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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。",[80,109,81,110,111,112,67,7],"青花釉里红","梅","喜鹊","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1880ccc61f7e5cc16e7ea018173450e3.jpg",[],12,{"id":117,"slug":118,"title":119,"dynasty":77,"author":47,"museum":20,"description":120,"tags":121,"thumbUrl":126,"material":35,"size":36,"collection":37,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":129},290187,"min-jian-sheng-huo-tu-ce-yi-ming-290187","民间生活图册","此作以淡绢为底，工笔设色晕染出鲜活的市井日常。安坐矮凳的蓝衣老者俯身侧目，指尖轻抬，似正与蹲在摊前的白衣小贩议价。小贩正专注理弄案上文砚，地上错落陈放着数方造型朴拙的厚重大砚。\n\n衣纹走线细腻温婉，二人神态灵动传神，老者的从容、小贩的沉静皆跃然绢上。全画无繁杂布景，以极简构图烘托出松弛的烟火气，将文房小市的平和交易凝于尺幅间，静中藏着市井生活的细碎暖意，尽显世俗日常的温润意趣，是一幅颇有生活情味的风俗小品。",[23,25,122,123,28,29,27,7,124,125],"书画","册","砚","市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19653748edc16172ce5b3b37a88f18ab.jpg",[],11,"BDBDBD",{"id":131,"slug":132,"title":133,"dynasty":77,"author":47,"museum":20,"description":134,"tags":135,"thumbUrl":139,"material":35,"size":36,"collection":37,"collections":140,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":129},288439,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-feng-guo-yi-qin-wang-yi-ming-288439","历代帝王贵妃大臣朝服像(封果毅亲王)","此作为工笔肖像精品，笔触细腻入微，摹绘人物神采尽显功力。画中男子姿态舒展雍容，素色锦袍衣纹婉转流畅，丝缎垂坠质感呼之欲出，腰间束带添几分英挺气度。\n\n画师精于传神写照，眉眼平和沉静，髭须纤毫毕现，将贵胄沉稳内敛的涵养尽数流露。旁侧案头文房清供雅致，阶前幽兰吐芳，衬出主人兼具果毅风骨与文雅意趣。整体设色柔和淡雅，背景简净留白，将视线尽数聚焦人物，写实之中兼具雅致意蕴，尽显肖像画的写实功力与审美意趣。",[23,25,65,29,28,27,7,136,137,138],"衣帽","水仙","亲王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf450cbb9dd6fcc847057902d15ba50.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":77,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":157,"material":158,"size":159,"collection":37,"collections":160,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":129},238290,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238290","喻兰仕女清娱图册","喻兰","北京故宫博物院","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[28,29,27,149,150,151,68,152,153,154,155,156,7],"美人","仕女","侍女","书籍","家具","服饰","器物","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae04ea9407f55992812e81b5bf39d82.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[],{"id":162,"slug":163,"title":164,"dynasty":77,"author":47,"museum":20,"description":107,"tags":165,"thumbUrl":168,"material":35,"size":36,"collection":37,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":129},271300,"huang-shi-ming-zhi-qing-hua-ci-pi-yong-yan-yi-ming-271300","黄士明制青花瓷辟雍砚",[80,166,124,7,167],"青花瓷","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5a50778d3fd698a46dfeabb01deb7a.jpg",[],10,{"id":172,"slug":173,"title":174,"dynasty":77,"author":47,"museum":20,"description":175,"tags":176,"thumbUrl":182,"material":35,"size":36,"collection":37,"collections":183,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":41},269416,"xi-chi-mu-qian-zi-tan-lan-hua-wen-ti-liang-wen-ju-xia-yi-ming-269416","鸂鶒木嵌紫檀兰花纹提梁文具匣","此匣以鸂鶒木为地，自然纹理如碎霜凝玉。紫檀嵌饰的兰草为主体，叶片舒展似随风轻曳，花瓣纤柔雅致，将空谷幽兰的清寂高洁尽数铺展。鎏金铜边框晕开温润光泽，黄铜提梁环扣精巧灵秀，冷金暖木相互映衬，更显雅致。\n形制方正端稳，工艺细腻入微，木雕与金属饰件相得益彰，既不失文房器物的沉静内敛，又饱含文人雅趣，将清代工艺美学与文人审美相融，收纳文玩之余，亦是案头赏心悦目的陈设雅器。",[177,178,179,180,181,7],"木质","雕刻","兰","文具匣","木器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d0ee61a41579344405ff24367c4477.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":77,"author":47,"museum":20,"description":188,"tags":189,"thumbUrl":191,"material":35,"size":36,"collection":192,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":41},261174,"de-hua-yao-bai-you-yan-tai-yi-ming-261174","德化窑白釉砚台","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。",[80,124,190,178,7],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a60215bd6cd5a5ddc8b29782156f1.jpg","瓷器精选",[192],9,{"id":196,"slug":197,"title":198,"dynasty":77,"author":47,"museum":20,"description":78,"tags":199,"thumbUrl":205,"material":35,"size":36,"collection":37,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":208},259503,"chang-chun-gong-kuan-fen-cai-tao-fu-wen-bi-tong-yi-ming-259503","长春宫款粉彩桃蝠纹笔筒",[80,200,81,201,202,52,203,204,7,28],"粉彩","桃","蝙蝠","山石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb2761a33b868b65f78b8c69049f1ef.jpg",[],8,"F48FB1",{"id":210,"slug":211,"title":212,"dynasty":77,"author":47,"museum":20,"description":213,"tags":214,"thumbUrl":217,"material":35,"size":36,"collection":37,"collections":218,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":129},258272,"yong-zheng-kuan-dou-cai-yu-zhao-shi-shui-cheng-yi-ming-258272","雍正款斗彩鱼罩式水丞","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。",[77,80,215,28,216,69,7],"斗彩","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5469bf32228728b018a9975def60fe4.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":62,"author":47,"museum":223,"description":224,"tags":225,"thumbUrl":228,"material":229,"size":230,"collection":37,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":41},287557,"wu-yin-qing-xia-tu-yi-ming-287557","梧阴清暇图","台北故宫博物院","画作以梧桐浓荫晕开清寂底色，堂上二人对坐清谈，案头摊卷置砚，文房雅具错落排布，尽显雅人深致。侧间一人伏案凝思，似耽于笔耕。堂下侍从垂手侍立，神态恭谨，衬出主家松弛闲雅的氛围。\n\n整作线条细劲秀逸，设色古雅清淡，以界笔精工勾勒厅堂家具的榫卯细节，将宋代文人士族的日常雅趣铺陈开来，无喧嚣繁复，只剩林下清暇的悠然意趣，把宋人尚雅的生活情态藏进每一处细腻笔触中，静穆里流淌着熨帖安然的宋代文人日常美学。",[25,29,28,27,30,226,7,227,153],"梧阴","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68ca955a94f5ca2c38f7fc71495003a7.jpg","绢本,设色","50.1x41.1",[],7,{"id":234,"slug":235,"title":236,"dynasty":62,"author":47,"museum":20,"description":237,"tags":238,"thumbUrl":241,"material":35,"size":36,"collection":37,"collections":242,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":41},272565,"su-shi-ming-duan-shi-jie-sheng-wen-yan-yi-ming-272565","苏轼铭端石结绳纹砚","此砚取端石琢制，质地温润细糯，发墨益毫。周身以结绳纹为饰，线条古拙柔和，带着宋人特有的简澹雅致。盒面刊刻铭文，笔意舒展秀逸，文辞清隽，将文人对文房雅物的爱惜与寄怀融于方寸。原配紫檀木盒与底座，包浆沉穆醇厚，凝积着岁月的摩挲痕迹。实用之外，更将工艺、文思与藏家意趣揉合为一，静静晕开旧时文房的幽雅意韵，器物虽静，却藏着宋人笔砚相伴的清欢日常。",[124,239,7,240,177,178],"端石","书法铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1b75cd9973681d43b0f2428c182df3.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":77,"author":47,"museum":20,"description":247,"tags":248,"thumbUrl":249,"material":35,"size":36,"collection":37,"collections":250,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":41},271360,"jin-nong-ming-duan-shi-mei-hua-yan-yi-ming-271360","金农铭端石梅花砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[124,110,178,32,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b609d24e89106e64a6a3b75287122e.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":77,"author":47,"museum":20,"description":255,"tags":256,"thumbUrl":259,"material":35,"size":36,"collection":37,"collections":260,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":41},270014,"wu-chang-shuo-kuan-hua-mu-diao-bi-tong-yi-ming-270014","吴昌硕款桦木雕笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[177,178,257,258,81,7],"木刻","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad74cec9fa2950e41ea3e49b285b39dc.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":77,"author":47,"museum":20,"description":265,"tags":266,"thumbUrl":271,"material":35,"size":36,"collection":37,"collections":272,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":129},269167,"zhu-ke-chen-hong-shou-hua-fu-qin-tu-bi-ge-yi-ming-269167","竹刻陈洪绶画抚琴图臂搁","这件臂搁取竹为材，器型修长温婉，包浆莹润古雅。以浅刻技法复刻抚琴图景，刀工追摹画意，线条清劲凝练，将古拙奇逸的笔意藏于竹间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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。",[177,355,356,178,180,357,7],"玉石","镶嵌","瓜蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7db1619057ec6302829283a45ebd84f.jpg",[],{"id":361,"slug":362,"title":363,"dynasty":77,"author":47,"museum":20,"description":364,"tags":365,"thumbUrl":369,"material":35,"size":36,"collection":37,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":129},288257,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-xuan-ye-yi-ming-288257","历代帝王贵妃大臣朝服像(爱新觉罗 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，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。”",[455,80,677,678,458,7],"单色釉","天青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a1f3afb8676a39e4e84667f05105ce.jpg",[192],{"id":682,"slug":683,"title":684,"dynasty":77,"author":47,"museum":20,"description":685,"tags":686,"thumbUrl":691,"material":35,"size":36,"collection":37,"collections":692,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":89},251897,"hu-po-shuang-shi-ru-yi-wen-bi-jia-yi-ming-251897","琥珀双柿如意纹笔架","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[687,688,178,689,690,69,7],"清代","琥珀","柿","如意纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16372187334b0f0f47c8d7f7812687e4.jpg",[],{"id":694,"slug":695,"title":696,"dynasty":77,"author":47,"museum":20,"description":697,"tags":698,"thumbUrl":702,"material":35,"size":36,"collection":37,"collections":703,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":41},249081,"qian-long-kuan-qia-si-fa-lang-hai-shui-yun-long-wen-chang-fang-mo-chuang-yi-ming-249081","乾隆款掐丝珐琅海水云龙纹长方墨床","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”。",[699,700,701,314,497,7],"掐丝珐琅","琺瑯器","墨床","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b223e5f6cc87a5712b17fbea21a34b.jpg",[],{"id":705,"slug":706,"title":707,"dynasty":77,"author":47,"museum":20,"description":247,"tags":708,"thumbUrl":714,"material":35,"size":36,"collection":37,"collections":715,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":129},229468,"yong-zheng-song-hua-shi-gua-shi-yan-yi-ming-229468","雍正 松花石瓜式砚",[687,709,124,710,711,712,713,7],"松花石","石雕","瓜形","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f504f5f4e37b9dc3e94704cfca4370c.jpg",[],{"id":717,"slug":718,"title":719,"dynasty":720,"author":47,"museum":20,"description":721,"tags":722,"thumbUrl":727,"material":35,"size":36,"collection":37,"collections":728,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":129},288859,"giovanni-battista-tiepolo-study-for-an-inkstand-yi-ming-288859","Giovanni Battista Tiepolo--Study for an 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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。",[80,124,1086,190,7],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18c2a6570af1027d818a206516a85eb.jpg",[],{"id":1090,"slug":1091,"title":1092,"dynasty":46,"author":47,"museum":20,"description":1093,"tags":1094,"thumbUrl":1098,"material":35,"size":36,"collection":192,"collections":1099,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":89},261714,"ding-yao-bai-you-ke-qian-long-yu-zhi-shi-tian-lu-liu-yun-wen-fang-xi-yi-ming-261714","定窑白釉刻乾隆御制诗天禄流云纹方洗","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。",[80,1095,190,1096,7,1097],"定窑","刻纹","天禄流云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda966f4a58e44f21ca51c1fce9bc5ebe.jpg",[192],{"id":1101,"slug":1102,"title":1103,"dynasty":77,"author":47,"museum":20,"description":1104,"tags":1105,"thumbUrl":1107,"material":35,"size":36,"collection":192,"collections":1108,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":89},261178,"yi-xing-yao-zi-sha-cai-hua-shan-shui-tu-fang-bi-tong-yi-ming-261178","宜兴窑紫砂彩画山水图方笔筒","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。",[80,28,468,99,1106,7],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e2d723eedbbfb892d8512896b0f32ab.jpg",[192],{"id":1110,"slug":1111,"title":1112,"dynasty":77,"author":47,"museum":20,"description":78,"tags":1113,"thumbUrl":1114,"material":35,"size":36,"collection":37,"collections":1115,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":89},261157,"fen-cai-lou-kong-kai-guang-shan-shui-tu-bi-tong-yi-ming-261157","粉彩镂空开光山水图笔筒",[80,200,1086,651,468,471,7,28,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce793ff31de4002faf2322f4715556a.jpg",[],{"id":1117,"slug":1118,"title":1119,"dynasty":77,"author":47,"museum":20,"description":188,"tags":1120,"thumbUrl":1123,"material":35,"size":36,"collection":192,"collections":1124,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},261011,"de-hua-yao-bai-you-hua-hua-an-ba-xian-tu-xi-yi-ming-261011","德化窑白釉划花暗八仙图洗",[80,1121,190,1122,460,7,69],"德化窑","暗八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe03e68ce30fbdf57cd7da3815ab70fa.jpg",[192],{"id":1126,"slug":1127,"title":1128,"dynasty":77,"author":47,"museum":20,"description":78,"tags":1129,"thumbUrl":1131,"material":35,"size":36,"collection":37,"collections":1132,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":89},259792,"fen-cai-mu-dan-hua-die-wen-bi-tong-yi-ming-259792","粉彩牡丹花蝶纹笔筒",[80,200,83,1130,81,28,7,67],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48db464854ba4806207513944ec78ec7.jpg",[],{"id":1134,"slug":1135,"title":1136,"dynasty":77,"author":47,"museum":20,"description":1137,"tags":1138,"thumbUrl":1141,"material":35,"size":36,"collection":37,"collections":1142,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":89},259761,"tao-cheng-ju-shi-kuan-fang-guan-you-mo-cai-bi-tong-yi-ming-259761","陶成居士款仿官釉墨彩笔筒","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。",[80,81,7,1139,32,409,1140,458],"墨彩","仿官釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa5fa13ca0918c82c89109210ac5c8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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。",[69,7,178,279,68,324,124,33,1042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8115e473e3323a7dadd4ed114fb6291.jpg",[],{"id":3291,"slug":3292,"title":3293,"dynasty":77,"author":47,"museum":20,"description":3294,"tags":3295,"thumbUrl":3296,"material":35,"size":36,"collection":37,"collections":3297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},272631,"cheng-fen-wen-ju-tu-zhang-yi-ming-272631","成份文具-图章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[33,7,177,178,999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d607918168c0adf52f1a47f413b5f1.jpg",[],{"id":3299,"slug":3300,"title":3301,"dynasty":77,"author":47,"museum":20,"description":407,"tags":3302,"thumbUrl":3303,"material":35,"size":36,"collection":37,"collections":3304,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},272630,"cheng-fen-wen-ju-mo-yi-ming-272630","成份文具-墨",[324,7,2206,2171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5125a36484d2cbe9979bc58351edf0.jpg",[],{"id":3306,"slug":3307,"title":3308,"dynasty":77,"author":47,"museum":20,"description":107,"tags":3309,"thumbUrl":3312,"material":35,"size":36,"collection":37,"collections":3313,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},272628,"cheng-fen-wen-ju-qing-hua-bi-tian-yi-ming-272628","成份文具-青花笔掭",[80,443,3310,7,3311],"笔掭","器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8056877a503107ee84312904aa3d8d6.jpg",[],{"id":3315,"slug":3316,"title":3317,"dynasty":77,"author":47,"museum":20,"description":407,"tags":3318,"thumbUrl":3319,"material":35,"size":36,"collection":37,"collections":3320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},272624,"cheng-fen-wen-ju-zhu-mo-yi-ming-272624","成份文具-朱墨",[324,7,2206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e29942963d7f88811957d5819faf8c9.jpg",[],{"id":3322,"slug":3323,"title":2235,"dynasty":77,"author":47,"museum":20,"description":353,"tags":3324,"thumbUrl":3325,"material":35,"size":36,"collection":37,"collections":3326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272623,"yu-ming-cheng-ni-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-272623",[124,599,2237,32,178,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832d06de81b07e89c18e16d3b7086e37.jpg",[],{"id":3328,"slug":3329,"title":3330,"dynasty":77,"author":47,"museum":20,"description":247,"tags":3331,"thumbUrl":3333,"material":35,"size":36,"collection":37,"collections":3334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272622,"yu-ming-cheng-ni-yan-fang-tang-ba-leng-cheng-ni-yan-yi-ming-272622","御铭澄泥砚-仿唐八棱澄泥砚",[124,599,409,32,7,3332],"八棱器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb36261a2e77389829836b8260e22380c.jpg",[],{"id":3336,"slug":3337,"title":3338,"dynasty":77,"author":47,"museum":20,"description":247,"tags":3339,"thumbUrl":3340,"material":35,"size":36,"collection":37,"collections":3341,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},272619,"yu-ming-duan-shi-feng-zi-xing-yan-yi-ming-272619","御铭端石风字形砚",[124,239,409,336,32,7,178,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cb7ae91404dc41c9b86539eb27d7cd.jpg",[],{"id":3343,"slug":3344,"title":3345,"dynasty":77,"author":47,"museum":20,"description":344,"tags":3346,"thumbUrl":3348,"material":35,"size":36,"collection":37,"collections":3349,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},272618,"yu-ming-cheng-ni-yan-fang-han-shi-qu-ge-wa-yan-yi-ming-272618","御铭澄泥砚-仿汉石渠阁瓦砚",[124,599,7,3347],"瓦形砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffda834300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棕竹笔管纹理苍古，浅镌蕙兰与诗文，刀痕清逸秀雅，将幽花之姿与锦句之韵凝于一管。紫毫笔尖挺健锋利，兼具实用与审美价值。管身两端以牙料装裹，温润质感调和竹材的朴拙苍劲，方寸细节皆见制器匠心。\n\n整器文气馥郁，既是挥毫染翰的趁手佳具，亦是可陈可藏的文房清玩，尽显清代文房工艺的雅致格调，暗合旧时文苑的风雅意趣。",[68,418,10306,10307,178,7],"棕竹","蕙兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba649499d28308ee170cfcd1234e763e.jpg",[],{"id":10311,"slug":10312,"title":2108,"dynasty":77,"author":47,"museum":20,"description":10313,"tags":10314,"thumbUrl":10315,"material":35,"size":36,"collection":37,"collections":10316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271099,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271099","此笔以竹为管，取留青浅刻之法，一面镂绘水仙绰约芳姿，卷叶柔花清雅动人；一面阴镌题诗，笔意娟秀工稳。紫毫出锋修挺利落，聚锋极佳，适配书写小楷。牙质装口素净温润，与竹管浅黄底色相映，色调清和雅致。\n\n整器将莳花诗意与文房工巧相融，褪去浮华尽显清简文心，是文房制艺与文人雅趣合一的绝佳体现，实用之外更添赏玩之趣，堪称精巧雅致的文房佳作。",[68,418,52,137,178,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0791a8e251c0e39f6d54dd398aa8fd92.jpg",[],{"id":10318,"slug":10319,"title":10320,"dynasty":77,"author":47,"museum":20,"description":10321,"tags":10322,"thumbUrl":10324,"material":35,"size":36,"collection":37,"collections":10325,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271096,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-qian-niu-hua-shi-bi-yi-ming-271096","各式御制花卉诗管紫毫笔-竹管牵牛花诗笔","浅黄竹管温润素净，阴刻题字隽秀疏朗，将笔墨文气凝于尺管之间。紫毫锋颖锐利，褐紫毫色沉静内敛，弹力匀适，兼具书写小楷与勾勒细绘之能。\n\n配套笔斗浅镂牵牛花枝，柔蔓缠卷、花苞轻垂，将咏花诗句与镂花工艺相融。将寻常文房用具，点化为可赏可藏的随身雅玩，藏着旧时文人将风雅浸透日常的审美意趣，把花木清致与笔墨闲情合为一体，尽显清雅文心。",[68,589,2093,10323,7],"牵牛花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a2f3a6f98940eb78a24443632da54f.jpg",[],{"id":10327,"slug":10328,"title":10329,"dynasty":77,"author":47,"museum":20,"description":10330,"tags":10331,"thumbUrl":10332,"material":35,"size":36,"collection":37,"collections":10333,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271095,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-ying-su-hua-shi-bi-yi-ming-271095","各式御制花卉诗管紫毫笔-竹管罂粟花诗笔","此笔以竹为管，浅镌罂粟花枝，配题诗句，刀工清浅秀雅，将花木之妍与笔墨之趣相融一体。紫毫锋颖修长劲挺，蓄墨适中，是挥毫染翰的趁手佳器。笔管两端以牙料为饰，素洁温润，和竹质的清隽朴雅相映成趣。整器制式规整，兼具实用与赏玩之妙，把诗思、雕刻工艺与文房雅物合而为一，尽显旧时文房器物的雅致格调，是匠艺与文心碰撞出的精巧之作。",[68,2093,2092,178,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170425587122d216ce9fbd6ef50e909f.jpg",[],{"id":10335,"slug":10336,"title":10337,"dynasty":77,"author":47,"museum":20,"description":10338,"tags":10339,"thumbUrl":10341,"material":35,"size":36,"collection":37,"collections":10342,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271091,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shi-liu-hua-shi-bi-yi-ming-271091","各式御制花卉诗管紫毫笔-竹管石榴花诗笔","竹管浅黄莹润，笔身镌刻诗文，笔墨意趣藏于方寸。紫毫笔头锋颖修长锐挺，紫毫坚劲，适配小楷细书。配套笔斗雕石榴花卉，刀工细腻，暗合多子吉祥的美好意涵。\n\n整器制式周正雅致，将文房清趣与宫廷工巧相融，把制笔工艺、雕刻技法与吉祥寓意外化为文房雅物，尽显清代文房器具的精巧匠心，静穆中晕开传统文房的隽永情致。",[68,418,589,7,1466,10340],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdedc2d67a6567e67f79a5c445d762a9d.jpg",[],{"id":10344,"slug":10345,"title":10337,"dynasty":77,"author":47,"museum":20,"description":10346,"tags":10347,"thumbUrl":10348,"material":35,"size":36,"collection":37,"collections":10349,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271088,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shi-liu-hua-shi-bi-yi-ming-271088","竹管莹润修长，浅镌诗文，将文思与工巧藏于素朴纹理间，笔韵墨意暗流于方寸之上。笔帽烫绘石榴花，榴华灼灼，暗寓多子嘉祥的美好意涵。首尾以骨质饰件镶嵌，凝润素雅，中和竹材的清朴质感。紫毫笔锋颖锐齐整，攒束精良，尽显制笔工艺的精妙。\n\n整器兼具实用与赏玩之趣，将题咏、雕刻与文房雅器合而为一，尽显旧时文房清隽雅致的审美意韵，藏着传统文人的闲情雅思，亦见匠人造物的极致用心。",[68,279,178,10340,2093,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d7fd81a23157d4b40970d7fc8cc9ec.jpg",[],{"id":10351,"slug":10352,"title":10353,"dynasty":77,"author":47,"museum":20,"description":10354,"tags":10355,"thumbUrl":10356,"material":35,"size":36,"collection":37,"collections":10357,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271083,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-lan-ju-hua-shi-bi-yi-ming-271083","各式御制花卉诗管紫毫笔-竹管兰菊花诗笔","竹管以留青浅刻技法，将兰菊清姿晕染于竹色肌理，辅以题诗刀笔秀雅细腻，刻绘柔婉地衬出花草悠然逸态。紫毫锋颖锐利，毛色青黑莹润，属制笔上品。骨质装口温润素净，更衬竹韵清雅。整器融制笔工艺与竹刻书画于一体，兼具文房实用与案头赏玩之趣，将旧时文人案头的隽秀审美藏于其间，尽显文玩器物的风雅意趣，是传统文房里工艺与艺术性兼备的精巧之作。",[68,418,589,179,1176,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e03ca8f7b0a8d4ac5ebc432ba1a692.jpg",[],{"id":10359,"slug":10360,"title":2108,"dynasty":77,"author":47,"museum":20,"description":10361,"tags":10362,"thumbUrl":10363,"material":35,"size":36,"collection":37,"collections":10364,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":208},271082,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271082","浅刻留青技法晕染竹管，水仙舒展灵动，花瓣脉络纤毫毕现，阴刻诗文与花影相映，刀工清浅秀雅，将文思与画意凝于一管。紫毫锋颖锐挺褐亮，攒束紧实，尽显制笔匠心。牙质装顶温润素净，与竹管清雅相得益彰，整体形制秀巧隽雅，融工艺审美与书写实用为一体，藏着旧时文房的静雅意趣，是兼具赏用之妙的文房佳器。",[68,418,2092,137,178,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bd85a02ac124ff1e83286172b5f0de.jpg",[],{"id":10366,"slug":10367,"title":10368,"dynasty":77,"author":47,"museum":20,"description":10369,"tags":10370,"thumbUrl":10372,"material":35,"size":36,"collection":37,"collections":10373,"sho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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。",[80,1148,458,13205,7,69],"方洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee13acc9f20015f880bc747293f7164c.jpg",[192],{"id":13209,"slug":13210,"title":13211,"dynasty":77,"author":47,"museum":20,"description":213,"tags":13212,"thumbUrl":13213,"material":35,"size":36,"collection":37,"collections":13214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259619,"yong-zheng-kuan-fang-guan-you-san-zu-xi-yi-ming-259619","雍正款仿官釉三足洗",[80,1140,13027,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b250582e8c2e62a947275e02c99bd3.jpg",[],{"id":13216,"slug":13217,"title":13218,"dynasty":1947,"author":47,"museum":20,"description":1948,"tags":13219,"thumbUrl":13221,"material":35,"size":36,"collection":192,"collections":13222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259596,"yue-yao-qing-you-shui-cheng-yi-ming-259596","越窑青釉水丞",[80,1148,2441,7,13220],"刻划纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4645de338fbf6806b6acb4d2a13d19e6.jpg",[192],{"id":13224,"slug":13225,"title":2680,"dynasty":1947,"author":47,"museum":20,"description":2681,"tags":13226,"thumbUrl":13227,"material":35,"size":36,"collection":37,"collections":13228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259595,"qing-you-shui-cheng-yi-ming-259595",[80,1148,458,7,69,1042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd8125f481b73b9c34def3bca47c3f2.jpg",[],{"id":13230,"slug":13231,"title":13218,"dynasty":1947,"author":47,"museum":20,"description":1948,"tags":13232,"thumbUrl":13233,"material":35,"size":36,"collection":192,"collections":13234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259593,"yue-yao-qing-you-shui-cheng-yi-ming-259593",[80,7,1148,2441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978f47d0a138f23fc484401d8db5f11b.jpg",[192],{"id":13236,"slug":13237,"title":13238,"dynasty":46,"author":47,"museum":20,"description":1137,"tags":13239,"thumbUrl":13240,"material":35,"size":36,"collection":37,"collections":13241,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},259580,"xian-hong-you-su-e-xing-bi-shan-yi-ming-259580","鲜红釉宿鹅形笔山",[80,10117,7,2205,12663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dbbd7587a5b9275760937dee9e10dc4.jpg",[],{"id":13243,"slug":13244,"title":13245,"dynasty":77,"author":47,"museum":20,"description":107,"tags":13246,"thumbUrl":13247,"material":35,"size":36,"collection":37,"collections":13248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259298,"jia-qing-kuan-qing-hua-chan-zhi-lian-kai-guang-shi-wen-hai-tang-shi-xi-yi-ming-259298","嘉庆款青花缠枝莲开光诗文海棠式洗",[80,443,2656,905,1077,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d3b3f862a94a53a08a2646b979c02f.jpg",[],{"id":13250,"slug":13251,"title":13252,"dynasty":77,"author":47,"museum":20,"description":1104,"tags":13253,"thumbUrl":13254,"material":35,"size":36,"collection":192,"collections":13255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},259053,"yi-xing-yao-zi-sha-yin-ni-he-yi-ming-259053","宜兴窑紫砂印泥盒",[80,2721,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e002db861a0f11d328e593a5cec7ec9.jpg",[192],{"id":13257,"slug":13258,"title":13259,"dynasty":77,"author":47,"museum":20,"description":1104,"tags":13260,"thumbUrl":13261,"material":35,"size":36,"collection":192,"collections":13262,"showCount":11,"zanCount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玉「福寿无疆」螭耳水盛",[2799,13441,178,4633,7,13680,291,13681,1369],"螭耳","玉质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081bc19ab79fb3f40cde140aa3a12f42.jpg",[],{"id":13685,"slug":13686,"title":13687,"dynasty":46,"author":47,"museum":20,"description":353,"tags":13688,"thumbUrl":13690,"material":35,"size":36,"collection":37,"collections":13691,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},228674,"qing-yu-chi-bing-yuan-xi-yi-ming-228674","青玉螭柄圆洗",[355,13689,178,292,1208,1498,216,7,977,1770,3130],"青玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013f9d9e1f839a65f71e7ab4c9b1f3f5.jpg",[],{"id":13693,"slug":13694,"title":13695,"dynasty":46,"author":47,"museum":20,"description":1193,"tags":13696,"thumbUrl":13698,"material":35,"size":36,"collection":37,"collections":13699,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},228649,"duan-shi-tao-tie-kui-wen-yan-yi-ming-228649","端石饕餮夔纹砚",[2799,239,178,13697,1314,124,7,69],"饕餮纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c8495fd528beaf49375b0979e2eb80c.jpg",[],{"id":13701,"slug":13702,"title":13703,"dynasty":46,"author":47,"museum":20,"description":353,"tags":13704,"thumbUrl":13705,"material":35,"size":36,"collection":37,"collections":13706,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},228519,"qing-yu-shui-sheng-yi-ming-228519","青玉水盛",[2799,355,178,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab32e59dbf52b6c7c21a1064494eedd.jpg",[],{"id":13708,"slug":13709,"title":13710,"dynasty":46,"author":47,"museum":20,"description":407,"tags":13711,"thumbUrl":13712,"material":35,"size":36,"collection":37,"collections":13713,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},228501,"chou-chi-shi-yuan-mo-yi-ming-228501","仇池石圆墨",[2799,324,178,258,7,3392,9235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b046b701e68e9c88e7d6a42ea3a7f6.jpg",[],{"id":13715,"slug":13716,"title":13717,"dynasty":62,"author":47,"museum":20,"description":1167,"tags":13718,"thumbUrl":13719,"material":35,"size":36,"collection":37,"collections":13720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},227791,"qing-bai-yu-tao-shi-xi-yi-ming-227791","青白玉桃式洗",[355,13441,178,2923,7,1042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad08bbce9edb6bc6c9902927fc1a29e3.jpg",[],{"id":13722,"slug":13723,"title":13724,"dynasty":62,"author":47,"museum":20,"description":13725,"tags":13726,"thumbUrl":13731,"material":35,"size":36,"collection":37,"collections":13732,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},227402,"zhang-shi-xie-jing-cheng-ni-chao-shou-yan-yi-ming-227402","张栻写经澄泥抄手砚","石砚之外，宋人常用澄泥砚。澄泥砚是以有黏性的细泥为原料，过滤、沈淀、捶打制成砚形，再廕干、低温烧成。这件澄泥砚下端微外张，略成风字形，砚背斜挖空，成抄手砚，作工质朴，造型优雅。澄泥色淡而黄，质轻细润，是澄泥中的上品。砚侧阴刻隶书：「南轩老人写经砚」，南轩老人可能是南宋理学学者张栻（1133-1180），字敬夫，号南轩。张栻曾苦心经营岳麓书院，使书院盛极一时，其学与朱熹、吕祖谦齐名。砚为文人的书斋必备的用具，宋人用砚的同时，一侧常置水盂、砚滴和笔山等，砚滴多以铜蟾蜍等动物形，笔山则为玉制山形，或取珊瑚的自然形状，总以古趣、自然的风格为尚，各色文房用具并陈几案之上，不仅宜于书写，置身其中，倍感书斋恬静温雅的氛围。",[124,1178,1874,455,13727,178,8771,155,7,13728,13729,13730],"抄手砚式","澄泥制","宋代器物","雕刻工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b2171f13d61d7e0963773f284f9da5.jpg",[],{"id":13734,"slug":13735,"title":13736,"dynasty":62,"author":47,"museum":20,"description":13737,"tags":13738,"thumbUrl":13740,"material":35,"size":36,"collection":37,"collections":13741,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},223891,"duan-shi-zhong-gua-yan-yi-ming-223891","端石重卦砚","端砚以其“致密、坚实、细腻、幼嫩、温润如玉”的石质、独特的天然石品花纹以及巧夺天工的工艺制作，位居“四大名砚”之首，被世人誉为“天下第一砚”，千百年来受到帝王将相以及文人墨客的宠爱和推崇。端砚不但古来已十分名贵，更因几大名坑砚材枯竭，近年已所有名坑都已“封坑”，特别是老坑已封坑多年，无石可采。可以被称为“疯狂的石头”的，除了翡翠，其实还有端砚。在广东肇庆，已经成名1000多年的端砚，如今大有续演翡翠当年“疯狂之旅”的势头，七八年间价格涨幅高达二三十倍。",[455,124,239,178,7,1182,13739],"古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576967b8ad39a7d1589757e00b2b2795.jpg",[],{"id":13743,"slug":13744,"title":13745,"dynasty":62,"author":47,"museum":20,"description":13746,"tags":13747,"thumbUrl":10,"material":35,"size":36,"collection":37,"collections":13748,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":129},223879,"xiao-yu-xi-yi-ming-223879","小玉洗","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”。",[455,355,178,7,69],[],1777535694758]