[{"data":1,"prerenderedAt":2919},["ShallowReactive",2],{"subject-san-zu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4248,"san-zu","三足","三足画高清赏析","精选中国历代三足题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5b57c2918115c3347ca24f5c3b2a42.jpg",0,348,[14,39,55,72,87,102,113,122,130,149,161,171,181,189,199,207,216,225,236,249,262,271,287,294,303,311,322,329,338,347,355,369,379,389,402,411,419,425,434,444,451,459,465,472,479,487,495,503,511,518,525,532,540,550,558,567,575,584,592,603,614,620,628,638,645,655,667,675,684,692,700,709,716,725,732,739,746,753,763,772,786,796,805,816,826,836,846,855,865,872,879,888,896,904,912,925,933,944,951,959,968,977,985,994,1010,1017,1024,1034,1041,1049,1058,1065,1073,1081,1088,1097,1107,1116,1123,1129,1135,1144,1152,1159,1166,1173,1181,1189,1196,1204,1214,1224,1233,1241,1249,1258,1264,1271,1281,1290,1298,1307,1314,1323,1330,1336,1342,1350,1358,1366,1374,1386,1394,1401,1410,1418,1425,1434,1441,1449,1458,1466,1473,1480,1490,1496,1505,1513,1521,1528,1536,1543,1551,1558,1566,1574,1581,1591,1600,1608,1616,1623,1630,1637,1644,1652,1661,1669,1679,1685,1693,1702,1709,1719,1727,1735,1744,1753,1762,1770,1777,1786,1793,1802,1809,1817,1824,1831,1838,1848,1857,1864,1871,1878,1885,1893,1900,1907,1915,1923,1931,1939,1947,1954,1961,1968,1974,1981,1988,1996,2003,2010,2017,2026,2034,2041,2049,2056,2062,2069,2075,2083,2089,2096,2104,2110,2118,2126,2133,2140,2147,2154,2161,2168,2176,2183,2191,2197,2204,2211,2219,2229,2236,2243,2252,2259,2267,2275,2281,2288,2298,2307,2314,2321,2330,2337,2343,2351,2360,2368,2376,2383,2389,2397,2405,2414,2423,2431,2438,2446,2454,2461,2470,2478,2486,2493,2502,2510,2517,2525,2532,2539,2546,2552,2560,2568,2576,2582,2591,2597,2612,2621,2628,2636,2645,2654,2663,2674,2683,2691,2699,2706,2712,2719,2725,2732,2739,2747,2756,2764,2771,2781,2789,2797,2807,2816,2822,2829,2837,2845,2853,2860,2868,2875,2885,2892,2901,2909],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},226732,"yuan-wo-si-ban-hua-wen-ding-yi-ming-226732","圆涡四瓣花纹鼎","商","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。",[23,24,25,26,27,28,29,7,30,31],"青铜器","铜制","雕刻","圆涡纹","四瓣花纹","饪食器","商代","立耳","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3fca6d5ff2eda6ba58a3a96fcc11710.jpg","未知","Xcm*Xcm","",[],22,"37474F",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":51,"material":35,"size":35,"collection":52,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":38},243135,"shou-mian-wen-yan-yi-ming-243135","兽面纹甗","明","此器古意盎然，深褐铜身布着翠色锈斑，尽是岁月浸洗的厚重质感。腹身以回纹勾边，内饰缠枝卷草，柔婉纹饰中和了青铜的冷硬。三足塑作兽首，双目嵌金，威严肃穆，将上古狞厉之美凝于足下。\n\n后配红木镂雕缠枝炉盖，顶置白玉瑞兽，莹润玉色与沉郁铜色相映，将文气雅致揉入青铜古拙。古器新饰尽显巧思，让商周礼器的庄重晕染出明清赏玩的雅趣，古韵新生，自成格调。",[23,24,28,46,47,48,7,25,49,50],"礼器","兽面纹","兽形足","玉石镶嵌","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955c92b0bae9bc2c08269b40095234a2.jpg","青铜器精选",[52],12,{"id":56,"slug":57,"title":58,"dynasty":43,"author":19,"museum":20,"description":59,"tags":60,"thumbUrl":67,"material":33,"size":34,"collection":35,"collections":68,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},257210,"qing-hua-shi-zi-xiu-qiu-wen-san-zu-lu-yi-ming-257210","青花狮子绣球纹三足炉","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。",[61,62,63,64,65,7,66],"陶瓷","青花","兽","狮子","绣球","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a25d14b0eda0ccf3c3abdbcf1dfb5f1.jpg",[],11,1,"795548",{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":84,"material":33,"size":34,"collection":85,"collections":86,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":71},256290,"ru-yao-tian-qing-you-xian-wen-zun-yi-ming-256290","汝窑天青釉弦纹樽","宋","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。”",[79,61,80,81,82,83,7],"宋代","汝窑","天青釉","弦纹","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aab0d54fb62564712701ea71c71f128.jpg","瓷器精选",[85],{"id":88,"slug":89,"title":90,"dynasty":91,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":98,"material":33,"size":34,"collection":35,"collections":99,"showCount":100,"zanCount":101,"manualWeight":11,"mainColor":38},242893,"deng-yi-ming-242893","灯","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。",[94,23,24,95,7,96,97,25],"汉代","灯具","环形提梁","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b86e04c8c5e3711674ccf331f554f8.jpg",[],10,2,{"id":103,"slug":104,"title":105,"dynasty":91,"author":19,"museum":20,"description":92,"tags":106,"thumbUrl":110,"material":33,"size":34,"collection":35,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":71},243342,"long-shou-jiao-dou-yi-ming-243342","龙首鐎斗",[107,23,24,25,108,28,7,109],"汉代风格","龙","兽足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6379fc67feb2c7b05495481ab15f7e.jpg",[],9,{"id":114,"slug":115,"title":116,"dynasty":76,"author":19,"museum":20,"description":77,"tags":117,"thumbUrl":119,"material":33,"size":34,"collection":85,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":71},256292,"ru-yao-tian-qing-you-san-zu-zun-cheng-pan-yi-ming-256292","汝窑天青釉三足樽承盘",[79,61,81,83,7,118],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d47b1d6eae227da61c4328254e3101c.jpg",[85],8,{"id":123,"slug":124,"title":125,"dynasty":18,"author":19,"museum":20,"description":21,"tags":126,"thumbUrl":128,"material":33,"size":34,"collection":35,"collections":129,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":71},226756,"fu-wu-ding-yi-ming-226756","父戊鼎",[29,23,24,25,28,46,47,7,127],"双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf9491ce964ba6026a5a41cb13d1acb.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":134,"author":19,"museum":20,"description":135,"tags":136,"thumbUrl":145,"material":33,"size":34,"collection":35,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":148},248995,"hua-fa-lang-kai-guang-mu-dan-tu-huo-huan-lu-yi-ming-248995","画珐琅开光牡丹图活环炉","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。",[137,138,24,139,140,141,142,143,7,144,66],"画珐琅","珐琅器","设色","开光","牡丹","花卉","活环","兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e3a291e70da526e530b4e339eba11b.jpg",[],7,"BDBDBD",{"id":150,"slug":151,"title":152,"dynasty":76,"author":19,"museum":20,"description":153,"tags":154,"thumbUrl":158,"material":33,"size":34,"collection":85,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":71},256256,"ge-yao-mi-huang-you-shuang-er-ding-shi-san-zu-lu-yi-ming-256256","哥窑米黄釉双耳鼎式三足炉","“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？",[76,61,83,155,156,7,127,46,157],"米黄釉","鼎式","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef230668f92b56209e6b3644e8ee421a.jpg",[85],6,{"id":162,"slug":163,"title":164,"dynasty":134,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":168,"material":33,"size":34,"collection":85,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":38},257839,"lang-yao-hong-you-san-zu-lu-yi-ming-257839","郎窑红釉三足炉","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。",[61,167,7,157,66],"红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b977fa74af320c423eaf2fbeb057a4.jpg",[85],5,{"id":172,"slug":173,"title":174,"dynasty":76,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":179,"material":33,"size":34,"collection":85,"collections":180,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":71},256269,"long-quan-yao-qing-you-chu-ji-san-zu-lu-yi-ming-256269","龙泉窑青釉出戟三足炉","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。",[76,61,177,7,178,66],"青釉","出戟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f76ef9f638344982e09710f501a2ea.jpg",[85],{"id":182,"slug":183,"title":184,"dynasty":76,"author":19,"museum":20,"description":153,"tags":185,"thumbUrl":187,"material":33,"size":34,"collection":85,"collections":188,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":71},256194,"ge-yao-qing-you-shuang-er-san-zu-lu-yi-ming-256194","哥窑青釉双耳三足炉",[79,61,177,83,186,127,7],"冰裂纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77e34b9675973a5de731bea7b2d74f2.jpg",[85],{"id":190,"slug":191,"title":192,"dynasty":91,"author":19,"museum":20,"description":92,"tags":193,"thumbUrl":196,"material":33,"size":34,"collection":35,"collections":197,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":198},244433,"ti-liang-deng-yi-ming-244433","提梁灯",[23,24,107,194,25,108,7,195,95],"铸造","提梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffcc2f6a60f2881b8c512ef10e889f2.jpg",[],"F48FB1",{"id":200,"slug":201,"title":202,"dynasty":18,"author":19,"museum":20,"description":21,"tags":203,"thumbUrl":205,"material":33,"size":34,"collection":35,"collections":206,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":38},242723,"pu-wu-fu-gui-yan-yi-ming-242723","葡戊父癸甗",[29,23,24,25,28,46,204,7,127],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c2d9da287a5529e2bab4fec8990b67.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":91,"author":19,"museum":20,"description":92,"tags":211,"thumbUrl":214,"material":33,"size":34,"collection":35,"collections":215,"showCount":170,"zanCount":70,"manualWeight":11,"mainColor":71},226939,"sheng-de-deng-yi-ming-226939","圣得镫",[94,23,24,7,212,213],"带柄","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d3fbe4a07637fedda455a266f4fe4c.jpg",[],{"id":217,"slug":218,"title":219,"dynasty":220,"author":19,"museum":20,"description":21,"tags":221,"thumbUrl":223,"material":33,"size":34,"collection":35,"collections":224,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":38},224074,"bo-ding-he-yi-ming-224074","伯定盉","周",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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[61,243,244,245,246,7,66],"唐代","三彩","刻花","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3037748a7f30271e131b9e46d5e76d3.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":134,"author":19,"museum":20,"description":253,"tags":254,"thumbUrl":260,"material":33,"size":34,"collection":35,"collections":261,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":38},249655,"qian-long-kuan-qia-si-fa-lang-shou-mian-jiao-ye-wen-chao-tian-er-san-zu-ding-shi-lu-yi-ming-249655","乾隆款掐丝珐琅兽面蕉叶纹朝天耳三足鼎式炉","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 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[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。",[134,24,138,256,139,66,7,127,546,31,547,142],"盖钮","寿字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e6ef1df91812b62c371d15280c4697.jpg",[],{"id":551,"slug":552,"title":553,"dynasty":91,"author":19,"museum":20,"description":92,"tags":554,"thumbUrl":556,"material":33,"size":34,"collection":35,"collections":557,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":71},227028,"shi-guan-xian-wen-ding-yi-ming-227028","食官弦纹鼎",[23,28,82,7,127,555,94,24,282],"带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704ba6d32e92c3fe8219f9dc9cd21ac0.jpg",[],{"id":559,"slug":560,"title":561,"dynasty":91,"author":19,"museum":20,"description":92,"tags":562,"thumbUrl":565,"material":33,"size":34,"collection":35,"collections":566,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":71},227006,"wa-wen-deng-yi-ming-227006","瓦纹镫",[94,23,24,194,563,564,7],"瓦纹","兽形装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbdcd2f399481c1e06083db38b45ff6.jpg",[],{"id":568,"slug":569,"title":570,"dynasty":220,"author":19,"museum":20,"description":21,"tags":571,"thumbUrl":573,"material":33,"size":34,"collection":35,"collections":574,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":71},226855,"ding-xing-yun-lei-wen-he-yi-ming-226855","丁形云雷纹盉",[23,66,194,25,572,343,109,7],"云雷纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf3d13b62b0a31eebb372b5a48009f.jpg",[],{"id":576,"slug":577,"title":578,"dynasty":134,"author":19,"museum":20,"description":579,"tags":580,"thumbUrl":582,"material":33,"size":34,"collection":85,"collections":583,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":71},259654,"shi-wan-yao-fang-jun-you-ling-hua-shi-san-zu-hua-pen-tuo-yi-ming-259654","石湾窑仿钧釉菱花式三足花盆托","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。"",[61,581,408,7,397],"仿钧釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dfbdece28e01cd25c7253e6329dabc1.jpg",[85],{"id":585,"slug":586,"title":587,"dynasty":134,"author":19,"museum":20,"description":383,"tags":588,"thumbUrl":590,"material":33,"size":34,"collection":85,"collections":591,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":38},258403,"fang-jun-yao-bian-you-kui-hua-shi-san-zu-hua-pen-tuo-yi-ming-258403","仿钧窑变釉葵花式三足花盆托",[134,61,589,396,7,66],"仿钧窑变釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049f76222bbbc9f95e5d02e9e8fd15fd.jpg",[85],{"id":593,"slug":594,"title":595,"dynasty":134,"author":19,"museum":20,"description":596,"tags":597,"thumbUrl":601,"material":33,"size":34,"collection":85,"collections":602,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":38},257528,"de-hua-yao-bai-you-tu-shou-zi-chu-ji-san-zu-ding-yi-ming-257528","德化窑白釉凸寿字出戟三足鼎","德化窑位于今福建德化，故名。作为著名的瓷窑，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德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\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， 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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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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， 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