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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。",[72,73,74,7,29],"陶瓷","窑变釉","仿钧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9df684f7f15e72da47ad6beff46610d.jpg","瓷器精选",[76],25,1,"37474F",{"id":82,"slug":83,"title":84,"dynasty":18,"author":19,"museum":20,"description":85,"tags":86,"thumbUrl":92,"material":50,"size":51,"collection":31,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":95},258635,"fen-cai-an-ba-xian-wen-shuang-er-zhuan-xin-ping-yi-ming-258635","粉彩暗八仙纹双耳转心瓶","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。",[23,72,87,88,89,7,90,91],"粉彩","设色","暗八仙纹","转心","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85403bfbbd3cc51be4728aa221fa2eab.jpg",[],10,"795548",{"id":97,"slug":98,"title":99,"dynasty":100,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":108,"material":50,"size":51,"collection":76,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":80},256526,"yi-xing-yao-fang-ge-you-ke-tao-tie-wen-shuang-er-si-zu-ding-yi-ming-256526","宜兴窑仿哥釉刻饕餮纹双耳四足鼎","明","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。",[72,103,104,105,45,106,7,107],"仿哥釉","刻花","饕餮纹","明代","四足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece20f6008517757fb23603ee9a642d2.jpg",[76],8,{"id":112,"slug":113,"title":114,"dynasty":40,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":120,"material":50,"size":51,"collection":31,"collections":121,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":95},226756,"fu-wu-ding-yi-ming-226756","父戊鼎","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。",[44,43,117,25,46,45,118,119,7],"铜制","兽面纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf9491ce964ba6026a5a41cb13d1acb.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":18,"author":19,"museum":20,"description":85,"tags":126,"thumbUrl":131,"material":50,"size":51,"collection":31,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":35},258742,"jia-qing-kuan-fen-cai-ying-xi-tu-shuang-er-pie-kou-ping-yi-ming-258742","嘉庆款粉彩婴戏图双耳撇口瓶",[72,87,88,127,128,129,130,7],"人物","婴戏","树木","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61218404f311366492a9e8bb6a1cf70e.jpg",[],6,{"id":135,"slug":136,"title":137,"dynasty":138,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":145,"material":50,"size":51,"collection":76,"collections":146,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":95},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","宋","“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？",[138,72,141,142,143,119,7,45,144],"开片","米黄釉","鼎式","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef230668f92b56209e6b3644e8ee421a.jpg",[76],{"id":148,"slug":149,"title":150,"dynasty":138,"author":19,"museum":20,"description":139,"tags":151,"thumbUrl":155,"material":50,"size":51,"collection":76,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":95},256194,"ge-yao-qing-you-shuang-er-san-zu-lu-yi-ming-256194","哥窑青釉双耳三足炉",[152,72,153,141,154,7,119],"宋代","青釉","冰裂纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77e34b9675973a5de731bea7b2d74f2.jpg",[76],5,{"id":159,"slug":160,"title":161,"dynasty":18,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":169,"material":50,"size":51,"collection":31,"collections":170,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":95},249266,"qian-long-kuan-qia-si-fa-lang-gou-lian-wen-kai-guang-shuang-shi-tu-shuang-er-huo-huan-ping-yi-ming-249266","乾隆款掐丝珐琅勾莲纹开光双狮图双耳活环瓶","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”。",[23,164,165,166,167,7,61,168,60],"掐丝珐琅","珐琅器","双狮","勾莲纹","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64d34a0e89c8feba8b73bdccf8e4651.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":40,"author":19,"museum":20,"description":115,"tags":175,"thumbUrl":177,"material":50,"size":51,"collection":31,"collections":178,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":80},242723,"pu-wu-fu-gui-yan-yi-ming-242723","葡戊父癸甗",[44,43,117,25,46,45,176,119,7],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c2d9da287a5529e2bab4fec8990b67.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":18,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":188,"material":50,"size":51,"collection":76,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":35},256801,"yao-bian-shuang-er-ju-ban-zun-yi-ming-256801","窑变双耳菊瓣尊","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。",[72,23,73,7,185,186,187,91],"菊瓣造型","红釉","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a09e0823f416a0ca38b3327eba44277.jpg",[76],4,{"id":192,"slug":193,"title":194,"dynasty":195,"author":19,"museum":20,"description":196,"tags":197,"thumbUrl":199,"material":50,"size":51,"collection":31,"collections":200,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":80},243485,"ti-liang-guan-yi-ming-243485","提梁罐","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。",[195,43,117,198,62,7],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93488518166cc3d97c0c6a172d37e0d.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":205,"author":19,"museum":20,"description":206,"tags":207,"thumbUrl":213,"material":50,"size":51,"collection":31,"collections":214,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},231465,"ci-xiang-lu-yi-ming-231465","瓷香炉","元","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。",[72,208,7,119,209,210,91,211,212],"元代","青白釉","褐彩","彩饰","瓷质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad487e25f135536cf1a7318edf25b7f2.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":100,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":222,"material":50,"size":51,"collection":31,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":95},270250,"xuan-de-kuan-tong-ge-shi-lu-yi-ming-270250","宣德款铜鬲式炉","冲天双耳利落挺拔，敛口丰腹，三足敦实沉稳。腹身以简化涡旋纹构成兽面，圆睛宛然，将上古青铜礼器的狞厉兽面化作憨拙瑞容，古意中藏着灵动趣味。铜质厚重沉穆，青绿锈色晕染包浆，晕开岁月浸漫的斑驳痕迹，暗合对古意的追摹与化用。\n\n整体形制简约却风骨盎然，褪去繁复雕琢，以凝练线条勾勒出典雅气韵，将商周礼器的肃穆底蕴融入文房清供之中，案头置此，一缕青烟起时，古韵便漫溢周身。",[43,117,46,221,7,119],"鬲式炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400b1b2c8680eee1af3c6dcbd0037ca.jpg",[],3,{"id":226,"slug":227,"title":228,"dynasty":18,"author":19,"museum":20,"description":229,"tags":230,"thumbUrl":232,"material":50,"size":51,"collection":31,"collections":233,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":95},251951,"fu-rong-shi-shuang-er-san-zu-lu-yi-ming-251951","芙蓉石双耳三足炉","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。",[23,24,25,7,119,29,231],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f87b1009372ba15c43c2dac6c9df878.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":18,"author":19,"museum":20,"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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 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　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[152,24,685,7,686,633],"圆雕","杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307cdbe717380e62c6fd2046f064b5ce.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":18,"author":19,"museum":20,"description":693,"tags":694,"thumbUrl":696,"material":50,"size":51,"collection":31,"collections":697,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},281519,"xiang-tong-lv-bo-li-shuang-er-san-zu-guan-yi-ming-281519","镶铜绿玻璃双耳三足罐","幽碧玻璃如凝冻的深潭冰纹，幻彩光泽随光影晕开朦胧涟漪。鎏金铜饰以花草兽首塑就双耳与三足，兽首衔缠花茎沿着器身攀附舒展，柔婉线条中和了玻璃的冷冽。金属暖光衬得琉璃愈发明润莹透，将自然生机凝于方寸器物，揉合东方雅致与西洋装饰意趣。冷硬琉璃与柔媚铜饰相映成趣，静立便自带复古华贵的气质，把工艺美学藏在每一处细节之中。",[29,695,117,7,119,25],"玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6141612926d7b688a4b54da37398094.jpg",[],{"id":699,"slug":700,"title":692,"dynasty":18,"author":19,"museum":20,"description":701,"tags":702,"thumbUrl":704,"material":50,"size":51,"collection":31,"collections":705,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},281518,"xiang-tong-lv-bo-li-shuang-er-san-zu-guan-yi-ming-281518","幽绿玻璃如深潭凝萃，冰裂纹路蔓延周身，虹彩光晕在纹路间流转浮动，似将天光揉碎沉于器中。\n\n铜质饰件取蓟草仿生造型，柔蔓弯作双耳，花苞栩栩缀于枝梢，带着郊野鲜活意趣。鎏金铜色晕开岁月柔光，和玻璃的清透冷冽相互碰撞，柔刚相济。三足雕花敦实沉稳，托举着剔透瓶身，将西洋装饰的华丽精巧，融于东方的雅致内敛，把荒野生机凝在方寸器形，静穆中藏着灵动意态，尽显工艺交融的绝妙匠心。",[29,518,117,7,119,25,703],"绿玻璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e4ae0cf1363afc9b3587e998ae72ad.jpg",[],{"id":707,"slug":708,"title":709,"dynasty":18,"author":19,"museum":20,"description":710,"tags":711,"thumbUrl":715,"material":50,"size":51,"collection":31,"collections":716,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},281506,"e-guo-yin-ke-hua-shuang-er-liu-zu-tuo-yuan-pan-yi-ming-281506","俄国银刻花双耳六足椭圆盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[477,712,25,104,7,713,714],"日用具","六足","椭圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5937017288216c93e9a78613223568.jpg",[],{"id":718,"slug":719,"title":720,"dynasty":18,"author":19,"museum":20,"description":721,"tags":722,"thumbUrl":724,"material":50,"size":51,"collection":31,"collections":725,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},281460,"yin-tu-hua-shuang-er-gai-guan-yi-ming-281460","银凸花双耳盖罐","此器古韵沉静，盖顶莲苞钮纤秀雅致，盖面浅刻瓣纹柔婉舒展。双耳弧曲饱满，线条圆融贴合掌心，兼顾装饰与实用。腹部凸花为饰，宝相花在缠枝卷叶簇拥下立体生动，浮雕肌理裹着经年摩挲晕染出的温润包浆，暗哑的银辉晕开旧时光痕。下接垂瓣纹饰如凝露垂坠，沉稳圈足托举器身，将錾刻细作的精妙工艺尽数展现，内敛华贵间尽显旧时银作匠心，陈设实用两相宜。",[477,723,7,557,25,198],"盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe129996267fb06308a4fd2aaf62f4b18.jpg",[],{"id":727,"slug":728,"title":729,"dynasty":18,"author":19,"museum":20,"description":229,"tags":730,"thumbUrl":732,"material":50,"size":51,"collection":31,"collections":733,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275112,"fang-gu-tong-cai-chu-ji-shuang-er-si-zu-gai-lu-yi-ming-275112","仿古铜彩出戟双耳四足盖炉",[72,731,29,46,478,7,107,488,25],"仿古铜彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17856dffe7e86ebd9f594c8eff068824.jpg",[],{"id":735,"slug":736,"title":737,"dynasty":18,"author":19,"museum":20,"description":738,"tags":739,"thumbUrl":742,"material":50,"size":51,"collection":31,"collections":743,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275110,"shan-yu-qing-you-shuang-er-ci-lu-yi-ming-275110","鳝鱼青釉双耳瓷炉","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。”",[72,29,7,740,741],"鳝鱼青釉","瓷炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6addb306843696bbe72afe48e047efc8.jpg",[],{"id":745,"slug":746,"title":747,"dynasty":18,"author":19,"museum":20,"description":183,"tags":748,"thumbUrl":751,"material":50,"size":51,"collection":31,"collections":752,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},275108,"hui-you-shuang-er-san-zu-ci-lu-yi-ming-275108","灰釉双耳三足瓷炉",[72,749,141,7,119,741,24,750,25,712],"灰釉","鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85094beaf01a0a77ab9200ef5ed87f2f.jpg",[],{"id":754,"slug":755,"title":756,"dynasty":18,"author":19,"museum":20,"description":183,"tags":757,"thumbUrl":760,"material":50,"size":51,"collection":31,"collections":761,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},275107,"ge-you-shuang-er-san-zu-ci-lu-yi-ming-275107","哥釉双耳三足瓷炉",[72,758,141,7,119,498,24,759,25,91],"哥釉","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f99434e913ed65e5be04fc21236566d.jpg",[],{"id":763,"slug":764,"title":765,"dynasty":18,"author":19,"museum":20,"description":206,"tags":766,"thumbUrl":767,"material":50,"size":51,"collection":31,"collections":768,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275105,"fen-cai-jiao-ye-wen-shuang-er-san-zu-ci-lu-yi-ming-275105","粉彩蕉叶纹双耳三足瓷炉",[72,87,613,7,119,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3c9dd61088bc2b7454616b2d97dbce.jpg",[],{"id":770,"slug":771,"title":772,"dynasty":18,"author":19,"museum":20,"description":229,"tags":773,"thumbUrl":774,"material":50,"size":51,"collection":31,"collections":775,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},270454,"xuan-de-kuan-tong-shuang-er-san-zu-lu-yi-ming-270454","宣德款铜双耳三足炉",[43,117,144,7,119,45,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7911c5ab50dd51d1f125a5052ee3f063.jpg",[],{"id":777,"slug":778,"title":772,"dynasty":18,"author":19,"museum":20,"description":229,"tags":779,"thumbUrl":780,"material":50,"size":51,"collection":31,"collections":781,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},270442,"xuan-de-kuan-tong-shuang-er-san-zu-lu-yi-ming-270442",[117,43,29,7,119,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff431b5ff35caccb528e15f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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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\"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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