[{"data":1,"prerenderedAt":174},["ShallowReactive",2],{"subject-qing-hui-you":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9986,"qing-hui-you","青灰釉","青灰釉画高清赏析","精选中国历代青灰釉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86655a024f7ed13acb4f164083a6026.jpg",0,17,[14,35,44,56,66,72,78,87,102,109,115,121,127,133,139,151,166],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256185,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256185","哥窑青灰釉葵口碗","宋","佚名","藏地不详","“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？",[23,24,7,25,26,27,28],"宋代","陶瓷","开片","葵口","碗","器皿","未知","Xcm*Xcm","瓷器精选",[31],18,"BDBDBD",{"id":36,"slug":37,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":38,"thumbUrl":40,"material":29,"size":30,"collection":31,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},256218,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256218",[18,24,25,7,26,39],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6dfb22da0f0232c4d753d458855161.jpg",[31],6,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":19,"museum":20,"description":21,"tags":48,"thumbUrl":53,"material":29,"size":30,"collection":31,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":43},256248,"ge-yao-qing-hui-you-kui-ban-kou-xi-yi-ming-256248","哥窑青灰釉葵瓣口洗",[23,24,49,7,25,50,51,52],"哥窑","葵瓣口","洗","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8623e762cdbd1acd6b10f66614134212.jpg",[31],4,{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":20,"description":21,"tags":60,"thumbUrl":62,"material":29,"size":30,"collection":31,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},256243,"ge-yao-qing-hui-you-kui-ban-kou-pan-yi-ming-256243","哥窑青灰釉葵瓣口盘",[23,49,7,25,24,50,61],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07d5a3175347744ae405fb38a3dcf1c.jpg",[31],3,"37474F",{"id":67,"slug":68,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":69,"thumbUrl":70,"material":29,"size":30,"collection":31,"collections":71,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":34},256224,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256224",[18,24,7,26,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0483351c8eddd6f4b7ebf632e918fd.jpg",[31],{"id":73,"slug":74,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":75,"thumbUrl":76,"material":29,"size":30,"collection":31,"collections":77,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":43},256221,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256221",[18,24,25,7,26,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0778bf400c7c3562ce8c95c0db29171e.jpg",[31],{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":21,"tags":82,"thumbUrl":84,"material":29,"size":30,"collection":31,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":43},256228,"ge-yao-qing-hui-you-kui-hua-shi-pan-yi-ming-256228","哥窑青灰釉葵花式盘",[18,24,7,25,83],"葵花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394c4fe359fc0a14aa6de904c7cdd90.jpg",[31],2,{"id":88,"slug":89,"title":90,"dynasty":91,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":98,"material":29,"size":30,"collection":99,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":34},257607,"qing-hui-you-ke-hua-fu-lu-ba-gua-wen-xi-yi-ming-257607","青灰釉刻花蝠鹿八卦纹洗","明","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。",[24,7,94,95,96,97],"刻花","蝠","鹿","八卦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0ee071adcf7ac57efb7058a7fbb1bd.jpg","",[],1,{"id":103,"slug":104,"title":47,"dynasty":18,"author":19,"museum":20,"description":21,"tags":105,"thumbUrl":107,"material":29,"size":30,"collection":31,"collections":108,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":43},256246,"ge-yao-qing-hui-you-kui-ban-kou-xi-yi-ming-256246",[18,24,25,7,50,106],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdee0ba5917fed4df1d8c916cd9cdf49.jpg",[31],{"id":110,"slug":111,"title":59,"dynasty":18,"author":19,"museum":20,"description":21,"tags":112,"thumbUrl":113,"material":29,"size":30,"collection":31,"collections":114,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":43},256237,"ge-yao-qing-hui-you-kui-ban-kou-pan-yi-ming-256237",[18,24,25,7,50,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aad6e156a662ca38fa3e2a53d38f4ec.jpg",[31],{"id":116,"slug":117,"title":59,"dynasty":18,"author":19,"museum":20,"description":21,"tags":118,"thumbUrl":119,"material":29,"size":30,"collection":31,"collections":120,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":43},256233,"ge-yao-qing-hui-you-kui-ban-kou-pan-yi-ming-256233",[23,24,25,7,50,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e0f2d876ac869811d551dd6fac2484.jpg",[31],{"id":122,"slug":123,"title":59,"dynasty":18,"author":19,"museum":20,"description":21,"tags":124,"thumbUrl":125,"material":29,"size":30,"collection":31,"collections":126,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":65},256232,"ge-yao-qing-hui-you-kui-ban-kou-pan-yi-ming-256232",[18,24,25,7,50,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0059d8e3092a30139b33307b0ce41e.jpg",[31],{"id":128,"slug":129,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":130,"thumbUrl":131,"material":29,"size":30,"collection":31,"collections":132,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":43},256220,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256220",[18,24,25,7,26,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608db09dcb66354e3480f8b24a0e54bf.jpg",[31],{"id":134,"slug":135,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":136,"thumbUrl":137,"material":29,"size":30,"collection":31,"collections":138,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":43},256219,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256219",[18,24,7,25,26,39,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec66d1e04fdbe178c629d5d494d2bd64.jpg",[31],{"id":140,"slug":141,"title":142,"dynasty":143,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":149,"material":29,"size":30,"collection":31,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},260380,"qiong-yao-qing-hui-you-huang-lv-cai-deng-zhan-yi-ming-260380","邛窑青灰釉黄绿彩灯盏","唐","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[24,146,147,7,148],"日用具","灯盏","黄绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57c7ffa65f58542d3fe2fc38b6b45f1.jpg",[31],{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":155,"tags":156,"thumbUrl":164,"material":29,"size":30,"collection":31,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256942,"jun-yao-qing-hui-you-hong-ban-wan-yi-ming-256942","钧窑青灰釉红斑碗","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。",[18,23,24,157,7,158,159,27,160,161,162,163],"钧窑","红斑","窑变","器物","瓷器","釉色","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224018bbcf228741d2760449255ff49.jpg",[31],{"id":167,"slug":168,"title":169,"dynasty":18,"author":19,"museum":20,"description":170,"tags":171,"thumbUrl":172,"material":29,"size":30,"collection":31,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256229,"guan-yao-qing-hui-you-kui-kou-pan-yi-ming-256229","官窑青灰釉葵口盘","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[24,39,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72b5a4c4c03c82797d4acdb04e4cbe1.jpg",[31],1777535723111]