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江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[73,23,74,75,76,7,77,78],"宋代","官窑","青釉","开片","方器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5114b63f17443423f49cf033337e953d.jpg",[33],2,"BDBDBD",{"id":84,"slug":85,"title":86,"dynasty":87,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":94,"material":31,"size":32,"collection":51,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":82},281468,"e-guo-yin-tie-hua-shuang-er-si-zu-shuang-tou-ying-gai-lu-yi-ming-281468","俄国银贴花双耳四足双头鹰盖炉","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。",[90,91,92,29,7,93,45],"银器","盖炉","双头鹰","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add30cd3bdb283845defed42ac4c8db.jpg",[],1,{"id":98,"slug":99,"title":100,"dynasty":87,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":108,"material":31,"size":32,"collection":51,"collections":109,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":54},275103,"qing-hua-chan-lian-wen-chu-ji-shuang-er-si-zu-ci-ding-yi-ming-275103","青花缠莲纹出戟双耳四足瓷鼎","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。",[23,103,104,105,27,106,107,29,7],"青花","缠莲纹","鼎","饪食器","出戟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866c1a7e1453ffffe45e752527839764.jpg",[],{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":120,"material":31,"size":32,"collection":51,"collections":121,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":54},271535,"duan-shi-si-zu-yan-yi-ming-271535","端石四足砚","此砚形制沉稳规整，长方制式下承矮足，线条素净利落。砚面起浅框，留出台面与内敛淌池，延续朴素实用的制砚意趣。端石质地温润凝腻，周身包浆沉厚乌亮，似染尽旧时案头的墨香岁月，静默诉说着往昔文房的日常雅事。无繁复雕饰，却以简素尽显文人内敛沉静的风雅品格，藏着案头清供的雅致韵味。",[116,117,118,7,119],"砚","端石","文房器","石制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef1e0a0599fc9e9ce20208c6a203d85.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":87,"author":19,"museum":20,"description":101,"tags":126,"thumbUrl":129,"material":31,"size":32,"collection":51,"collections":130,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":82},262324,"qing-hua-hua-hui-wen-shuang-er-si-zu-dai-gai-guo-yi-ming-262324","青花花卉纹双耳四足带盖锅",[23,103,127,106,128,29,7],"花卉纹","带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a943682d86d4f69f1f0adcb023561.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":59,"author":19,"museum":20,"description":60,"tags":135,"thumbUrl":138,"material":31,"size":32,"collection":33,"collections":139,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":54},256988,"jun-yao-mei-gui-zi-you-hai-tang-shi-si-zu-hua-pen-yi-ming-256988","钧窑玫瑰紫釉海棠式四足花盆",[73,23,136,63,49,7,137],"窑变","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5f19fa842156923fa601322f0914f2.jpg",[33],{"id":141,"slug":142,"title":143,"dynasty":87,"author":19,"museum":20,"description":144,"tags":145,"thumbUrl":10,"material":31,"size":32,"collection":51,"collections":149,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":82},229519,"xian-wen-si-zu-hua-pen-yi-ming-229519","弦纹四足花盆","釉色莹润如酥的粉青色调，隐现细碎开片，仿宋官窑釉色之韵，釉层肥厚温润，颇有古瓷遗风。花口浅腹，口沿起伏灵动柔婉，勾勒出雅致轮廓。腹部环饰几道弦纹，极简线条于素净釉面间铺陈层次，愈显素雅沉静。中央塑花形插座，兼具装饰与实用，可为花艺添就点睛之笔。下承四足，敦实沉稳，托举器身恰到好处。整体形制舒展秀雅，将宋代官窑的静穆古意，融于清代造瓷巧思，尽显内敛温润的文人审美意趣，是仿古瓷中的精巧之作。",[23,146,147,7,78,148],"清代","弦纹","日用品",[],{"id":151,"slug":152,"title":153,"dynasty":87,"author":19,"museum":20,"description":88,"tags":154,"thumbUrl":156,"material":31,"size":32,"collection":51,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},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",[23,155,78,106,91,29,7,107,45],"仿古铜彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17856dffe7e86ebd9f594c8eff068824.jpg",[],{"id":159,"slug":160,"title":161,"dynasty":87,"author":19,"museum":20,"description":21,"tags":162,"thumbUrl":165,"material":31,"size":32,"collection":33,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259049,"yi-xing-yao-zi-sha-tuo-yuan-si-zu-hua-pen-yi-ming-259049","宜兴窑紫砂椭圆四足花盆",[87,23,163,164,7,78],"紫砂","椭圆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b28c8795783609376abf5bc978882ff.jpg",[33],{"id":168,"slug":169,"title":170,"dynasty":87,"author":19,"museum":20,"description":171,"tags":172,"thumbUrl":178,"material":31,"size":32,"collection":33,"collections":179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},258626,"fang-ding-yao-bai-you-tu-pan-chi-wen-shou-er-huo-huan-si-zu-fang-gai-lu-yi-ming-258626","仿定窑白釉凸蟠螭纹兽耳活环四足方盖炉","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[23,45,173,174,48,175,176,7,27,46,177],"白釉","凸纹","兽耳","活环","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b99f1843904e05bc9490e995d0d230.jpg",[33],{"id":181,"slug":182,"title":183,"dynasty":87,"author":19,"museum":20,"description":184,"tags":185,"thumbUrl":191,"material":31,"size":32,"collection":51,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},252066,"qian-long-kuan-bi-yu-chan-zhi-lian-wen-hua-er-si-zu-xi-yi-ming-252066","乾隆款碧玉缠枝莲纹花耳四足洗","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[186,187,45,188,78,189,190,7],"玉石","碧玉","缠枝莲纹","洗","花耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1433b7b2060c56a4c63a7c035d7eb9.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":87,"author":19,"museum":20,"description":184,"tags":197,"thumbUrl":199,"material":31,"size":32,"collection":51,"collections":200,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},252065,"bi-yu-hua-er-xian-huo-huan-hua-ban-shi-si-zu-xi-yi-ming-252065","碧玉花耳衔活环花瓣式四足洗",[146,186,45,176,198,7,78,46],"花瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a993091013a091e9d9a5d8d115468f0.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":87,"author":19,"museum":20,"description":184,"tags":205,"thumbUrl":209,"material":31,"size":32,"collection":51,"collections":210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},251151,"bi-yu-ju-ban-shi-pan-zuo-si-zu-zhu-tai-yi-ming-251151","碧玉菊瓣式盘座四足烛台",[186,45,78,206,7,207,146,208,187],"烛台","菊瓣纹","玉器雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11277b0ac9fe0e208293e0592bdfd50b.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":87,"author":19,"museum":20,"description":215,"tags":216,"thumbUrl":223,"material":31,"size":32,"collection":51,"collections":224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},250162,"qia-si-fa-lang-jin-di-hua-die-wen-shuang-er-si-zu-fang-gai-lu-yi-ming-250162","掐丝珐琅锦地花蝶纹双耳四足方盖炉","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 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