[{"data":1,"prerenderedAt":85},["ShallowReactive",2],{"subject-xi-kou-ping":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10669,"xi-kou-ping","洗口瓶","洗口瓶画高清赏析","精选中国历代洗口瓶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb778322930a67bbb3fd2d7e51002e18.jpg",0,5,[14,32,47,62,75],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":31},262284,"guang-yao-tian-lan-you-xi-kou-ping-yi-ming-262284","广窑天蓝釉洗口瓶","清","佚名","藏地不详","广窑是宋代瓷窑。在广东肇庆阳江。宋南渡后所建。胎质粗而色褐。器多天蓝色，惟不甚匀，釉厚处或作靛蓝色，釉薄处或作灰蓝色，无釉处所现之色如黄酱色。\n我国在东汉晚期（公元二世纪）烧制出了成熟的青釉瓷器，到了唐代，全国的陶瓷生产有了更大的发展。当时国家采取了与民生息的政策，开发落后地区，沟通海陆交通，加强对外的文化交流和贸易活动，促进了全国市场的形成，陶瓷制品更加普遍地应用于社会生活中，并且大宗向海外输出。",[23,7,24,25],"陶瓷","天蓝釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924f423db5fbe6eaa54e691c0572706e.jpg","未知","Xcm*Xcm","瓷器精选",[29],"795548",{"id":33,"slug":34,"title":35,"dynasty":36,"author":19,"museum":20,"description":37,"tags":38,"thumbUrl":43,"material":27,"size":28,"collection":44,"collections":45,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},261734,"qing-you-xian-wen-xi-kou-ping-yi-ming-261734","青釉弦纹洗口瓶","晋","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。”",[23,39,40,7,41,42],"青釉","弦纹","器","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406121469fe532eadeb8021b83b51550.jpg","",[],"37474F",{"id":48,"slug":49,"title":50,"dynasty":18,"author":19,"museum":20,"description":51,"tags":52,"thumbUrl":60,"material":27,"size":28,"collection":44,"collections":61,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":31},261598,"yong-qing-chang-chun-kuan-fen-di-fen-cai-hua-niao-tu-shou-er-xian-huan-xi-kou-ping-yi-ming-261598","永庆长春款粉地粉彩花鸟图兽耳衔环洗口瓶","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。",[23,53,54,7,55,56,57,58,59],"粉彩","兽耳衔环","花鸟","菊","蝶","设色","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17dca7f60444e474fa0971ef18ab2391.jpg",[],{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":72,"material":27,"size":28,"collection":44,"collections":73,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},261186,"yong-zheng-kuan-dong-qing-you-tu-long-wen-xi-kou-ping-yi-ming-261186","雍正款冬青釉凸龙纹洗口瓶","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。",[23,68,69,70,7,71],"龙","凸龙纹","冬青釉","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0ef9c3339a51798d1c4a7b983fe993.jpg",[],"FFFFFF",{"id":76,"slug":77,"title":78,"dynasty":79,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":10,"material":27,"size":28,"collection":44,"collections":83,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},260209,"lv-you-xian-wen-xi-kou-ping-yi-ming-260209","绿釉弦纹洗口瓶","宋","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。",[23,41,82,40,7],"绿釉",[],"BDBDBD",1777535756949]