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汝窑青瓷盘","汝窑为五大名窑之首，窑址在河南省宝丰清凉寺，据考证烧造时间为宋哲宗元祐元年（1086年）到宋徽宗崇宁五年（1106年）二十年间，因烧造时间短，数量少，在南宋时就有“近尤难得”之说。汝窑瓷器如此珍贵，在博物馆界和收藏界无不以收藏到汝瓷为至高荣誉。",[7,117,118,119,297,120,298],"瓷器","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11567cc82a158cf9aa02f287ccc3a22.jpg",[125],30,{"id":303,"slug":304,"title":305,"dynasty":7,"author":306,"museum":96,"description":307,"tags":308,"thumbUrl":313,"material":314,"size":315,"collection":52,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":55},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","赵构","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[43,7,135,45,136,49,309,87,310,311,312],"墨迹","汉字","笔墨","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],28,{"id":319,"slug":320,"title":321,"dynasty":7,"author":18,"museum":40,"description":322,"tags":323,"thumbUrl":324,"material":123,"size":124,"collection":125,"collections":325,"showCount":326,"zanCount":11,"manualWeight":11,"mainColor":55},227316,"lie-wen-guan-yao-pan-yi-ming-227316","裂纹官窑盘","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 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。",[7,117,120,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb84ff548ea4a6dbf9f0de8c1f23792.jpg",[125],25,{"id":328,"slug":329,"title":330,"dynasty":7,"author":18,"museum":40,"description":331,"tags":332,"thumbUrl":334,"material":52,"size":52,"collection":184,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":187},243026,"cuo-jin-yin-xi-zun-yi-ming-243026","错金银牺尊","此器作昂首瑞牺之形，竖耳挺颈，身姿浑厚矫健，昂首抬颌尽显昂扬威仪。周身以错金银工艺饰满缠卷涡旋纹，金银细线在苍古铜色间盘转萦回，流畅婉转的纹路让瑞兽躯体兼具装饰美感与力量感。腹部开敞，既承续上古牺尊的礼器功用，又消解了造型的壅滞笨重。\n\n它复刻先秦牺尊古雅气韵，又融入时代摹古审美，苍润铜色与金银亮泽交织碰撞，将瑞兽威仪与装饰美学精妙糅合，尽显古朴雅致的匠造巧思。",[7,177,333,26,163,178,179],"错金银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650b780727f792db9bb31d30c940c1fb.jpg",[184],24,{"id":338,"slug":339,"title":340,"dynasty":7,"author":18,"museum":40,"description":341,"tags":342,"thumbUrl":346,"material":52,"size":52,"collection":52,"collections":347,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":34},227363,"yu-lin-ku-003-ku-zhu-shi-dong-bi-yi-ming-227363","榆林窟003窟主室东壁","第三窟建于西夏统治瓜州晚期。窟内纷呈汉、藏民族及显宗、密宗的内容和艺术，是这一时期艺术最成熟、最典型的洞窟，独具特色。窟呈长方形，穹窿顶。窟中央偏后设八角形三级曼荼罗（坛城），上存清塑数身。窟四壁下部清代环砌双层台基，上存清塑十八罗汉像。顶绘曼荼罗，中画五方佛，东壁中央绘佛传，南北侧分绘汉密五十一面千手千眼观音曼荼罗、胎藏界曼荼罗及显宗天请问经变。南壁东起画曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[43,343,7,22,221,24,23,344,345],"壁画","楼阁","敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7ab7284e705835acdfbc612130b8ae.jpg",[],{"id":349,"slug":350,"title":330,"dynasty":7,"author":18,"museum":40,"description":351,"tags":352,"thumbUrl":355,"material":52,"size":52,"collection":184,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":187},243024,"cuo-jin-yin-xi-zun-yi-ming-243024","此瑞兽伫立场中，昂首垂目，神色温驯静穆，躯体丰腴敦实，四肢劲挺沉稳，造型浑朴古雅，暗合上古礼器的厚重意韵。\n\n器身以错金银技法妆点，金线银丝盘绕于苍褐铜胎之上，勾连卷草云纹，颈间配饰圈带纹饰，眉眼嵌饰亮眼镶材，让沉穆古铜晕开华贵灵秀之气。它融上古牺尊形制与宋代摹古雅致于一身，将青铜的苍古质感与金银的明丽光泽相融，尽显宋人造器的精妙匠心，是仿古铜作里的上乘佳器。",[7,177,333,26,178,179,353,354],"错金银技法","兽形器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2f75f644f27cc508d2fb215b3ac58c.jpg",[184],23,{"id":359,"slug":360,"title":361,"dynasty":7,"author":362,"museum":40,"description":363,"tags":364,"thumbUrl":368,"material":52,"size":52,"collection":52,"collections":369,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":34},227982,"xi-yuan-tu-xia-gui-227982","戏猿图","夏圭","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[43,7,44,45,63,47,24,26,365,223,366,367,25],"猴","枝叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":371,"slug":372,"title":373,"dynasty":7,"author":18,"museum":40,"description":374,"tags":375,"thumbUrl":379,"material":52,"size":52,"collection":184,"collections":380,"showCount":381,"zanCount":11,"manualWeight":11,"mainColor":34},243027,"xi-zun-yi-ming-243027","牺尊","此器取瑞兽为形，昂首微颔，憨态中带着桀骜神意。周身以回纹卷云为饰，涡旋盘绕顺着躯体走势铺陈，将上古青铜的狞厉意趣复刻得古朴厚重。绿锈朱斑覆裹周身，是岁月晕染出的斑驳肌理，沉郁古雅。整体浑朴大气，既保留礼器的庄严感，又借灵动兽形消解肃穆，让古拙青铜焕发出温润生气，尽显追摹古风又自出机杼的造器巧思。",[7,177,178,179,26,182,376,377,378],"饮酒器","卷云纹","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8363e25403f3a262c879dd1c1ccbe83b.jpg",[184],21,{"id":383,"slug":384,"title":385,"dynasty":7,"author":39,"museum":234,"description":386,"tags":387,"thumbUrl":390,"material":391,"size":392,"collection":52,"collect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(1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[43,44,45,402,47,24,403,25,135,136,49,23,388,404,405,406,407,7,63],"山水画","皴法","山石","树木","古道","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":411,"slug":412,"title":413,"dynasty":7,"author":18,"museum":40,"description":414,"tags":415,"thumbUrl":418,"material":123,"size":124,"collection":125,"collections":419,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":34},256180,"long-quan-yao-qing-you-feng-er-ping-yi-ming-256180","龙泉窑青釉凤耳瓶","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。",[7,117,416,119,417,120],"青釉","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714807ee8518db1647bc5f41e3848bca.jpg",[125],20,{"id":422,"slug":423,"title":424,"dynasty":7,"author":18,"museum":40,"description":341,"tags":425,"thumbUrl":426,"material":52,"size":52,"collection":52,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":429},227369,"yu-lin-ku-003-ku-yong-dao-bei-bi-yi-ming-227369","榆林窟003窟甬道北壁",[43,343,7,23,24,22,345,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51da7113ec81f9462529514cfda561f0.jpg",[],17,"F48FB1",{"id":431,"slug":432,"title":433,"dynasty":7,"author":18,"museum":40,"description":295,"tags":434,"thumbUrl":435,"material":123,"size":124,"collection":125,"collections":436,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":34},223719,"ru-yao-qing-ci-pan-yi-ming-223719","汝窑青瓷盘",[7,117,118,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093a00b2329ec4f05e97de404f0f7805.jpg",[125],{"id":438,"slug":439,"title":440,"dynasty":7,"author":18,"museum":40,"description":441,"tags":442,"thumbUrl":444,"material":52,"size":52,"collection":184,"collections":445,"showCount":446,"zanCount":33,"manualWeight":11,"mainColor":34},243030,"cuo-jin-zun-yi-ming-243030","错金尊","此瑞兽尊身形敦圆憨态可掬，双耳竖立灵动有神，双目错金点缀，熠熠然似含温驯神采。周身以错金技法缠绕云纹，线条舒展婉转，在苍绿铜锈晕染下，金纹于古铜底色中若隐若现，恍如将流云凝锢在兽身之上。\n\n背部盖身相融，兼具礼器实用与陈设雅趣。沉敛铜色裹着斑驳锈迹，将岁月的厚重凝铸其中，静穆间尽显造物的精妙意趣，把礼制内涵与审美情致揉合在一方铜塑，尽显古朴雅致的悠悠气韵。",[7,177,178,443,179,26],"错金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4893a14c382f8563f3f3212c6dd8f5ec.jpg",[184],15,{"id":448,"slug":449,"title":450,"dynasty":7,"author":18,"museum":40,"description":451,"tags":452,"thumbUrl":454,"material":52,"size":52,"collection":52,"collections":455,"showCount":446,"zanCount":11,"manualWeight":11,"mainColor":34},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[44,45,63,7,25,24,453,26,84,102,103,49],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":7,"author":18,"museum":40,"description":341,"tags":460,"thumbUrl":465,"material":52,"size":52,"collection":52,"collections":466,"showCount":446,"zanCount":11,"manualWeight":11,"mainColor":34},227366,"yu-lin-ku-003-ku-zhu-shi-bei-pi-yi-ming-227366","榆林窟003窟主室北披",[43,7,343,22,24,23,461,462,463,345,464],"佛像","装饰纹样","几何图案","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a90d28a2b0adde7ca1b45a1794894c.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":7,"author":18,"museum":40,"description":471,"tags":472,"thumbUrl":475,"material":123,"size":124,"collection":52,"collections":476,"showCount":446,"zanCount":11,"manualWeight":11,"mainColor":477},226655,"shi-nv-xiang-yi-ming-226655","仕女像","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。",[7,117,179,23,473,24,474],"仕女","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c71568aab6b7b3e4eba46e31be40971.jpg",[],"FFFFFF",{"id":479,"slug":480,"title":481,"dynasty":7,"author":18,"museum":40,"description":482,"tags":483,"thumbUrl":486,"material":123,"size":124,"collection":125,"collections":487,"showCount":488,"zanCount":11,"manualWeight":11,"mainColor":34},256701,"ci-zhou-yao-bai-di-hei-hua-hua-guo-wen-zhen-yi-ming-256701","磁州窑白地黑花花果纹枕","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[7,117,484,101,485,120],"白地黑花","果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd73e83c7f95d891c0f6c9069c7d5cd5.jpg",[125],14,{"id":490,"slug":491,"title":492,"dynasty":7,"author":18,"museum":40,"description":493,"tags":494,"thumbUrl":496,"material":123,"size":124,"collection":52,"collections":497,"showCount":488,"zanCount":11,"manualWeight":11,"mainColor":34},227290,"tong-jing-yi-ming-227290","铜镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[7,178,179,23,495,177],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0506d37cc1cc68971588966d7bbbecb7.jpg",[],{"id":499,"slug":500,"title":501,"dynasty":7,"author":502,"museum":234,"description":503,"tags":504,"thumbUrl":507,"material":52,"size":508,"collection":141,"collections":509,"showCount":510,"zanCount":11,"manualWeight":11,"mainColor":34},239643,"men-nei-xing-ju-tie-ye-wu-shuo-239643","门内星聚帖页","吴说","吴说（生卒年不详），钱塘人。字傅朋，号练塘，居钱塘之紫溪。宋诗纪事谓为王令之外孙。官知信州（江西上饶），绍兴间（公元1144年左右）为尚书郎。说之书，楷、行、草及榜书均佳，小楷称宋时第一。榜书深稳端润，甚得高宗之称赏。行草圆美流丽，洞天清録以其深入黄太史之室。而时作钟体，其杂体游丝书亦颇擅名，一行一笔，游丝连绵，笔意似得自古篆柳叶体，即时挥毫相赠，深自得意。",[7,135,136,87,505,506],"册页","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d04d13fe6ac6be69a0beb092de2c7.jpg","纵25厘米，横45.4厘米",[141],12,{"id":512,"slug":513,"title":514,"dynasty":7,"author":18,"museum":40,"description":515,"tags":516,"thumbUrl":518,"material":123,"size":124,"collection":52,"collections":519,"showCount":510,"zanCount":11,"manualWeight":11,"mainColor":34},223865,"tong-gu-ding-shuang-long-wen-jing-yi-ming-223865","铜古鼎双龙纹镜","龙纹镜类：可分双龙镜和单龙镜。从目前所见资料单龙镜极少。双龙镜，有八菱形、六菱形、葵花形、炉形、带柄菱花形等形式。双龙分别在钮两侧，身躯盘曲于头的上方，一后肢于尾交缠，形成一环形。二龙对看圆钮，以钮为宝珠，作戏珠状。一龙张嘴一龙闭嘴，钮下方有一三足香炉置于岸边，岸下海浪翻腾。此型龙纹镜不管镜形如何，但龙的纹饰及布局都基本一样，特征十分明显。江西高安南宋理宗宝祐三年１２５５年　墓出土一面。另一面铜镜上铸出“嘉熙戊戌吴氏淑静”铭文，“嘉熙戊戌”即南宋理宗嘉熙二年１２３８年，可知这种镜子流行与南宋较晚的时期。从目前能知道的资料看，此型镜子传世和出土较多，是宋代最为流行的镜类之一。",[7,177,178,179,517],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9b53fdaa23ec316c9c558eeb5aadf3.jpg",[],{"id":521,"slug":522,"title":523,"dynasty":7,"author":18,"museum":40,"description":524,"tags":525,"thumbUrl":528,"material":123,"size":124,"collection":125,"collections":529,"showCount":530,"zanCount":33,"manualWeight":11,"mainColor":34},256252,"ge-yao-qing-you-shuang-yu-er-lu-yi-ming-256252","哥窑青釉双鱼耳炉","“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？",[7,117,119,416,526,120,527],"鱼","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F146b51165f7b4984f1913eedef69c939.jpg",[125],11,{"id":532,"slug":533,"title":534,"dynasty":7,"author":18,"museum":40,"description":535,"tags":536,"thumbUrl":541,"material":123,"size":124,"collection":52,"collections":542,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":34},223709,"bai-ci-hua-hua-lian-wen-mei-ping-yi-ming-223709","白瓷划花莲纹梅瓶","梅瓶是古代汉族劳动人民智慧和艺术的结晶，传世所看到的梅瓶都制作的相当精美。宋代时也称为“经瓶”，书香气十足，梅瓶在当时是用做装酒的，到明代后也成为陈设赏具了，甚至成为了上层统治者等级低位的标志和风水寓意的象征。",[7,117,537,538,539,540,120],"白瓷","划花","莲纹","梅瓶","https:\u002F\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瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[7,117,601,416,120,571],"刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce6881478b401794a323278cfce63cc2.jpg",[125],9,{"id":606,"slug":607,"title":608,"dynasty":7,"author":18,"museum":40,"description":609,"tags":610,"thumbUrl":613,"material":123,"size":124,"collection":52,"collections":614,"showCount":604,"zanCount":11,"manualWeight":11,"mainColor":187},254996,"fei-tian-wen-zhuan-yi-ming-254996","飞天纹砖","这方浮雕飞天身姿舒展曼妙，侧身横陈在卷舒云气之中。匠人以利落刀工刻就飞扬衣袂，线条缠绕回旋，将飞天凌风而动的轻盈尽数铺展。眉眼含着柔婉笑意，发髻高绾，颈腕饰件简雅古朴，袒露肩颈的肌肉线条圆润柔和，带着独有的温润世俗美感。\n\n层叠云纹托举着飞天，让静止砖石仿若涌动天风，将彼时仙凡交融的想象凝于方寸。褪去了盛唐飞天的丰腴张扬，尽显清雅柔婉的韵致，将仙者飘逸与人间柔美相融，静静诉说着那个时代的审美意趣。",[7,179,549,611,612,22,23],"云纹","砖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F831083ec4a88d4f8e3ca6976209cfbe0.jpg",[],{"id":616,"slug":617,"title":618,"dynasty":7,"author":18,"museum":40,"description":619,"tags":620,"thumbUrl":622,"material":123,"size":124,"collection":125,"collections":623,"showCount":604,"zanCount":11,"manualWeight":11,"mainColor":187},253378,"shi-wan-yao-qing-you-gui-yi-ming-253378","石湾窑青釉龟","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。"",[7,117,416,621,26,179],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68ca77180a8d387827b50e15f6c1e385.jpg",[125],{"id":625,"slug":626,"title":627,"dynasty":7,"author":18,"museum":40,"description":628,"tags":629,"thumbUrl":632,"material":123,"size":124,"collection":52,"collections":633,"showCount":604,"zanCount":11,"manualWeight":11,"mainColor":34},223718,"qing-ci-yin-hua-ju-hua-wan-yi-ming-223718","青瓷印花菊花碗","敞口，斜直壁，小圈足，足脊无釉，有窑渣痕。内外施青绿釉。碗内壁模印花纹，内心为菊花，内壁为缠枝菊纹，外壁刻菊瓣纹。浅灰色胎，釉层较厚，有气泡",[7,117,118,630,631,120],"印花","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e60cbf2028206e014fa3280ebb90bcf.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":7,"author":18,"museum":40,"description":638,"tags":639,"thumbUrl":641,"material":123,"size":124,"collection":52,"collections":642,"showCount":604,"zanCount":11,"manualWeight":11,"mainColor":34},221630,"diao-zhui-lao-shu-yi-ming-221630","吊坠（老鼠）","尚玉之风，千古一同，南宋时亦然，对玉器的尊崇更在金器之上。追求时尚、讲究品位的社会风尚，使得玉器成为帝王将相、士夫富贾的珍爱之物。\n历经数千年的发展，南宋的玉器走向世俗化。南宋经济发展，城市繁荣，商业贸易发达，手工业兴盛。新兴市民阶层的消费需求不断提高，民间碾玉作坊和买卖玉器的店铺林立。《西湖老人繁胜录》记载，临安有一家“七宝社”，经营玉带、玉碗、玉花瓶、玉束带、玉劝盘、玉轸芝、玉绦环等玉器，多是人们日常生活中使用的衣饰、酒具、花器等实用器。\n南宋玉器一方面是以仿生器、花鸟纹为主的自然写实风格，惟妙惟肖，浪漫天真，布局设计亦受宋代花鸟画的影响；但另一方面，在恢复礼乐制度的影响下，受士大夫金石学的学术旨趣导向，玉作呈现出复古的特征，多有玉卣、玉璧、玉带钩等仿古器形，纹饰则流行螭虎纹、云纹、谷纹等。其中，璧环类玉器原为礼器，然而南宋时或多成为寄托复古情怀之物，一些小型器也或为佩饰。",[7,205,179,640,26,550],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975b271e62d460846aa7a18335bc5645.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":7,"author":18,"museum":40,"description":647,"tags":648,"thumbUrl":650,"material":123,"size":124,"collection":125,"collections":651,"showCount":652,"zanCount":11,"manualWeight":11,"mainColor":34},256305,"ding-yao-bai-you-yin-hua-feng-xian-hua-wen-li-shi-wan-yi-ming-256305","定窑白釉印花凤衔花纹笠式碗","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。",[7,117,649,630,417,101,120],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb094174b6f760c404b923c9fcf80db87.jpg",[125],8,{"id":654,"slug":655,"title":656,"dynasty":7,"author":18,"museum":40,"description":524,"tags":657,"thumbUrl":658,"material":123,"size":124,"collection":125,"collections":659,"showCount":652,"zanCount":11,"manualWeight":11,"mainColor":55},256261,"ge-yao-qing-you-dan-shi-ping-yi-ming-256261","哥窑青釉胆式瓶",[7,117,416,119,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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 。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。",[117,7,649,23,179,120,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4064f9cbb6d5942e1e5b1c3dcfe054f0.jpg",[],{"id":761,"slug":762,"title":763,"dynasty":7,"author":18,"museum":40,"description":764,"tags":765,"thumbUrl":768,"material":52,"size":52,"collection":141,"collections":769,"showCount":731,"zanCount":11,"manualWeight":11,"mainColor":34},241102,"wu-kuan-she-da-cheng-lun-jing-yi-ming-241102","无款摄大乘论经","此作用笔朴质沉厚，点画扎实凝练，虽为经卷抄写，却自带宋人的萧散意趣。字字排布茂密匀整，通篇气脉贯通，全无刻板匠气。抄经者功底扎实，书写沉静端穆，在一丝不苟的誊录里，暗含静定书写心性。墨色经岁月晕染，带着古雅的旧韵质感。作品既恪守写经的庄严法度，又流露随性舒展的文人笔意，是民间写经里兼具宗教肃穆与书法审美价值的佳作，尽显宋时写经书法的质朴风神。",[7,766,81,135,288,22,767,309],"写经","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5faa22d2c3a3f49fce478524c8532a2d.jpg",[141],{"id":771,"slug":772,"title":773,"dynasty":7,"author":774,"museum":40,"description":775,"tags":776,"thumbUrl":777,"material":52,"size":52,"collection":52,"collections":778,"showCount":731,"zanCount":11,"manualWeight":11,"mainColor":34},227760,"shou-zha-yi-tong-wu-ting-jiu-cang-zhu-xi-227760","手札一通(吴廷旧藏)","朱熹","从“收藏”角度而言，“书札”固然是“尺牍”之义，却是指广义的，内中是包括了一些笔记、题辞、手稿、札记、公牍、讣告、收条、请帖、名刺、板报等等种种纷繁的“杂多”形式。换言之，“书札”是纷繁的搜藏项目的一种概括。",[43,135,136,49,286,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca39154fd519ae1621c215f93bcd271.jpg",[],{"id":780,"slug":781,"title":782,"dynasty":7,"author":18,"museum":40,"description":783,"tags":784,"thumbUrl":785,"material":123,"size":124,"collection":52,"collections":786,"showCount":731,"zanCount":33,"manualWeight":11,"mainColor":55},223888,"bai-yu-ji-yi-ming-223888","白玉笄","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[7,205,179,550,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ea37e97426175074fa03aa135fcd7f.jpg",[],{"id":788,"slug":789,"title":790,"dynasty":7,"author":18,"museum":40,"description":783,"tags":791,"thumbUrl":792,"material":123,"size":124,"collection":52,"collections":793,"showCount":731,"zanCount":11,"manualWeight":11,"mainColor":187},223880,"jiu-yu-long-yi-ming-223880","旧玉珑",[7,205,179,181,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ae48e843f84470ea2bb47c33ce9942.jpg",[],{"id":795,"slug":796,"title":797,"dynasty":7,"author":18,"museum":40,"description":798,"tags":799,"thumbUrl":803,"material":123,"size":124,"collection":52,"collections":804,"showCount":731,"zanCount":11,"manualWeight":11,"mainColor":34},223872,"hei-you-tu-hao-zhan-yi-ming-223872","黑釉兔毫盏","北宋文人所饮的茶系半发酵制成的茶饼，饮用前先碾成细末，放在茶碗内，倾入初沸的开水，于是水面涌起白色的泡末，宋人好为斗茶，即在凭此白色水线比试茶艺高低。蔡襄《茶录》认为饮茶当用建窑茶盏，一因其胎体粗厚能以手捧持，一因其最能衬映白色茶面。这种说法也为宋徽宗《大观茶论》所认同，所谓“盏色贵青黑，玉毫条达者为上，取其焕发茶采色也”，即指黑釉兔毫盏，因此今福建建阳的建窑窑址中发现盏底有“供御”、“进盏”字样的残件，显示其产品亦供宋代内廷使用。带铭刻的建盏有多种字样，如本器者尚未之见。",[7,117,800,801,802,120],"黑釉","兔毫纹","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2bddea5200ce3a062913f7e0e5ff70.jpg",[],{"id":806,"slug":807,"title":808,"dynasty":7,"author":18,"museum":40,"description":756,"tags":809,"thumbUrl":811,"material":123,"size":124,"collection":52,"collections":812,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":55},256325,"qing-bai-you-ke-hua-ping-yi-ming-256325","青白釉刻花瓶",[7,117,810,601,665],"青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd18d7d7f4bd5af51de0d2a1e9d7e56.jpg",[],{"id":814,"slug":815,"title":816,"dynasty":7,"author":18,"museum":40,"description":647,"tags":817,"thumbUrl":819,"material":123,"size":124,"collection":125,"collections":820,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":187},256303,"ding-yao-bai-you-ke-hua-zhi-jing-ping-yi-ming-256303","定窑白釉刻花直颈瓶",[7,117,649,601,120,818],"直颈瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F600550448d0bab19727438bb2fb87895.jpg",[125],{"id":822,"slug":823,"title":824,"dynasty":7,"author":18,"museum":40,"description":825,"tags":826,"thumbUrl":828,"material":123,"size":124,"collection":125,"collections":829,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},256291,"ru-yao-tian-qing-you-pan-yi-ming-256291","汝窑天青釉盘","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。”",[7,117,827,119,120,298],"天青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfac4b598cc99daa425cc4e20475e5.jpg",[125],{"id":831,"slug":832,"title":833,"dynasty":7,"author":18,"museum":40,"description":825,"tags":834,"thumbUrl":835,"material":123,"size":124,"collection":125,"collections":836,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},256284,"ru-yao-pan-yi-ming-256284","汝窑盘",[7,117,119,118,120,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc7a132f929d51d81bcd6ce555c4fd9.jpg",[125],{"id":838,"slug":839,"title":840,"dynasty":7,"author":18,"museum":40,"description":524,"tags":841,"thumbUrl":842,"material":123,"size":124,"collection":125,"collections":843,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},256258,"ge-yao-qing-you-guan-er-ping-yi-ming-256258","哥窑青釉贯耳瓶",[7,117,416,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f57e3aac2c7d41c1b11bfaf5843a0da.jpg",[125],{"id":845,"slug":846,"title":847,"dynasty":7,"author":18,"museum":40,"description":524,"tags":848,"thumbUrl":850,"material":123,"size":124,"collection":125,"collections":851,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":187},256257,"ge-yao-qing-you-yu-er-lu-yi-ming-256257","哥窑青釉鱼耳炉",[7,117,119,416,527,849,120],"鱼耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76469d692c60dd0d5445590d8a71c61.jpg",[125],{"id":853,"slug":854,"title":855,"dynasty":7,"author":18,"museum":40,"description":524,"tags":856,"thumbUrl":861,"material":123,"size":124,"collection":125,"collections":862,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},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",[7,117,119,857,858,859,860,182,527],"米黄釉","鼎式","三足","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef230668f92b56209e6b3644e8ee421a.jpg",[125],{"id":864,"slug":865,"title":866,"dynasty":7,"author":18,"museum":40,"description":524,"tags":867,"thumbUrl":869,"material":123,"size":124,"collection":125,"collections":870,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},256255,"ge-yao-qing-you-hai-tang-shi-hua-pen-yi-ming-256255","哥窑青釉海棠式花盆",[7,117,416,119,868],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cd6f5f88c8761366532ac9b8e4cfca9.jpg",[125],{"id":872,"slug":873,"title":874,"dynasty":7,"author":18,"museum":40,"description":524,"tags":875,"thumbUrl":877,"material":123,"size":124,"collection":125,"collections":878,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},256218,"ge-yao-qing-hui-you-kui-kou-wan-yi-ming-256218","哥窑青灰釉葵口碗",[7,117,119,876,721,120],"青灰釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6dfb22da0f0232c4d753d458855161.jpg",[125],{"id":880,"slug":881,"title":882,"dynasty":7,"author":18,"museum":40,"description":746,"tags":883,"thumbUrl":884,"material":123,"size":124,"collection":52,"collections":885,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":187},253223,"mu-diao-fu-zuo-xiang-yi-ming-253223","木雕佛坐像",[7,22,23,179,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d9469ac5e5f4fdf5a0e99caeafccfd3.jpg",[],{"id":887,"slug":888,"title":373,"dynasty":7,"author":18,"museum":40,"description":889,"tags":890,"thumbUrl":892,"material":52,"size":52,"collection":184,"collections":893,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":34},243844,"xi-zun-yi-ming-243844","此器取温顺羊形为胎，敦实体态昂首伫立，神情沉静内敛，自带古雅端庄之气。体表以错银技法晕出婉转舒卷的云纹，线条灵动柔婉，和浑朴器型相得益彰，颈间弦纹利落规整，层次分明更显质感。器背设盖，以玲珑小鸟为钮，俏皮精巧，在厚重器身晕开一丝灵动生机。古铜色包浆沉郁幽润，承续古牺尊礼制意涵，复刻上古礼器庄重之余，融入宋人雅致审美，以细腻工巧彰显宋代仿古器物的隽秀格调，静穆中藏着灵秀，古拙里透着雅致，尽显隽永韵味。",[7,177,178,179,26,891,182,376,378],"牛形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ce2d7cf06edd83c9359841c74285f3.jpg",[184],{"id":895,"slug":896,"title":897,"dynasty":7,"author":18,"museum":40,"description":898,"tags":899,"thumbUrl":900,"material":123,"size":124,"collection":52,"collections":901,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":55},227284,"shui-yue-guan-yin-tong-xiang-yi-ming-227284","水月观音铜像","宋代铜佛像以菩萨像居多，有的高发髻，脸上胖下尖，身段高长。有的腿为一拱一掉，左手臂放于拱腿上，右手往下垂搭，平按于座上。衣裙稍有褶，掉于腿后，左手盘于腿上，右手于腹前伸。佩戴缨络，身坐两层莲花的细腰圆座。宋代出现了菩萨铜像，坐于长方形四腿座上或像背、狮背、犼背上",[7,22,23,178,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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,22,23,26,1026,178,179,177],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7015f8851c1a5e2712b59077fac9f421.jpg",[],{"id":1030,"slug":1031,"title":1032,"dynasty":7,"author":18,"museum":40,"description":547,"tags":1033,"thumbUrl":1035,"material":123,"size":124,"collection":52,"collections":1036,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":1037},252209,"bai-yu-tou-diao-yun-long-wen-dai-kou-yi-ming-252209","白玉透雕云龙纹带扣",[7,205,1034,179,181,550],"透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca1edab61ad1962dee35d6ddf424d3b.jpg",[],"FDD835",{"id":1039,"slug":1040,"title":1041,"dynasty":7,"author":18,"museum":40,"description":547,"tags":1042,"thumbUrl":1044,"material":123,"size":124,"collection":52,"collections":1045,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":187},251121,"bai-yu-tou-diao-pan-long-xing-pei-yi-ming-251121","白玉透雕蟠龙形佩",[7,1034,1043,181,550,179],"白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb53e4579876331b83ac35c5e735591e.jpg",[],{"id":1047,"slug":1048,"title":1049,"dynasty":7,"author":18,"museum":40,"description":1050,"tags":1051,"thumbUrl":1052,"material":123,"size":124,"collection":52,"collections":1053,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":34},227470,"he-hua-wen-die-yi-ming-227470","荷花纹碟","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。",[7,117,120,237,601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855d8cb5d2f8515b327eacd4f09be8e4.jpg",[],{"id":1055,"slug":1056,"title":1057,"dynasty":7,"author":18,"museum":40,"description":568,"tags":1058,"thumbUrl":1059,"material":123,"size":124,"collection":52,"collections":1060,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":34},227466,"lv-you-hua-ping-yi-ming-227466","绿釉花瓶",[7,117,570,179,946,665,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4167704777dd3469fda0b27233012d16.jpg",[],{"id":1062,"slug":1063,"title":1064,"dynasty":7,"author":18,"museum":40,"description":568,"tags":1065,"thumbUrl":1068,"material":123,"size":124,"collection":52,"collections":1069,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":429},227322,"tie-you-cha-wan-yi-ming-227322","铁釉茶碗",[7,117,1066,1067,121],"铁釉","饮茶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1797503e273c61c08716e178fa02c435.jpg",[],{"id":1071,"slug":1072,"title":1073,"dynasty":7,"author":18,"museum":40,"description":568,"tags":1074,"thumbUrl":1078,"material":123,"size":124,"collection":52,"collections":1079,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":34},227319,"you-mian-da-cha-wan-yi-ming-227319","釉面大茶碗",[7,117,1075,119,1076,1077,151,120],"釉面","单色釉","茶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519612748ebca8a747f9efc7e92d9b1a.jpg",[],{"id":1081,"slug":1082,"title":1083,"dynasty":7,"author":18,"museum":40,"description":471,"tags":1084,"thumbUrl":1087,"material":123,"size":124,"collection":52,"collections":1088,"showCount":1012,"zanCount":33,"manualWeight":11,"mainColor":34},227311,"duo-se-cha-wan-yi-ming-227311","多色茶碗",[7,117,151,1085,1086],"多色釉","茶碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d14b230ee44e39094b439a5a1feecb.jpg",[],{"id":1090,"slug":1091,"title":1092,"dynasty":7,"author":18,"museum":40,"description":1093,"tags":1094,"thumbUrl":1096,"material":123,"size":124,"collection":52,"collections":1097,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":477},227289,"tong-niu-yi-ming-227289","铜牛","宋代、元代仿制古代青铜器成为风尚，杭州、苏州等地出现了颇有名气的仿古青铜器作坊。",[7,120,163,26,178,179,1095],"铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ec9e499c0d4ad544903401a8ada579.jpg",[],{"id":1099,"slug":1100,"title":1101,"dynasty":7,"author":18,"museum":40,"description":471,"tags":1102,"thumbUrl":1104,"material":123,"size":124,"collection":52,"collections":1105,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":55},226683,"hua-ping-yi-ming-226683","花瓶",[7,117,601,1103,119],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ba7c9cc076565d63f00e261db6902f.jpg",[],{"id":1107,"slug":1108,"title":1109,"dynasty":7,"author":1110,"museum":40,"description":1111,"tags":1112,"thumbUrl":1115,"material":123,"size":124,"collection":52,"collections":1116,"showCount":1012,"zanCount":11,"manualWeight":11,"mainColor":34},226556,"shuang-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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。",[7,205,179,26,926,550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776e64cb17716d68571592d31c18ecd.jpg",[],{"id":1166,"slug":1167,"title":1168,"dynasty":7,"author":18,"museum":40,"description":1169,"tags":1170,"thumbUrl":1172,"material":123,"size":124,"collection":125,"collections":1173,"showCount":1174,"zanCount":11,"manualWeight":11,"mainColor":429},257047,"jian-yao-hei-you-tu-hao-zhan-yi-ming-257047","建窑黑釉兔毫盏","建窑，是宋代福建烧造黑釉茶盏的著名窑场。窑址有芦花坪、牛皮仑、大路后山、营长乾等处，遗物分布面积约12万平方米。建窑创烧于晚唐五代， 历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 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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。",[7,1273,538,117,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9f7f23d960c0bbab70756a8cef7fc3a.jpg",[],{"id":1936,"slug":1937,"title":1938,"dynasty":7,"author":18,"museum":40,"description":647,"tags":1939,"thumbUrl":1940,"material":123,"size":124,"collection":125,"collections":1941,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":55},256324,"ding-yao-bai-you-xian-wen-san-zu-zun-yi-ming-256324","定窑白釉弦纹三足樽",[7,117,649,1885,859,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcc9523ba756ed61f1511af566da4f94.jpg",[125],{"id":1943,"slug":1944,"title":1945,"dynasty":7,"author":18,"museum":40,"description":934,"tags":1946,"thumbUrl":1948,"material":123,"size":124,"collection":125,"collections":1949,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":55},256298,"jun-yao-tian-lan-you-hong-ban-pan-yi-ming-256298","钧窑天蓝釉红斑盘",[7,117,1435,937,1947,298,151],"红斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dcc57c91937cb40d1500d9c833fc2e.jpg",[125],{"id":1951,"slug":1952,"title":1953,"dynasty":7,"author":18,"museum":40,"description":322,"tags":1954,"thumbUrl":1955,"material":123,"size":124,"collection":125,"collections":1956,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":55},256280,"guan-yao-qing-you-yuan-xi-yi-ming-256280","官窑青釉圆洗",[7,117,416,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2be1494855d35009816ca17371df00c.jpg",[125],{"id":1958,"slug":1959,"title":1495,"dynasty":7,"author":18,"museum":40,"description":322,"tags":1960,"thumbUrl":1961,"material":123,"size":124,"collection":125,"collections":1962,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256272,"guan-yao-qing-you-kui-kou-wan-yi-ming-256272",[7,117,118,416,119,721,719],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883c029d5538a9851b4524a88f3184d4.jpg",[125],{"id":1964,"slug":1965,"title":1966,"dynasty":7,"author":18,"museum":40,"description":524,"tags":1967,"thumbUrl":1968,"material":123,"size":124,"collection":125,"collections":1969,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256267,"ge-yao-qing-you-guan-yi-ming-256267","哥窑青釉罐",[7,117,416,119,720,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33fe3996ac14d955018613251b40073f.jpg",[125],{"id":1971,"slug":1972,"title":1973,"dynasty":7,"author":18,"museum":40,"description":524,"tags":1974,"thumbUrl":1976,"material":123,"size":124,"collection":125,"collections":1977,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":55},256254,"ge-yao-qing-you-shuang-chi-er-lu-yi-ming-256254","哥窑青釉双螭耳炉",[7,117,416,119,1975,120],"双螭耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac41237b859b1d04b00b52a3114a219e.jpg",[125],{"id":1979,"slug":1980,"title":1981,"dynasty":7,"author":18,"museum":40,"description":524,"tags":1982,"thumbUrl":1983,"material":123,"size":124,"collection":125,"collections":1984,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256246,"ge-yao-qing-hui-you-kui-ban-kou-xi-yi-ming-256246","哥窑青灰釉葵瓣口洗",[7,117,119,876,1522,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdee0ba5917fed4df1d8c916cd9cdf49.jpg",[125],{"id":1986,"slug":1987,"title":1519,"dynasty":7,"author":18,"museum":40,"description":524,"tags":1988,"thumbUrl":1989,"material":123,"size":124,"collection":125,"collections":1990,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256244,"ge-yao-mi-huang-you-kui-ban-kou-pan-yi-ming-256244",[7,117,119,720,857,1522,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f041391f2b7879f1a714b36f3afe545.jpg",[125],{"id":1992,"slug":1993,"title":1994,"dynasty":7,"author":18,"museum":40,"description":524,"tags":1995,"thumbUrl":1996,"material":123,"size":124,"collection":125,"collections":1997,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256237,"ge-yao-qing-hui-you-kui-ban-kou-pan-yi-ming-256237","哥窑青灰釉葵瓣口盘",[7,117,119,876,1522,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aad6e156a662ca38fa3e2a53d38f4ec.jpg",[125],{"id":1999,"slug":2000,"title":2001,"dynasty":7,"author":18,"museum":40,"description":524,"tags":2002,"thumbUrl":2005,"material":123,"size":124,"collection":125,"collections":2006,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256234,"ge-yao-mi-se-you-kui-ban-kou-pan-yi-ming-256234","哥窑米色釉葵瓣口盘",[7,117,2003,2004,1522,298],"开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