan-dong-qing-you-hu-lu-ping-yi-ming-259273","乾隆款冬青釉葫芦瓶","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。”",[24,338,327,7],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80a5688179f893a79bf8f51c8ce2e5.jpg",[],{"id":342,"slug":343,"title":344,"dynasty":40,"author":19,"museum":20,"description":345,"tags":346,"thumbUrl":350,"material":30,"size":31,"collection":62,"collections":351,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":134},258673,"dou-cai-tuan-ju-wen-gai-guan-yi-ming-258673","斗彩团菊纹盖罐","此罐造型圆浑饱满，盖身浑然一体。以斗彩技法妆点，釉下青花勾勒轮廓筋骨，釉上填敷彩料鲜亮柔和。绿彩晕染为地，托举团菊盛放，红、黄彩点染花瓣层次分明，娇妍动人。婉转缠枝卷草纹穿插其间，与团菊相映成趣，让器面疏密相宜。上下青花边饰规整雅致，与彩饰相得益彰，整体配色明丽和谐，釉面莹润光洁，既有制式规整的端庄气度，又藏着灵动鲜活的雅致意趣，尽显彩瓷造作的精妙意韵。",[130,24,306,347,348,145,349,7,47,46],"团菊纹","花卉纹","盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa389e462c12715c840e3288a24054a1.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":18,"author":19,"museum":20,"description":356,"tags":357,"thumbUrl":361,"material":30,"size":31,"collection":32,"collections":362,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":98},256784,"ding-yao-bai-you-ke-yu-zao-wen-wan-yi-ming-256784","定窑白釉刻鱼藻纹碗","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。",[18,24,319,358,359,360,7],"刻花","鱼","藻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a64b1b0154716a8ae251b4c15951b82.jpg",[32],{"id":364,"slug":365,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":366,"thumbUrl":367,"material":30,"size":31,"collection":32,"collections":368,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":98},256220,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256220",[18,24,26,25,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608db09dcb66354e3480f8b24a0e54bf.jpg",[32],{"id":370,"slug":371,"title":372,"dynasty":155,"author":373,"museum":20,"description":374,"tags":375,"thumbUrl":383,"material":30,"size":31,"collection":62,"collections":384,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":98},232528,"he-er-bai-yin-187-he-er-bai-yin-232528","荷尔拜因187","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[376,244,377,49,378,379,380,7,381,382],"写实","铜版画","盔甲","剑","狮子","披风","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d678af7f5608005b6ae80a88c61ef54.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":40,"author":19,"museum":20,"description":389,"tags":390,"thumbUrl":393,"material":30,"size":31,"collection":62,"collections":394,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":134},229155,"nei-tian-fa-lang-xi-yang-ren-wu-bei-yi-ming-229155","内填珐瑯西洋人物杯","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[40,129,391,47,49,392,94,7],"内填珐琅","西洋人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff260d308a907faecbe4d7185c8c8edfc.jpg",[],{"id":396,"slug":397,"title":398,"dynasty":18,"author":19,"museum":20,"description":204,"tags":399,"thumbUrl":405,"material":30,"size":31,"collection":62,"collections":406,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":98},223779,"qing-ci-xian-wen-zun-yi-ming-223779","青瓷弦纹樽",[23,24,400,328,26,401,7,402,403,404],"青瓷","三足","釉色","宋瓷风格","釉质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdd9efe3eba952441f7d1330cae7d9b.jpg",[],{"id":408,"slug":409,"title":410,"dynasty":40,"author":19,"museum":20,"description":411,"tags":412,"thumbUrl":417,"material":234,"size":62,"collection":62,"collections":418,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":35},216177,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-23-yi-ming-216177","职贡图巨幅彩绘册页第1册-23","画面分绘男女二人，左者衣袂层叠，绿裳粉帔衬出温婉之态；右者红衣高帽，持瓶拄杖，异域风貌跃然纸上。笔触细腻入微，衣纹褶皱、配饰细节皆清晰可辨，色彩明丽和谐，人物形神毕肖。作为职贡图册页，既承载记录域外风情的历史功能，又以精湛彩绘技艺展现清代绘画水准，鲜活再现彼时中外交流侧影，兼具史料价值与审美意趣，是清代对外文化认知与艺术表达的生动遗存。",[45,130,76,47,46,49,58,413,414,415,416,7],"器","彩绘","职贡题材","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85551fff590bdc8585d5a6072fb96512.jpg",[],{"id":420,"slug":421,"title":422,"dynasty":40,"author":19,"museum":20,"description":423,"tags":424,"thumbUrl":426,"material":427,"size":62,"collection":62,"collections":428,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":35},215851,"qing-dai-xing-fa-ji-lu-tu-ce-21-yi-ming-215851","清代刑罚记录图册-21","画面以素白为底，蓝边轻框，似一卷尘封的往事缓缓铺展。左侧人物屈膝持物，身旁红桶与蓝瓮朴拙而立；中间二人或递或接，动作间藏着旧时光的细碎痕迹；右侧戴枷者躬身匍匐，枷锁的沉重似要穿透纸面。红的艳、蓝的沉、枷板的素，色彩碰撞间更衬出场景的真实冷峻。笔触简淡却见力道，将清代刑罚的日常与严酷凝于方寸——没有刻意渲染的悲戚，只有对彼时社会生态的平实记录。每一处线条都是时光的注脚，每一个身影都是历史的切片，静静诉说着远去时代里，那些被定格的人间烟火与制度余温。",[40,47,46,76,49,425,7,162],"刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416c141b04d9fe576ba72517b41c14cb.jpg","纸本,设色",[],{"id":430,"slug":431,"title":432,"dynasty":40,"author":19,"museum":20,"description":433,"tags":434,"thumbUrl":436,"material":30,"size":31,"collection":62,"collections":437,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275197,"qian-long-kuan-huang-you-tu-jin-jue-yi-ming-275197","乾隆款黄釉涂金爵","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。",[24,142,56,435,7],"涂金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9faf77eccec432009ec8af5fc5d13c4.jpg",[],{"id":439,"slug":440,"title":441,"dynasty":40,"author":19,"museum":20,"description":442,"tags":443,"thumbUrl":447,"material":30,"size":31,"collection":62,"collections":448,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":223},274712,"yin-du-jin-gai-zuo-ga-bu-la-wan-yi-ming-274712","银镀金盖座嘠布拉碗","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。",[444,245,445,171,446,7],"宗教","金器","供器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f7c1ee3d8a7eb0a53d1b2b9f31f598.jpg",[],{"id":450,"slug":451,"title":452,"dynasty":40,"author":19,"museum":20,"description":140,"tags":453,"thumbUrl":458,"material":30,"size":31,"collection":62,"collections":459,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},270466,"xian-feng-kuan-lan-se-bo-li-guang-su-zhi-kou-ping-yi-ming-270466","咸丰款蓝色玻璃光素直口瓶",[454,455,456,457,7],"玻璃器","蓝色","直口瓶","光素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4df35dcf50e61d103d8574d7afe98f0.jpg",[],{"id":461,"slug":462,"title":463,"dynasty":40,"author":19,"museum":20,"description":140,"tags":464,"thumbUrl":467,"material":30,"size":31,"collection":62,"collections":468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},270128,"qian-long-kuan-bai-se-di-tao-cai-se-bo-li-lian-ban-wen-ping-yi-ming-270128","乾隆款白色地套彩色玻璃莲瓣纹瓶",[454,465,466,7],"莲瓣纹","套色玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ec9b6a07f772ebbc10bcf106ff7d06.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":40,"author":19,"museum":20,"description":140,"tags":473,"thumbUrl":476,"material":30,"size":31,"collection":62,"collections":477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},270119,"qian-long-kuan-lan-se-bo-li-ba-leng-ping-yi-ming-270119","乾隆款蓝色玻璃八棱瓶",[454,474,455,7,475],"八棱瓶","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03630e9c0d7d69a4af7b0136769718c.jpg",[],{"id":479,"slug":480,"title":481,"dynasty":40,"author":19,"museum":20,"description":140,"tags":482,"thumbUrl":485,"material":30,"size":31,"collection":62,"collections":486,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},270112,"bai-se-di-tao-hong-se-bo-li-tao-shu-wen-zhi-kou-ping-yi-ming-270112","白色地套红色玻璃桃树纹直口瓶",[454,171,483,484,466,7],"桃树","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49c3f4b3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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。",[24,319,535,7],"长颈瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa50e904367b1b51debdf3b0bae74d80.jpg",[32],{"id":539,"slug":540,"title":541,"dynasty":40,"author":19,"museum":20,"description":442,"tags":542,"thumbUrl":546,"material":30,"size":31,"collection":62,"collections":547,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},261457,"wu-cai-ba-xian-tu-wan-yi-ming-261457","五彩八仙图碗",[24,543,544,49,545,7],"五彩","八仙","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4b1080b58888e2ee5658537da2cca4.jpg",[],{"id":549,"slug":550,"title":551,"dynasty":139,"author":19,"museum":20,"description":552,"tags":553,"thumbUrl":557,"material":30,"size":31,"collection":32,"collections":558,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},260819,"long-quan-yao-qing-you-yu-hu-chun-ping-yi-ming-260819","龙泉窑青釉玉壶春瓶","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。",[24,554,555,556,7],"青釉","玉壶春瓶","龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5145e69ab190e0f705f7a6cc110d930.jpg",[32],{"id":560,"slug":561,"title":562,"dynasty":563,"author":19,"museum":20,"description":336,"tags":564,"thumbUrl":566,"material":30,"size":31,"collection":62,"collections":567,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},260723,"qing-you-si-xi-xiao-guan-yi-ming-260723","青釉四系小罐","晋",[24,119,554,565,7],"四系罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399f86e1eb8a1ca74e173561c5b859d3.jpg",[],{"id":569,"slug":570,"title":571,"dynasty":69,"author":19,"museum":20,"description":572,"tags":573,"thumbUrl":575,"material":30,"size":31,"collection":62,"collections":576,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260442,"wan-li-kuan-wu-cai-zhe-zhi-hua-guo-wen-chang-fang-die-yi-ming-260442","万历款五彩折枝花果纹长方碟","此器长方倭角，浅腹方足，形制秀巧温婉。以青花勾勒轮廓骨脉，敷饰五彩折枝寿桃：桃实饱满匀润，红彩晕染出自然的色泽过渡，搭配翠色叶片娇俏鲜活，留白处点缀青花小折枝，青蓝与彩料相映成趣。\n\n釉面莹润透亮，色彩明丽却不艳俗，尽显晚明彩瓷灵动意趣，方寸间将花果生机凝于瓷土之上，带着晚明闲适的审美意韵，小器亦见匠心。",[24,119,543,574,7],"折枝花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfabee2dc14d189829f80bd6a1482b73.jpg",[],{"id":578,"slug":579,"title":580,"dynasty":40,"author":19,"museum":20,"description":581,"tags":582,"thumbUrl":585,"material":30,"size":31,"collection":62,"collections":586,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},259725,"kang-xi-kuan-tian-lan-you-pi-pa-shi-zun-yi-ming-259725","康熙款天蓝釉琵琶式尊","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[24,583,584,526,7],"天蓝釉","琵琶尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a492f7c559762962d25bc2bbd1f0e8.jpg",[],{"id":588,"slug":589,"title":590,"dynasty":40,"author":19,"museum":20,"description":116,"tags":591,"thumbUrl":594,"material":30,"size":31,"collection":62,"collections":595,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":134},258314,"yong-zheng-kuan-huang-you-ju-ban-pan-yi-ming-258314","雍正款黄釉菊瓣盘",[40,24,592,593,7,402],"黄釉","菊瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38a691d254a805f9464e607216b23ac.jpg",[],{"id":597,"slug":598,"title":590,"dynasty":40,"author":19,"museum":20,"description":116,"tags":599,"thumbUrl":601,"material":30,"size":31,"collection":62,"collections":602,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},258313,"yong-zheng-kuan-huang-you-ju-ban-pan-yi-ming-258313",[130,24,592,593,600,7],"单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bc6a7a6171397e7eff5bcec9e45780.jpg",[],{"id":604,"slug":605,"title":606,"dynasty":40,"author":19,"museum":20,"description":607,"tags":608,"thumbUrl":612,"material":30,"size":31,"collection":62,"collections":613,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},257748,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-xiao-yi-ming-257748","康熙款五彩十二月花卉纹杯-晓","此杯器型秀巧玲珑，胎质莹白似玉，釉面匀净温润。外壁以青花题咏诗句，笔意隽秀雅致，字体端丽清秀，诗文暗合晓花意境，雅致脱俗。青花发色明快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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。",[808,170,809,171,56,810,611,7,811],"青铜器","铸造","商周风格","古物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac30e7af072031b3af83eadf3444a5.jpg",[],{"id":815,"slug":816,"title":817,"dynasty":18,"author":19,"museum":20,"description":204,"tags":818,"thumbUrl":820,"material":526,"size":31,"collection":62,"collections":821,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},223795,"qing-ci-kui-kou-xi-yi-ming-223795","青瓷葵口洗",[23,24,400,26,819,7,554],"冰裂纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f9f2f7dc2c2b0b2340e4da0f2ab9e4.jpg",[],1777535706324]