[{"data":1,"prerenderedAt":696},["ShallowReactive",2],{"subject-san-zu-lu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9258,"san-zu-lu","三足炉","三足炉画高清赏析","精选中国历代三足炉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3412b2cb9c8e0c5fec678d1371b18f92.jpg",0,81,[14,34,48,61,72,82,91,98,108,118,129,141,149,158,170,179,187,194,202,209,215,222,228,235,243,249,258,265,272,278,285,292,299,307,316,324,333,344,354,364,374,383,392,401,407,415,424,432,442,451,460,469,477,486,495,502,510,517,524,532,539,548,555,561,571,578,587,593,600,609,617,624,630,637,644,651,659,665,674,681,687],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},260424,"lin-ru-yao-qing-you-san-zu-lu-yi-ming-260424","临汝窑青釉三足炉","宋","佚名","藏地不详","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[23,24,7,25,26],"陶瓷","青釉","器","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79534a26dc41e441a242a4b3e611202.jpg","未知","Xcm*Xcm","瓷器精选",[30],4,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":44,"material":28,"size":29,"collection":45,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":33},270446,"xuan-de-kuan-tong-feng-yan-er-san-zu-lu-yi-ming-270446","宣德款铜凤眼耳三足炉","清","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。",[41,42,25,7,43],"铜制","青铜器","凤眼耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a1ebcff20ed1e3a33a7c8dd2667245.jpg","",[],3,{"id":49,"slug":50,"title":51,"dynasty":52,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":57,"material":28,"size":29,"collection":30,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":33},260598,"long-quan-yao-qing-you-tu-hua-san-zu-lu-yi-ming-260598","龙泉窑青釉凸花三足炉","元","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。",[23,24,7,55,56],"凸花","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3500c91d0f9de3f0cfbb1afeb746d939.jpg",[30],2,1,{"id":62,"slug":63,"title":64,"dynasty":65,"author":19,"museum":20,"description":53,"tags":66,"thumbUrl":69,"material":28,"size":29,"collection":30,"collections":70,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":71},260698,"long-quan-yao-qing-you-ke-ba-gua-wen-san-zu-lu-yi-ming-260698","龙泉窑青釉刻八卦纹三足炉","明",[23,24,67,7,68],"八卦纹","刻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2475f4be9354100b388408715e7ee2c.jpg",[30],"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":65,"author":19,"museum":20,"description":53,"tags":76,"thumbUrl":80,"material":28,"size":29,"collection":30,"collections":81,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":33},260697,"long-quan-yao-qing-you-ke-hua-san-zu-lu-yi-ming-260697","龙泉窑青釉刻花三足炉",[23,24,77,7,78,79,25],"刻花","雕刻","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee09f157d17b11652968ff6b5254f9c8.jpg",[30],{"id":83,"slug":84,"title":85,"dynasty":65,"author":19,"museum":20,"description":53,"tags":86,"thumbUrl":89,"material":28,"size":29,"collection":30,"collections":90,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":71},260667,"long-quan-yao-qing-you-san-zu-lu-yi-ming-260667","龙泉窑青釉三足炉",[23,25,24,7,87,88],"龙泉窑","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28487f2958d8fd87414c45b5929509ae.jpg",[30],{"id":92,"slug":93,"title":75,"dynasty":65,"author":19,"museum":20,"description":53,"tags":94,"thumbUrl":96,"material":28,"size":29,"collection":30,"collections":97,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":71},260662,"long-quan-yao-qing-you-ke-hua-san-zu-lu-yi-ming-260662",[23,77,24,7,95,26],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14cfb04a2d93ba36cbc74a1a4a01ca1d.jpg",[30],{"id":99,"slug":100,"title":101,"dynasty":65,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":106,"material":28,"size":29,"collection":45,"collections":107,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":71},260458,"qing-hua-fei-ma-wen-san-zu-lu-yi-ming-260458","青花飞马纹三足炉","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。",[23,104,105,7],"青花","飞马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a74e6b783b56c9a7cd367810aa7a9d7.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":65,"author":19,"museum":20,"description":102,"tags":112,"thumbUrl":116,"material":28,"size":29,"collection":45,"collections":117,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":71},260456,"qing-hua-zhe-zhi-shi-liu-hua-niao-tu-san-zu-lu-yi-ming-260456","青花折枝石榴花鸟图三足炉",[23,104,113,114,7,115],"花鸟","石榴","折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1743f84bec035f68c794b5dd82e35de9.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":122,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":127,"material":28,"size":29,"collection":45,"collections":128,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":33},260193,"san-cai-mo-yin-tie-hua-san-zu-lu-yi-ming-260193","三彩模印贴花三足炉","唐","圆腹丰腴饱满，兽足沉稳敦实，翻口内敛自带古朴拙稚的气度。黄绿褐三色釉彩肆意流淌交融，似流云漫过山峦，如野火燎过春原，将素胎晕染出热烈奔放的盛唐底色。\n\n模印贴花隐在釉色之间，浅浮雕的纹样带着内敛的装饰意趣，为器物添了几分灵动鲜活。米白胎质与浓艳釉色形成柔和反差，粗粝胎骨与柔润釉面碰撞，将大唐兼容并包的审美藏在釉色的每一处晕染里，是千年前盛世烟火与匠心的缩影，携带着旧时光的温度，诉说着盛唐的浪漫厚重。",[23,125,126,7,79,25],"三彩","模印贴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7d8ba3f26e4d2d0850e1aa52357f0c.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":139,"material":28,"size":29,"collection":30,"collections":140,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":33},260180,"jun-yao-tian-lan-you-hong-ban-san-zu-lu-yi-ming-260180","钧窑天蓝釉红斑三足炉","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。",[23,135,136,137,7,138,25],"钧窑","天蓝釉","红斑","香具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac203778f70758ef408477e1ccf315bb.jpg",[30],{"id":142,"slug":143,"title":144,"dynasty":18,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":147,"material":28,"size":29,"collection":30,"collections":148,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":71},259671,"yao-zhou-yao-qing-you-san-zu-lu-yi-ming-259671","耀州窑青釉三足炉","耀州窑是中国传统制瓷工艺中的珍品，宋代六大窑系。位于今陕西省铜川市的黄堡镇，唐宋时属耀州治，在唐代就是中国陶瓷烧制的著名产地，宋代更进一步达到鼎盛，成为我国“宋代六大窑系”中的一个窑系。\n耀州窑是北方青瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[23,24,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00f5f2f2ec3c2859eb220b55eaef234.jpg",[30],{"id":150,"slug":151,"title":152,"dynasty":18,"author":19,"museum":20,"description":145,"tags":153,"thumbUrl":155,"material":28,"size":29,"collection":30,"collections":156,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":157},259666,"yao-zhou-yao-qing-you-pan-kou-san-zu-lu-yi-ming-259666","耀州窑青釉盘口三足炉",[23,25,24,7,154],"盘口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b64c04678cbc8e5ad19b136425d4b7b.jpg",[30],"37474F",{"id":159,"slug":1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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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\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "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。",[23,164,398,7,26],"绳耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203086626a0938dc0cd47477fd4b5c71.jpg",[30],{"id":402,"slug":403,"title":144,"dynasty":18,"author":19,"museum":20,"description":145,"tags":404,"thumbUrl":405,"material":28,"size":29,"collection":30,"collections":406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262137,"yao-zhou-yao-qing-you-san-zu-lu-yi-ming-262137",[23,24,7,88,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d7a207ea1bc6b9d58c93a51f7ea486.jpg",[30],{"id":408,"slug":409,"title":410,"dynasty":38,"author":19,"museum":20,"description":396,"tags":411,"thumbUrl":413,"material":28,"size":29,"collection":30,"collections":414,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262105,"de-hua-yao-bai-you-xiang-er-san-zu-lu-yi-ming-262105","德化窑白釉象耳三足炉",[23,25,412,7,164,78,26],"象耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d414d715bd1f591f79b71dc15614bce.jpg",[30],{"id":416,"slug":417,"title":418,"dynasty":65,"author":19,"museum":20,"description":396,"tags":419,"thumbUrl":422,"material":28,"size":29,"collection":30,"collections":423,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},262022,"de-hua-yao-bai-you-yin-hua-kui-wen-san-zu-lu-yi-ming-262022","德化窑白釉印花夔纹三足炉",[23,164,420,421,7,25],"印花","夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18f8ade020083f16e823fadb5184059.jpg",[30],{"id":425,"slug":426,"title":427,"dynasty":65,"author":19,"museum":20,"description":428,"tags":429,"thumbUrl":430,"material":28,"size":29,"collection":30,"collections":431,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},261990,"chao-zhou-yao-xuan-de-kuan-bai-you-sheng-er-san-zu-lu-yi-ming-261990","潮州窑宣德款白釉绳耳三足炉","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。",[23,164,398,7,79,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf6f13059c0bc8fae49892ebe990459.jpg",[30],{"id":433,"slug":434,"title":435,"dynasty":38,"author":19,"museum":20,"description":102,"tags":436,"thumbUrl":440,"material":28,"size":29,"collection":45,"collections":441,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},261912,"qing-hua-kai-guang-a-la-bo-wen-san-zu-lu-yi-ming-261912","青花开光阿拉伯文三足炉",[23,104,437,438,7,439,167],"开光","阿拉伯文书法","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb472b4cc67f355ee51afcdacdc4452.jpg",[],{"id":443,"slug":444,"title":445,"dynasty":52,"author":19,"museum":20,"description":162,"tags":446,"thumbUrl":449,"material":28,"size":29,"collection":45,"collections":450,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},261720,"qing-bai-you-ke-yun-wen-san-zu-lu-yi-ming-261720","青白釉刻云纹三足炉",[23,25,78,447,448,7],"云纹","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e8cb49726c17a3a6ce122575e621ac.jpg",[],{"id":452,"slug":453,"title":454,"dynasty":455,"author":19,"museum":20,"description":456,"tags":457,"thumbUrl":458,"material":28,"size":29,"collection":45,"collections":459,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},261565,"qing-you-san-zu-lu-yi-ming-261565","青釉三足炉","晋","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。”",[23,24,7,79,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4aabbf51c7c4496d6289b38d2c7879b.jpg",[],{"id":461,"slug":462,"title":463,"dynasty":38,"author":19,"museum":20,"description":396,"tags":464,"thumbUrl":467,"material":28,"size":29,"collection":30,"collections":468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},261515,"de-hua-yao-bai-you-dai-er-san-zu-lu-yi-ming-261515","德化窑白釉带耳三足炉",[23,164,7,465,466,25],"带耳炉","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa003b7e20b48e4a7d10cbda04ffa284.jpg",[30],{"id":470,"slug":471,"title":472,"dynasty":38,"author":19,"museum":20,"description":396,"tags":473,"thumbUrl":475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