[{"data":1,"prerenderedAt":45},["ShallowReactive",2],{"subject-shuang-xi-ping":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10640,"shuang-xi-ping","双系瓶","双系瓶画高清赏析","精选中国历代双系瓶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4806e8c7f879b712a9ff9417db8139b4.jpg",0,2,[14,32],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":30,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":31},260073,"huang-you-shuang-xi-hu-lu-ping-yi-ming-260073","黄釉双系葫芦瓶","五代十国","佚名","藏地不详","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[23,24,25,7,26],"陶瓷","葫芦瓶","黄釉","日用具","未知","Xcm*Xcm","",[],"37474F",{"id":33,"slug":34,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":42,"material":27,"size":28,"collection":29,"collections":43,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},260451,"qing-you-he-ban-shuang-xi-ping-yi-ming-260451","青釉褐斑双系瓶","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。”",[23,39,40,41,7,26],"器","青釉","褐斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25ce3f424150e1bd28474b67ae65c5c.jpg",[],"795548",1777535796645]