[{"data":1,"prerenderedAt":327},["ShallowReactive",2],{"subject-tu-diao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5950,"tu-diao","凸雕","凸雕画高清赏析","精选中国历代凸雕题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b24e4d55233de3483ed46aa0cf7968.jpg",0,30,[14,38,49,66,82,95,105,118,130,142,152,159,171,180,187,196,205,214,222,233,242,250,258,269,277,286,294,301,310,317],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},257950,"wu-cai-jia-jin-tu-diao-bo-gu-wen-xi-kou-ping-yi-ming-257950","五彩加金凸雕博古纹洗口瓶","清","佚名","藏地不详","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。",[23,24,25,7,26,27,28,29,30],"陶瓷","五彩","加金","博古纹","龙","设色","清代","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dcf4b17d69197acd91b2c17f19438d1.jpg","未知","Xcm*Xcm","",[],7,"795548",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":46,"material":32,"size":33,"collection":34,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":37},258634,"qian-long-kuan-fen-cai-miao-jin-tu-hu-lu-ping-yi-ming-258634","乾隆款粉彩描金凸葫芦瓶",[23,43,44,7,45,29,28],"粉彩","描金","葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245d38abcd2f3452d2ebf5fa7910c055.jpg",[],5,{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":62,"material":32,"size":33,"collection":34,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},249414,"qia-si-fa-lang-kai-guang-tu-hua-guo-wen-mei-hua-kou-ping-yi-ming-249414","掐丝珐琅开光凸花果纹梅花口瓶","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”。",[55,56,57,28,58,7,59,60,30,61],"掐丝珐琅","珐琅器","铜制","开光","花果","桃","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f0b5cb677b760cd7b7fccf02680e0b.jpg",[],3,"37474F",{"id":67,"slug":68,"title":69,"dynasty":70,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":77,"material":32,"size":33,"collection":78,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":81},257577,"long-quan-yao-qing-you-tu-diao-tuan-lian-wen-gai-guan-yi-ming-257577","龙泉窑青釉凸雕团莲纹盖罐","明","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。",[73,23,74,7,75,76],"明代","青釉","团莲纹","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da6edff8afff30ee4f81bb7db52db89.jpg","瓷器精选",[78],2,"BDBDBD",{"id":83,"slug":84,"title":85,"dynasty":18,"author":19,"museum":20,"description":86,"tags":87,"thumbUrl":93,"material":32,"size":33,"collection":78,"collections":94,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":65},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， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,88,89,90,7,91,92],"白釉","礼器","三足","寿字","出戟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4f28c5c35df43da80fcc9c86789962.jpg",[78],{"id":96,"slug":97,"title":98,"dynasty":99,"author":19,"museum":20,"description":71,"tags":100,"thumbUrl":103,"material":32,"size":33,"collection":78,"collections":104,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":65},257079,"long-quan-yao-qing-you-tu-diao-yun-long-wen-zhe-yan-pan-yi-ming-257079","龙泉窑青釉凸雕云龙纹折沿盘","元",[99,23,74,101,27,30,7,102],"雕刻","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff904221375706b1880e1b64e451aaee2.jpg",[78],{"id":106,"slug":107,"title":108,"dynasty":109,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":116,"material":32,"size":33,"collection":34,"collections":117,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":65},252092,"bai-yu-tu-diao-shuang-chi-xiao-bi-yi-ming-252092","白玉凸雕双螭小璧","周","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[109,112,7,101,113,114,115,27],"玉石","饰品","螭","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbba2c5c28c9c3701ddd4fe60f0c683f3.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":122,"tags":123,"thumbUrl":127,"material":32,"size":33,"collection":78,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},263529,"yi-xing-yao-zi-sha-tu-diao-kui-long-hua-pen-yi-ming-263529","宜兴窑紫砂凸雕夔龙花盆","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。",[23,124,125,7,126,101,30],"紫砂","花盆","夔龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ba3d9796b1399d9db1ab49652b44d0.jpg",[78],1,{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":20,"description":21,"tags":134,"thumbUrl":140,"material":32,"size":33,"collection":34,"collections":141,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},260184,"su-san-cai-tu-ling-zhi-wen-guan-er-ping-yi-ming-260184","素三彩凸灵芝纹贯耳瓶",[23,135,136,7,137,138,139,30],"素三彩","贯耳瓶","松树","禽鸟","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724cee5ef2dfd4b231bd0531d8e1b072.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":99,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":150,"material":32,"size":33,"collection":34,"collections":151,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":65},260153,"liu-li-san-cai-tu-diao-long-wen-san-zu-lu-yi-ming-260153","琉璃三彩凸雕龙纹三足炉","直口，短颈，圆腹，腹下承三兽足，颈部两侧贴两桥形耳。炉盖山峰重叠，一条黄彩蟠龙盘绕在山峰中，上有镂空，烟香从此飘然而出，这种形式保留了汉代博山炉的造型、盖与炉身用槽口衔接，颈部与腹部镂雕龙凤穿牡丹雕花装饰。通体施孔雀蓝、草绿、黄、白等多种釉色，十分精美，是元代琉璃制品中的珍品。",[23,30,27,101,148,7,149],"三彩","炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc864171ab44ec41d6257c06e70adde48.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":122,"tags":156,"thumbUrl":157,"material":32,"size":33,"collection":78,"collections":158,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":81},258987,"yi-xing-yao-zi-sha-tu-diao-pan-chi-wen-hu-yi-ming-258987","宜兴窑紫砂凸雕蟠螭纹壶",[18,23,124,7,27,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590013debcb25ee9431530e74064c98.jpg",[78],{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":169,"material":32,"size":33,"collection":34,"collections":170,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":81},258559,"qian-long-kuan-ji-lan-you-miao-jin-tu-diao-fen-cai-chan-zhi-lian-shou-zi-wen-ru-yi-yi-ming-258559","乾隆款祭蓝釉描金凸雕粉彩缠枝莲寿字纹如意","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。",[18,165,7,43,166,167,168,30],"祭蓝釉描金","缠枝莲","寿字纹","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4ee2455b4ef9268e549e7cc6084fb5.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":178,"material":32,"size":33,"collection":34,"collections":179,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":65},257966,"tian-lan-you-tu-er-mei-ping-yi-ming-257966","天蓝釉凸耳梅瓶","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[29,23,177,7,61],"天蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80f630a890224a24bea6d9f1a4b3cb8.jpg",[],{"id":181,"slug":182,"title":85,"dynasty":18,"author":19,"museum":20,"description":86,"tags":183,"thumbUrl":185,"material":32,"size":33,"collection":78,"collections":186,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":65},257527,"de-hua-yao-bai-you-tu-shou-zi-chu-ji-san-zu-ding-yi-ming-257527",[29,23,88,7,92,90,91,184],"龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf00f00a2ed57e6ba8c443c1ad41c481.jpg",[78],{"id":188,"slug":189,"title":190,"dynasty":70,"author":19,"museum":20,"description":86,"tags":191,"thumbUrl":194,"material":32,"size":33,"collection":78,"collections":195,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},257523,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-hu-yi-ming-257523","德化窑白釉凸雕蟠螭纹壶",[73,23,88,7,192,115,193],"蟠螭","壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d01c6627e95d0abc3b39b8c396c79a.jpg",[78],{"id":197,"slug":198,"title":199,"dynasty":200,"author":19,"museum":20,"description":71,"tags":201,"thumbUrl":203,"material":32,"size":33,"collection":78,"collections":204,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},257015,"long-quan-yao-qing-you-tu-diao-chan-zhi-fu-rong-wen-san-zu-lu-yi-ming-257015","龙泉窑青釉凸雕缠枝芙蓉纹三足炉","宋",[200,23,74,7,202,90,30],"缠枝芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1f4a3a7698308274b6ccc2e2f96c5a.jpg",[78],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":21,"tags":209,"thumbUrl":212,"material":32,"size":33,"collection":34,"collections":213,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":81},256634,"fen-cai-hua-hui-tu-san-ying-xi-ping-yi-ming-256634","粉彩花卉凸三婴戏瓶",[18,43,7,28,210,211,23],"花卉","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239c6566b703630909a19a76059c4fc1.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":70,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":221,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},228527,"jiao-huang-tu-diao-jiu-long-wen-fang-yu-wu-wei-zhi-kuan-yi-ming-228527","娇黄凸雕九龙纹方盂 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。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。",[23,228,88,7,229,230],"饪食器","螭纹","簋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9fc3473f67918435dc7b0cd508120de.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":99,"author":19,"museum":20,"description":71,"tags":237,"thumbUrl":240,"material":32,"size":33,"collection":78,"collections":241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},261370,"long-quan-yao-qing-you-tu-diao-chan-zhi-lian-wen-san-zu-tong-shi-lu-yi-ming-261370","龙泉窑青釉凸雕缠枝莲纹三足筒式炉",[23,101,7,238,239,74,30],"缠枝莲纹","三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fee55cc6dc6b558040b9cdd731f8d3.jpg",[78],{"id":243,"slug":244,"title":245,"dynasty":18,"author":19,"museum":20,"description":86,"tags":246,"thumbUrl":248,"material":32,"size":33,"collection":78,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},260531,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-xi-kou-ping-yi-ming-260531","德化窑白釉凸雕蟠螭纹洗口瓶",[23,88,7,247,61,101],"蟠螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05604e95e723b3b9aac9fe5d5d66eead.jpg",[78],{"id":251,"slug":252,"title":253,"dynasty":18,"author":19,"museum":20,"description":163,"tags":254,"thumbUrl":256,"material":32,"size":33,"collection":34,"collections":257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},258930,"fang-guan-you-tu-zi-shuang-chi-er-san-lian-kou-bian-ping-yi-ming-258930","仿官釉凸字双螭耳三连口扁瓶",[23,255,7,114,30],"仿官釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2252aee7723bf50a976048e87e9c47.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":18,"author":19,"museum":20,"description":262,"tags":263,"thumbUrl":267,"material":32,"size":33,"collection":34,"collections":268,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},258364,"yong-zheng-kuan-dong-qing-you-tu-yun-tou-hua-wen-wan-yi-ming-258364","雍正款冬青釉凸云头花纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[29,23,264,7,265,266],"冬青釉","云头纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda35b81b5bad8aa6f38e1d8fc85facd.jpg",[],{"id":270,"slug":271,"title":272,"dynasty":18,"author":19,"museum":20,"description":175,"tags":273,"thumbUrl":275,"material":32,"size":33,"collection":34,"collections":276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},257960,"kang-xi-kuan-tian-lan-you-tu-er-mei-ping-yi-ming-257960","康熙款天蓝釉凸耳梅瓶",[23,177,7,29,274,30],"梅瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56b88e997babfcfe2174399883e13f6.jpg",[],{"id":278,"slug":279,"title":280,"dynasty":70,"author":19,"museum":20,"description":281,"tags":282,"thumbUrl":284,"material":32,"size":33,"collection":78,"collections":285,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},257591,"peng-cheng-yao-bai-you-tu-diao-yun-long-wen-shuang-er-bian-ping-yi-ming-257591","彭城窑白釉凸雕云龙纹双耳扁瓶","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[70,23,88,7,27,283,30],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8e3d6abbdb066d3fc9b4088725dcca.jpg",[78],{"id":287,"slug":288,"title":289,"dynasty":70,"author":19,"museum":20,"description":71,"tags":290,"thumbUrl":292,"material":32,"size":33,"collection":78,"collections":293,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},257576,"long-quan-yao-qing-you-tu-diao-ba-gua-wen-san-zu-tong-shi-lu-yi-ming-257576","龙泉窑青釉凸雕八卦纹三足筒式炉",[23,74,7,291,90,30],"八卦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a201d9f6ebe7dba1da899163560163d.jpg",[78],{"id":295,"slug":296,"title":297,"dynasty":18,"author":19,"museum":20,"description":86,"tags":298,"thumbUrl":299,"material":32,"size":33,"collection":78,"collections":300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},257522,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-ping-yi-ming-257522","德化窑白釉凸雕蟠螭纹瓶",[23,88,7,247,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a788a644549b09118b9662d729847b8.jpg",[78],{"id":302,"slug":303,"title":304,"dynasty":18,"author":19,"museum":20,"description":305,"tags":306,"thumbUrl":308,"material":32,"size":33,"collection":34,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},256803,"qian-long-kuan-qing-you-tu-hai-shui-yun-long-wen-guan-yi-ming-256803","乾隆款青釉凸海水云龙纹罐","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。”",[23,74,7,27,307,283],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db156e4dcc7a3fc6d157622d658bd1b.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":18,"author":19,"museum":20,"description":21,"tags":314,"thumbUrl":315,"material":32,"size":33,"collection":34,"collections":316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256673,"jiang-di-miao-jin-tu-diao-ling-tao-ping-yi-ming-256673","酱地描金凸雕灵桃瓶",[23,44,7,60,30,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9d32fb1b04ef72d8d1e2186420d8b6.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":321,"author":19,"museum":20,"description":322,"tags":323,"thumbUrl":325,"material":32,"size":33,"collection":34,"collections":326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255590,"liang-mian-tu-diao-shou-wen-chang-fang-zhuan-yi-ming-255590","两面凸雕兽纹长方砖","汉","汉砖上的雕饰，包罗万象，繁复美观。无论是彩绘或是浮雕图像都生动活泼，线条灵活；其中表现的故事都是当时社会的缩影，在四川省彭山发现的汉墓中，有一种圹砖是专供筑墓或建隧道使用的，在结构中似乎已经知道应用物理学上的圆柱中空的道理。",[321,7,101,115,324],"砖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70c5146bd21a693b2d23f5a292b190.jpg",[],1777535715421]