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,273352,"tong-du-jin-xiang-tong-yi-ming-273352","铜镀金香筒","仿亭阁为形，宝顶飞檐自带古雅气韵。筒身透雕缠枝卷草，金苍龙蜿蜒穿游于繁枝之间，身姿灵动矫健，生气盎然。通体镀金莹亮华贵，嵌饰珠宝于卷草纹路里提亮点缀，分毫之处尽显匠心巧思。\n\n这件香器融极致五金工艺于礼佛香具，尽显华贵雅致的宫廷审美。熏香之际，青烟自镂孔徐徐漫出，朦胧间衬得器物更显古韵悠然，是清代金属细作的上乘佳器。",[29,24,98,28,99,7],"金器","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79092640eaed92ac81b3fa0b3a37f8e7.jpg",[],"BDBDBD",{"id":104,"slug":105,"title":106,"dynasty":41,"author":19,"museum":20,"description":54,"tags":107,"thumbUrl":113,"material":31,"size":32,"collection":33,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},270257,"xuan-de-kuan-tong-hui-er-quan-zu-xun-lu-yi-ming-270257","宣德款铜虺耳圈足熏炉",[24,23,108,109,110,111,112,7,29],"熏炉","虺耳","圈足","镂空纹饰","卍字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc816a812041a6ec156518cdec50b0bd9.jpg",[],{"id":116,"slug":117,"title":118,"dynasty":41,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":125,"material":31,"size":32,"collection":33,"collections":126,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},263522,"fang-ge-you-yu-er-lu-yi-ming-263522","仿哥釉鱼耳炉","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。",[74,121,122,7,123,24,124,28],"仿哥釉","鱼耳炉","玉石","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b5701ee4c9c921f044a402a85658b8.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":131,"author":19,"museum":20,"description":132,"tags":133,"thumbUrl":137,"material":31,"size":32,"collection":33,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},261833,"qing-you-xun-lu-yi-ming-261833","青釉熏炉","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。”",[74,108,134,135,136,29,27,7],"青釉","镂空","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face4a7ce60cd4f492e9e71fda37b2726.jpg",[],{"id":140,"slug":141,"title":142,"dynasty":41,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":148,"material":31,"size":32,"collection":33,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":102},245765,"yin-san-ceng-yuan-xiang-he-yi-ming-245765","银三层圆香盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[145,89,29,28,146,147,7],"清代","三层","圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa4a27a7c1d37c64354fc8bc6658cc.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":154,"author":19,"museum":20,"description":155,"tags":156,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":102},231871,"san-ding-mi-ni-xiang-lu-yi-ming-231871","三鼎迷你香炉","元","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[74,29,157,136,7],"礼器",[],1777535733046]