[{"data":1,"prerenderedAt":221},["ShallowReactive",2],{"subject-xiao-wan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5992,"xiao-wan","小碗","小碗画高清赏析","精选中国历代小碗题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f1352b3e8b65352d6d3dfbc1db8a29.jpg",0,19,[14,35,47,61,72,78,91,99,111,123,132,142,150,158,166,176,186,197,206],{"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":33,"manualWeight":11,"mainColor":34},260327,"qing-you-ke-huan-wen-xiao-wan-yi-ming-260327","青釉刻环纹小碗","隋","佚名","藏地不详","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。”",[23,24,25,26,7],"陶瓷","日用具","青釉","刻环纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dad67263cefcdedb5d1909db3f1dddb.jpg","未知","Xcm*Xcm","",[],5,1,"FFFFFF",{"id":36,"slug":37,"title":38,"dynasty":18,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":43,"material":28,"size":29,"collection":30,"collections":44,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},259606,"bai-you-xiao-wan-yi-ming-259606","白釉小碗","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。",[23,41,24,42,7],"器","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeef0d50f0507f5fff0addb4f864697e.jpg",[],3,"795548",{"id":48,"slug":49,"title":50,"dynasty":51,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":56,"material":28,"size":29,"collection":57,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},260152,"ji-zhou-yao-jian-zhi-tie-hua-xiao-wan-yi-ming-260152","吉州窑剪纸贴花小碗","宋","吉州窑，是汉族传统制瓷工艺中的珍品，作为江南地区（江西吉安）一座举世闻名的综合性瓷窑，它具有浓厚的地方风格与汉民族艺术特色。吉州窑的丰富烧瓷，经验和名工巧匠对江西地区瓷业的发展提高，曾起过相当重要的促进作用。吉州古窑兴于晚唐，盛于两宋，衰于元末，因地命名，因当时永和又为东昌县治，故又名东昌窑、永和窑。吉州窑产品精美丰富，尤以黑釉瓷（亦称天目釉瓷）产品著称，其独创的“木叶天目”、“剪纸贴花天目”和“玳瑁天目”饮誉中外。洒釉、虎皮天目等也是吉州窑的标志性品种。\n卞向和在对中国陶瓷发展中对吉州窑有过认识，他指出：吉州窑在中国陶瓷发展中具有十分重要的意义，吉州窑不仅将中原的制瓷工艺溶于之中，还将吉州本地的人文情趣绘于瓷器上，并在造型，瓷的机理上有新的变化，使吉州窑成为中国瓷的重要品类，才使古代的欧洲、中东各国的王室贵族爱上吉州瓷。",[23,24,7,54,55],"剪纸贴花","盛食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa8aadacec4247d5acd41a5b0d937f5.jpg","瓷器精选",[57],2,"F48FB1",{"id":62,"slug":63,"title":64,"dynasty":51,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":69,"material":28,"size":29,"collection":57,"collections":70,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":71},259687,"jian-yao-hei-you-xiao-wan-yi-ming-259687","建窑黑釉小碗","建窑，是宋代福建烧造黑釉茶盏的著名窑场。窑址有芦花坪、牛皮仑、大路后山、营长乾等处，遗物分布面积约12万平方米。建窑创烧于晚唐五代， 历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 以上。在1300多度的高温熔烧过程中，窑温的变化，使釉面产生奇特的花纹。\n由于宋代斗茶风尚盛行，而主烧适宜为斗茶的黑釉茶盏，亦称建盏，以水吉镇窑制品为最，北宋后期曾为宫廷烧制斗茶使用的黑釉盏，并于器底刻"进盏"、"供御"字样。建阳窑产品使用含铁高的原料做胎，因而胎色深黑坚硬，有"铁胎"之俗称，或名乌泥窑、黑建、乌泥建等。盏内外均施黑釉，外壁釉不到底，露黑色胎。",[23,24,67,7,68],"黑釉","兔毫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f91fe581dd8def930080d624103ce21.jpg",[57],"BDBDBD",{"id":73,"slug":74,"title":38,"dynasty":18,"author":19,"museum":20,"description":39,"tags":75,"thumbUrl":76,"material":28,"size":29,"collection":30,"collections":77,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":46},259605,"bai-you-xiao-wan-yi-ming-259605",[23,24,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125e7eae118a0eb62bdcc4827c7d173b.jpg",[],{"id":79,"slug":80,"title":81,"dynasty":82,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":89,"material":28,"size":29,"collection":30,"collections":90,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":46},261917,"qing-hua-hua-die-wen-wo-zu-xiao-wan-yi-ming-261917","青花花蝶纹卧足小碗","清","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。",[23,85,86,7,24,87,88],"青花","花蝶","花草","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec3069554dcbf37a538fd089cac9e6a.jpg",[],{"id":92,"slug":93,"title":94,"dynasty":51,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":97,"material":28,"size":29,"collection":57,"collections":98,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":46},260108,"lin-ru-yao-qing-you-ji-xin-xiao-wan-yi-ming-260108","临汝窑青釉鸡心小碗","汝窑，宋代五大名窑之一，因窑址位于宋时河南汝州境内而得名，今河南省宝丰县大营镇清凉寺村和汝州市张公巷均发现汝窑烧造。汝瓷位居宋代“汝、官、哥、钧、定”五大名窑之首，在中国陶瓷史上素有“汝窑为魁”之称。汝窑是中华传统制瓷著名瓷种之一，中国北宋、南宋、明朝时期皇家主要代表瓷器。\n汝瓷造型古朴大方，以名贵玛瑙为釉，色泽独特，有“玛瑙为釉古相传”的赞誉。随光变幻，观其釉色，犹如“雨过天晴云破处”，“千峰碧波翠色来”之美妙，土质细润，坯体如侗体其釉厚而声如磬，明亮而不刺目。器表呈蝉翼纹细小开片，有“梨皮、蟹爪、芝麻花”之特点，被世人称为“似玉、非玉、而胜玉”。宋、元、明、清以来，宫廷汝瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，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。”",[23,24,25,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68c1bddae59006ce93e22376727c2ae.jpg",[57],{"id":100,"slug":101,"title":102,"dynasty":82,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":109,"material":28,"size":29,"collection":30,"collections":110,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":71},258228,"yong-zheng-kuan-qing-hua-tuan-hua-wen-xiao-wan-yi-ming-258228","雍正款青花团花纹小碗","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。",[82,23,85,105,106,107,108,7],"团花","花卉","缠枝纹","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2441f4890f64c1ebafd2aecf46569510.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":82,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":121,"material":28,"size":29,"collection":30,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},261981,"kang-xi-kuan-dou-cai-ren-wu-tu-xiao-wan-yi-ming-261981","康熙款斗彩人物图小碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[23,117,118,7,24,119,120],"斗彩","人物","草木","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e44093ee92ed31cde0002a8e01783e0.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":51,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":130,"material":28,"size":29,"collection":30,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},261420,"hei-zhe-you-xiao-wan-yi-ming-261420","黑赭釉小碗","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。",[23,41,24,7,129],"黑赭釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65bfa4bc8edd6ba70eb2c0fa3367a07.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":136,"author":19,"museum":20,"description":21,"tags":137,"thumbUrl":140,"material":28,"size":29,"collection":30,"collections":141,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},260805,"qing-you-he-ban-xiao-wan-yi-ming-260805","青釉褐斑小碗","晋",[23,24,138,25,139,7],"饪食器","褐斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0621fb83704fd3ec811f076efa7c1034.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":51,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":148,"material":28,"size":29,"collection":57,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},260600,"yao-zhou-yao-qing-you-xiao-wan-yi-ming-260600","耀州窑青釉小碗","耀州窑是中国传统制瓷工艺中的珍品，宋代六大窑系。位于今陕西省铜川市的黄堡镇，唐宋时属耀州治，在唐代就是中国陶瓷烧制的著名产地，宋代更进一步达到鼎盛，成为我国“宋代六大窑系”中的一个窑系。\n耀州窑是北方青瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[23,25,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e1569f1021a47f4c43ad9eaed7152d.jpg",[57],{"id":151,"slug":152,"title":153,"dynasty":82,"author":19,"museum":20,"description":83,"tags":154,"thumbUrl":156,"material":28,"size":29,"collection":30,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},260298,"cheng-hua-kuan-qing-hua-shuang-feng-wen-xiao-wan-yi-ming-260298",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