[{"data":1,"prerenderedAt":258},["ShallowReactive",2],{"subject-san-zu-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4448,"san-zu-qi","三足器","三足器画高清赏析","精选中国历代三足器题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527e3f0b93c0d510ed3ec55daf34f1d.jpg",0,19,[14,34,53,65,79,99,115,127,137,148,160,169,180,191,203,214,226,234,246],{"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},224078,"xi-zhou-mo-chun-qiu-chu-kui-wen-ge-yi-ming-224078","西周末春秋初 夔纹鬲","周","佚名","藏地不详","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。",[23,24,25,26,7],"青铜器","饪食器","礼器","夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860aed7eeaf1d32c80a4a30a70f482b0.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":21,"tags":39,"thumbUrl":50,"material":28,"size":29,"collection":30,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":33},242726,"wei-ding-yi-ming-242726","囗鼎","商",[23,40,24,25,41,42,43,44,45,46,47,48,7,49],"商代","雕刻","器","兽面纹","纹饰","铜制","古物","商代风格","青铜铸造","双耳器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5486f7b0018b8764a0f4bf89ba24dccf.jpg",[],3,{"id":54,"slug":55,"title":56,"dynasty":38,"author":19,"museum":20,"description":21,"tags":57,"thumbUrl":62,"material":28,"size":29,"collection":30,"collections":63,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":64},242623,"zuo-bing-bao-yan-yi-ming-242623","作丙宝甗",[23,24,25,45,41,43,58,48,59,7,60,61],"商周风格","纹饰精美","双耳","古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb5c7e49546addac806f50bc906f67b.jpg",[],"37474F",{"id":66,"slug":67,"title":68,"dynasty":69,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":76,"material":28,"size":29,"collection":30,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":33},245014,"fu-ding-jue-yi-ming-245014","父丁爵","民国","它敞口前伸为流，后收作尖尾，束颈深腹，腹侧设鋬，口沿立双柱，下承三棱锥足，形制恪守古礼器规制。腹部浅铸兽面纹，线条凝练古拙，纹理虽简却尽显庄重肃穆。器身铜色沉穆苍古，带着旧物特有的温润包浆，将上古青铜礼器的端雅威仪复刻传神。虽为仿古之作，却尽显青铜礼器的规整端方，仿若带着往昔祭祀典仪的厚重回响，静静诉说着古礼器的肃穆韵味。",[23,72,45,41,73,74,44,7,75,48],"饮酒器","仿古风格","民国时期","爵形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecb82ee0c75c15f14afbf5738a29ff3.jpg",[],2,{"id":80,"slug":81,"title":82,"dynasty":83,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":98,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":33},226944,"xian-wen-xi-yi-ming-226944","弦纹洗","汉","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。",[23,45,86,87,88,89,90,91,7,46,92,93,94,95,96,97],"弦纹","三足","日用器","汉代","装饰纹","盥洗用具","汉代器物","金属器","铜器","弦纹装饰","三足结构","实用器",[],{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":111,"material":28,"size":29,"collection":112,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":33},257579,"long-quan-yao-qing-you-ke-zhe-zhi-hua-hui-wen-san-zu-lu-yi-ming-257579","龙泉窑青釉刻折枝花卉纹三足炉","明","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。",[106,107,108,109,110,7],"明代","陶瓷","青釉","刻花","折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5502d6898ddff26b81153b5fd522c028.jpg","瓷器精选",[112],1,{"id":116,"slug":117,"title":118,"dynasty":119,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":124,"material":28,"size":29,"collection":30,"collections":125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},274790,"qian-long-kuan-jin-wen-tong-xing-yi-ming-274790","乾隆款锦纹铜铏","清","整体圆浑饱满，盖顶三钮作峰峦之形，暗合古礼器的典雅意趣。盖身锦地、回纹层叠排布，鎏金弦线勾出规整界边，古铜色泽凝润沉稳。两侧兽首耳狞厉威严，为器物添增庄重气势。\n\n腹身纹饰次第铺展，回纹带下六角锦纹细密如织，工致精巧。三兽足敦实稳重，足面浅雕回纹呼应整体装饰脉络。整器循古礼器形制复刻，纹饰繁而不乱，既承袭商周青铜的礼制意蕴，又融入清代造办处的精工细节，是仿古铜作中的佳制，尽显复古工巧的融合之美。",[23,45,24,25,41,122,123,7],"锦纹","兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67e6c15d3a04a0a33b20a98cd07e7a6.jpg",[],"BDBDBD",{"id":128,"slug":129,"title":130,"dynasty":103,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":135,"material":28,"size":29,"collection":30,"collections":136,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},259943,"jiang-se-di-bai-long-wen-lu-yi-ming-259943","酱色地白龙纹炉","此炉造型古雅敦实，敞口鼓腹承三足，透着质朴沉稳的气度。酱色釉面匀净温润，如凝脂琥珀，留白堆塑出的纹饰格外醒目。龙纹被化繁为简，身姿如卷草般舒展灵动，写意随性，带着明快的生机；腹心的法螺宝相花则端庄饱满，添了吉祥意趣。\n\n白釉莹洁素雅，与酱色地形成强烈视觉反差，粗粝中见巧思，尽显明代民窑的洒脱意趣。没有官窑制式的束缚，带着市井的鲜活烟火气，将世俗审美与宗教意蕴揉合，是民间制瓷匠人灵光巧思的质朴佳作。",[107,133,134,7],"龙","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f92a76488e06293b464e9b4ed3bd9c3.jpg",[],{"id":138,"slug":139,"title":140,"dynasty":119,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":146,"material":28,"size":29,"collection":30,"collections":147,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},258096,"yong-zheng-kuan-fang-guan-you-san-zu-xi-yi-ming-258096","雍正款仿官釉三足洗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[107,143,144,7,145],"仿官釉","清代","洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14edf4efd5802472a79e04d3b92cbb1b.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":119,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":158,"material":28,"size":29,"collection":30,"collections":159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},257882,"bai-you-an-hua-wen-shuang-er-san-zu-lu-yi-ming-257882","白釉暗花纹双耳三足炉","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。",[107,42,154,155,60,87,144,156,157,7,49],"白釉","暗花纹","暗刻","釉色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e63f601a2961f2ba794efb4d70966c.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":103,"author":19,"museum":20,"description":164,"tags":165,"thumbUrl":167,"material":28,"size":29,"collection":112,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},257515,"shi-wan-yao-fang-jun-you-san-zu-lu-yi-ming-257515","石湾窑仿钧釉三足炉","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[106,107,166,7,42],"仿钧釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9e1be3affc8478b07342eaa17bc671.jpg",[112],{"id":170,"slug":171,"title":172,"dynasty":173,"author":19,"museum":20,"description":152,"tags":174,"thumbUrl":178,"material":28,"size":29,"collection":30,"collections":179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},257089,"qing-bai-you-tu-xian-wen-san-zu-lu-yi-ming-257089","青白釉凸弦纹三足炉","元",[175,107,176,177,7],"元代","青白釉","凸弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a74b7568d2f5f113507e363866795c5.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":184,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":189,"material":28,"size":29,"collection":112,"collections":190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},256808,"jia-xian-yao-hei-you-lan-ban-san-zu-pan-yi-ming-256808","郏县窑黑釉蓝斑三足盘","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。",[184,107,187,188,7,88,42],"黑釉蓝斑","窑变","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c45860ca7302bcde4d00f4ba80f845.jpg",[112],{"id":192,"slug":193,"title":194,"dynasty":119,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":201,"material":28,"size":29,"collection":30,"collections":202,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},256664,"fang-gu-tong-jin-you-san-zu-lu-yi-ming-256664","仿古铜金釉三足炉","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[197,198,41,133,107,144,7,25,199,200],"仿古","铜金釉","金釉","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a2e38a161478bb2e81ec5306f2c643.jpg",[],{"id":204,"slug":205,"title":206,"dynasty":119,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":212,"material":28,"size":29,"collection":30,"collections":213,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},250046,"qia-si-fa-lang-kui-wen-ding-shi-san-zu-gai-lu-yi-ming-250046","掐丝珐琅夔纹鼎式三足盖炉","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 。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”。",[144,209,210,211,26,7,42],"掐丝珐琅","珐琅器","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7e9ebe7a049a963ec3f18e5423d580.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":173,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":224,"material":28,"size":29,"collection":30,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},231925,"qing-se-hua-pen-yi-ming-231925","青色花盆","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[175,107,220,221,7,222,108,223],"青瓷釉","鼓钉纹","花盆","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9771fef036d599fa371d28e080f282b.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":173,"author":19,"museum":20,"description":218,"tags":230,"thumbUrl":232,"material":28,"size":29,"collection":30,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},231921,"zi-se-hua-pen-yi-ming-231921","紫色花盆",[107,222,231,7,221],"紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284252105a24720681badf28912f0a6b.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":173,"author":19,"museum":20,"description":238,"tags":239,"thumbUrl":244,"material":28,"size":29,"collection":30,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":126},231869,"san-jiao-wan-yi-ming-231869","三脚碗","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。",[107,42,175,240,221,87,241,242,243,7],"窑变釉","钧窑风格","釉色变幻","鼓钉装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d64f647ed0d1acb7aa58fc06ee2741.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":250,"author":19,"museum":20,"description":251,"tags":252,"thumbUrl":256,"material":28,"size":29,"collection":30,"collections":257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},227787,"qing-ci-san-zu-lu-1-yi-ming-227787","青瓷三足炉-1","宋","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[107,253,254,255,7,42],"青瓷","宋代","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4327f1bcc8093baa84add646ac04daee.jpg",[],1777535721590]