[{"data":1,"prerenderedAt":648},["ShallowReactive",2],{"subject-tu-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9275,"tu-hua","凸花","凸花画高清赏析","精选中国历代凸花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60636e01da2ae83eefd9f7bf88df1930.jpg",0,69,[14,34,50,66,77,89,101,112,124,138,147,161,171,179,189,198,208,221,230,243,252,260,267,278,288,298,307,313,320,326,332,339,347,354,360,367,373,380,387,393,400,411,420,428,436,445,454,463,470,480,489,497,505,512,520,529,536,545,555,563,571,580,587,595,605,614,622,630,640],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":32,"zanCount":11,"manualWeight":11,"mainColor":33},258400,"kong-que-lv-you-tu-hua-wen-zun-yi-ming-258400","孔雀绿釉凸花纹尊","清","佚名","藏地不详","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。",[18,23,24,7,25,26],"陶瓷","孔雀绿釉","纹饰","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780adb8a6481a18e4cea942d378c6621.jpg","未知","Xcm*Xcm","",[],13,"2A56C6",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":45,"material":28,"size":29,"collection":46,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},256520,"long-quan-yao-qing-you-tu-hua-chan-zhi-lian-wen-zun-yi-ming-256520","龙泉窑青釉凸花缠枝莲纹尊","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。",[41,23,42,7,43,44,26],"明代","青釉","缠枝莲纹","莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fcc65f2bec50571ce7259d93187f09.jpg","瓷器精选",[46],7,"795548",{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":63,"material":28,"size":29,"collection":46,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":49},258679,"fang-ding-yao-bai-you-tu-hua-pan-chi-wen-jiu-er-zun-yi-ming-258679","仿定窑白釉凸花蟠螭纹鸠耳尊","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。",[56,57,58,7,59,60,23,61,25,62],"清代","仿定窑","白釉","蟠螭纹","鸠耳","雕刻","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf528fb8c3f1eb2cb754468c3c619f9.jpg",[46],4,{"id":67,"slug":68,"title":69,"dynasty":70,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":74,"material":28,"size":29,"collection":30,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":49},262272,"bai-you-tu-hua-feng-tou-hu-yi-ming-262272","白釉凸花凤头壶","唐","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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。",[23,61,73,26,7,58],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b147895b20c5a8ed516481583b18277.jpg",[],3,{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":54,"tags":81,"thumbUrl":86,"material":28,"size":29,"collection":46,"collections":87,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":88},258700,"fang-ding-yao-bai-you-tu-hua-xi-fan-lian-wen-si-xi-ping-yi-ming-258700","仿定窑白釉凸花西番莲纹四系瓶",[18,23,82,58,7,83,84,85],"仿定窑风格","西番莲纹","瓶","四系","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4964428b77d3deb76d6e85af81969be.jpg",[46],"37474F",{"id":90,"slug":91,"title":92,"dynasty":93,"author":19,"museum":20,"description":39,"tags":94,"thumbUrl":97,"material":28,"size":29,"collection":46,"collections":98,"showCount":99,"zanCount":100,"manualWeight":11,"mainColor":49},260598,"long-quan-yao-qing-you-tu-hua-san-zu-lu-yi-ming-260598","龙泉窑青釉凸花三足炉","元",[23,42,95,7,96],"三足炉","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3500c91d0f9de3f0cfbb1afeb746d939.jpg",[46],2,1,{"id":102,"slug":103,"title":104,"dynasty":105,"author":19,"museum":20,"description":71,"tags":106,"thumbUrl":109,"material":28,"size":29,"collection":30,"collections":110,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":111},259717,"qing-bai-you-tu-hua-ping-yi-ming-259717","青白釉凸花瓶","宋",[23,107,108,7,62],"花瓶","青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9bf9f33183a4520fa47be5b6d2b75ca.jpg",[],"BDBDBD",{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":121,"material":28,"size":29,"collection":30,"collections":122,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":123},267739,"e-huang-se-tu-hua-duan-yi-ming-267739","鹅黄色凸花缎","鹅黄底色温润柔糯，自带清隽贵气。暗浮的缠枝凸花隐于缎面，指尖轻触可感细密起伏的肌理。枝蔓柔婉盘绕，涡旋花叶舒展有度，光影流转间纹样渐次浮现，不显张扬却暗含金辉。\n\n织法精巧克制，将繁丽纹饰敛于素净底色之内，既有制式织造的规整严整，又带着东方独有的含蓄意韵。静穆间尽显不俗织造功力，把寻常织物晕染成藏着细腻心思的雅致风物，暗合东方美学里于无声处见风华的意趣。",[118,7,119,120],"布料","鹅黄色","缎料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdfd1def00e905b0422d5208652fc0d8.jpg",[],"FDD835",{"id":125,"slug":126,"title":127,"dynasty":18,"author":19,"museum":20,"description":128,"tags":129,"thumbUrl":136,"material":28,"size":29,"collection":46,"collections":137,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},261872,"yi-xing-yao-zi-sha-tu-hua-zhu-chong-wen-hai-tang-shi-ping-yi-ming-261872","宜兴窑紫砂凸花竹虫纹海棠式瓶","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。",[23,130,131,132,133,7,134,135],"紫砂器","海棠式瓶","竹","虫","兽首衔环","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9d5cc5ac1ee7e9ea58ecbea8e99b3f.jpg",[46],{"id":139,"slug":140,"title":141,"dynasty":38,"author":19,"museum":20,"description":39,"tags":142,"thumbUrl":145,"material":28,"size":29,"collection":46,"collections":146,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},261585,"long-quan-yao-qing-you-tu-hua-jue-yi-ming-261585","龙泉窑青釉凸花爵",[23,143,42,7,144],"饮酒器","爵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3835bfedf8ea6b34eb5b11633e7704e9.jpg",[46],{"id":148,"slug":149,"title":150,"dynasty":18,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":159,"material":28,"size":29,"collection":30,"collections":160,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},261449,"qing-hua-tu-hua-kai-guang-shan-shui-ren-wu-tu-hua-gu-yi-ming-261449","青花凸花开光山水人物图花觚","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。",[23,153,7,154,155,156,157,158],"青花","开光","山水","人物","亭","花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8f141f9cc033dc1349ef9a127569f1.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":93,"author":19,"museum":20,"description":39,"tags":165,"thumbUrl":169,"material":28,"size":29,"collection":46,"collections":170,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":49},260818,"long-quan-yao-qing-you-tu-hua-shou-er-xian-huan-ping-yi-ming-260818","龙泉窑青釉凸花兽耳衔环瓶",[23,166,167,7,168,84],"青瓷","兽耳衔环","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2d3f1b27fcfa0de03adfadf51ebe40.jpg",[46],{"id":172,"slug":173,"title":174,"dynasty":38,"author":19,"museum":20,"description":128,"tags":175,"thumbUrl":177,"material":28,"size":29,"collection":46,"collections":178,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":49},260051,"yi-xing-yao-fang-jun-you-tu-hua-hu-lu-ping-yi-ming-260051","宜兴窑仿钧釉凸花葫芦瓶",[23,176,7,61,96],"葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc04cacce92ea2b92d170a70380e3b54.jpg",[46],{"id":180,"slug":181,"title":182,"dynasty":70,"author":19,"museum":20,"description":21,"tags":183,"thumbUrl":187,"material":28,"size":29,"collection":30,"collections":188,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":49},259845,"huang-lv-you-tu-hua-po-luo-shi-wan-yi-ming-259845","黄绿釉凸花笸箩式碗",[23,184,185,7,186],"日用具","黄绿釉","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8c76b51e67d4035d344a55d0816eb3.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":128,"tags":193,"thumbUrl":196,"material":28,"size":29,"collection":46,"collections":197,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":111},259050,"yi-xing-yao-zi-sha-tu-hua-chang-fang-wei-jiao-hua-pen-yi-ming-259050","宜兴窑紫砂凸花长方委角花盆",[23,194,7,26,195,132],"紫砂","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1856155f641df0ce3540d96be01a4be.jpg",[46],{"id":199,"slug":200,"title":201,"dynasty":18,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":206,"material":28,"size":29,"collection":30,"collections":207,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":49},258698,"dong-qing-you-tu-hua-wen-hua-gu-yi-ming-258698","冬青釉凸花纹花觚","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。”",[56,23,204,7,26,205],"冬青釉","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08831d26ff0565693d45d2cb77e00aa7.jpg",[],{"id":209,"slug":210,"title":211,"dynasty":18,"author":19,"museum":20,"description":212,"tags":213,"thumbUrl":219,"material":28,"size":29,"collection":30,"collections":220,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":49},258648,"qian-long-kuan-lv-di-jin-cai-tu-hua-wen-shuang-er-pie-kou-ping-yi-ming-258648","乾隆款绿地金彩凸花纹双耳撇口瓶","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。",[56,23,214,7,215,216,217,218,26],"金彩","绿地","双耳","撇口","兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0453fd4827244913da7a7d46d241c570.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":71,"tags":225,"thumbUrl":228,"material":28,"size":29,"collection":30,"collections":229,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":88},257881,"bai-you-tu-hua-ling-zhi-zhu-ye-wen-pan-kou-ping-yi-ming-257881","白釉凸花灵芝竹叶纹盘口瓶",[23,58,7,226,227,26],"灵芝","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c807b52cbd56380cfe359e6168308d9.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":38,"author":19,"museum":20,"description":234,"tags":235,"thumbUrl":241,"material":28,"size":29,"collection":46,"collections":242,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":88},257500,"shi-wan-yao-lv-you-tu-hua-shou-er-an-huan-ping-yi-ming-257500","石湾窑绿釉凸花兽耳暗环瓶","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。"",[23,236,237,7,238,239,26,240,41],"石湾窑","绿釉","兽耳","暗环","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be0b6ed712947defb29e099d9c6f33a.jpg",[46],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":20,"description":247,"tags":248,"thumbUrl":250,"material":28,"size":29,"collection":30,"collections":251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},281472,"bai-tong-tu-hua-ba-gang-yi-ming-281472","白铜凸花把缸","器挺秀敞口，流口微扬，弧腹缓缓收束接圈足，方挺执把利落舒展，兼顾持握的实用与视觉的雅致。腹部錾刻连环宝相花饰，缠枝交叠，柔婉的线条勾绘出复古华贵，为素洁铜身晕开细碎光华。搭配的鎏金鸟爪形夹件，金铜色泽相映成趣，为器物添了几分灵动精巧。莹润亮洁的铜色裹着浅淡匀净的包浆，将旧手作的沉静雅韵凝于一身，日常实用需求与工艺美学交融，尽显往昔匠人的巧思雅意。",[249,26,184,7,61],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7b58c1d03bca9ff8689e6d5f8fdf16.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":18,"author":19,"museum":20,"description":256,"tags":257,"thumbUrl":258,"material":28,"size":29,"collection":30,"collections":259,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":88},281471,"bai-tong-tu-hua-hu-yi-ming-281471","白铜凸花壶","此壶造型柔美舒展，丰肩敛腹勾勒出优雅的曲线，亭亭而立自带温婉气度。盖面与肩腹两处的凸花錾刻是点睛之笔，盖面的葡萄卷叶纹，藏着秋实饱满的意趣，肩颈的连珠果饰连绵环绕，将吉祥寓意融于装饰之中。\n莹润的白铜历经岁月晕染出柔润包浆，金属的冷冽被柔化成温润的光泽。器物糅合了西式银器的造型章法，又将中式錾刻的雅致审美藏于细节，是旧时光里东西审美碰撞的精巧之作，静静晕开往昔雅致的日常意趣。",[249,26,184,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598c1417e03926734b8f7877d4e034b8.jpg",[],{"id":261,"slug":262,"title":255,"dynasty":18,"author":19,"museum":20,"description":263,"tags":264,"thumbUrl":265,"material":28,"size":29,"collection":30,"collections":266,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":88},281470,"bai-tong-tu-hua-hu-yi-ming-281470","器身修长挺拔，柔婉弯柄搭配利落斜流，造型端庄舒展。器身以浅浮雕装饰，上部环绕璎珞连珠纹，自带灵动韵律；下部錾刻折枝花卉，花叶舒展曼妙，带着柔润的装饰意趣。\n\n白铜自带哑光温润的金属质感，内敛沉静，光影晕开时，浮雕纹饰层次尽显分明，将日常用器的质朴与装饰美学相融，尽显雅致的传统金属细作审美意趣，是兼具实用价值与观赏性的匠心之作。",[249,26,184,143,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb53cef4922a6df88c2ddd340ecfe077b.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":18,"author":19,"museum":20,"description":271,"tags":272,"thumbUrl":276,"material":28,"size":29,"collection":30,"collections":277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},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。",[273,274,216,7,61,275],"银器","盖罐","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe129996267fb06308a4fd2aaf62f4b18.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":18,"author":19,"museum":20,"description":282,"tags":283,"thumbUrl":286,"material":28,"size":29,"collection":30,"collections":287,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},281455,"yin-tu-hua-shuang-er-gao-zu-bei-yi-ming-281455","银凸花双耳高足杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[273,143,61,284,285,7],"双耳杯","高足杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc13333b98eda34aff36d6cebc600b64f.jpg",[],{"id":289,"slug":290,"title":291,"dynasty":18,"author":19,"museum":20,"description":21,"tags":292,"thumbUrl":296,"material":28,"size":29,"collection":30,"collections":297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},275186,"jia-qing-kuan-ji-lan-you-tu-hua-gui-yi-ming-275186","嘉庆款霁蓝釉凸花簋",[23,293,294,295,7,26],"饪食器","礼器","霁蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68824b6b5bd32f687709578b4b0d358.jpg",[],{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":20,"description":302,"tags":303,"thumbUrl":305,"material":28,"size":29,"collection":30,"collections":306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},275184,"dao-guang-kuan-huang-you-tu-hua-gui-yi-ming-275184","道光款黄釉凸花簋","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。",[23,294,293,304,7,61],"黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73c6d684e7068d8cf3364743f3f2097.jpg",[],{"id":308,"slug":309,"title":301,"dynasty":18,"author":19,"museum":20,"description":302,"tags":310,"thumbUrl":311,"material":28,"size":29,"collection":30,"collec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