[{"data":1,"prerenderedAt":97},["ShallowReactive",2],{"subject-yu-er":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5871,"yu-er","鱼耳","鱼耳画高清赏析","精选中国历代鱼耳题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4ad1b44b37e95b6a37224705c70bd9.jpg",0,7,[14,35,50,63,73,81,90],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},256257,"ge-yao-qing-you-yu-er-lu-yi-ming-256257","哥窑青釉鱼耳炉","宋","佚名","藏地不详","“哥窑”名列宋代五大名窑，在陶瓷史上有举足轻重的地位。哥窑胎多紫黑色、铁黑色、也有黄褐色。釉为失透的乳浊釉，釉面泛一层酥光，釉色以炒米黄、灰青多见，釉面大小纹片结合。\n经染色后大纹片呈深褐色，小纹片为黄褐色，也称‘金丝铁线’“墨纹梅花片”“叶脉纹”‘文武片’等。这是传世哥窑的主要特征之一。器形有各式瓶、炉、尊、洗及碗、盆、碟等。多见仿古造型，底足制作不十分规整，釉面常见缩釉和棕眼。\n而《中国陶瓷史》这样叙述：\n造型有各式瓶、炉、洗、盘、罐等。论胎有厚薄之分，其胎质有瓷胎和砂胎两种，胎色有黑灰、深灰、浅灰、土黄多种色调，釉色也有粉青、月白、油灰、青黄各色。从时间上讲，这里应有早晚之别，从产地说也有恐非一个瓷窑的作品，情况是比较复杂的。\n记载“哥窑”的古文献主要有：元代的《至正直记》，明代的《格古要论》、《遵生八笺》，清代的《博物要览》以及明代的《浙江通志》等。但究竟哥窑窑址何在？性质如何?一直是陶瓷史研究中众说纷纭、悬而未决的问题。\n流传于世的“哥窑”经典器大多源自清宫旧藏，由于这批器物与古文献中的记载的“哥窑”特征不符，而且没有考古资料佐证，因而造成了中国陶瓷史上最大的悬疑。\n为区别于明、清文献中所记载得哥窑（龙泉章生一窑），宫中名为“哥窑”的传世品，后世鉴赏家称其为“传世哥窑”。\n由于原来被认为哥窑的龙泉黑胎开片瓷被认为是“龙泉仿官”和“龙泉官窑”，宋代似乎就不存在哥窑，文献关于哥窑的记述被认为是以讹传讹。然而，仔细研究和分析，就会发觉事情并非如此简单，其关键在于“龙泉官窑”和杭州郊坛下官窑孰先孰后的问题并未真正得到解决。由于“龙泉官窑”的立论建立在“龙泉仿官”的基础上，认为仿官是不可能的，却又与官窑相一致，自然是官窑，并认为杭州郊坛下不能满足朝廷之需，再在龙泉烧造以充不足。这一观点很自然地派生出杭州郊坛下官窑早于龙泉官窑的定论。\n然而，没有足够的考古资料证明这一观点，并由此还引发出种种疑团：郊坛下不能满足朝廷之需，为什么不就地扩充、就近扩充，而要到千里之外的龙泉建窑烧造？宋室南渡带来了北方工匠，他们惯于圆窑用煤烧造，何以能在杭州建立龙窑用柴烧造？文献关于哥窑的论述难道一定都是空穴来风吗？哥不能仿官，但官却可以仿哥，各朝各代的官窑都建立在民窑的基础上，难道就不存在官仿哥的可能吗？宋室南渡，皇帝漂泊13年，这期间南渡窑工在何处生存？如何生存？是吃皇粮还是自谋出路？这些疑问最终都聚焦在龙泉最初的黑胎开片瓷的年代和性质上，也就是说龙泉最初的黑胎开片瓷会不会是皇帝颠沛流离的十余年中北方工匠和龙泉窑工技艺结合的产物？",[18,23,24,25,26,7,27],"陶瓷","开片","青釉","炉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76469d692c60dd0d5445590d8a71c61.jpg","未知","Xcm*Xcm","瓷器精选",[31],6,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":10,"material":29,"size":30,"collection":46,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},228106,"yue-bai-qing-ci-yu-er-lu-yi-ming-228106","月白青瓷鱼耳炉","元","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[23,42,43,24,7,44,45,27],"青瓷","月白釉","炉形器","元代","",[],4,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":61,"material":29,"size":30,"collection":46,"collections":62,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270452,"xuan-de-kuan-tong-yu-er-quan-zu-lu-yi-ming-270452","宣德款铜鱼耳圈足炉","清","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[57,58,26,7,59,60],"铜制","青铜器","圈足","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773842cec090b55b230fab0d14cc7615.jpg",[],{"id":64,"slug":65,"title":53,"dynasty":66,"author":19,"museum":20,"description":67,"tags":68,"thumbUrl":71,"material":29,"size":30,"collection":46,"collections":72,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270276,"xuan-de-kuan-tong-yu-er-quan-zu-lu-yi-ming-270276","明","此炉造型古雅温婉，敛口微撇，垂腹丰腴饱满，圈足矮实沉稳，线条流转柔润，端庄不失秀逸。两侧鱼耳灵动写实，鳍棱宛然如生，既为器身点缀灵动意趣，又精妙平衡视觉重心。\n\n铜质精纯缜密，包浆醇厚沉润，色泽深褐如蜜，宝光内敛温润，是时光摩挲氧化晕染出的自然质感。器身素面无饰，将铜料本身的温润质感全然彰显，暗合明代崇古尚简的审美意趣，简约却尽显大气沉静。\n\n整器比例匀停合度，铸工精湛，入手沉甸，静穆中带着隽秀雅致，尽显古制铜炉的不俗工艺水准，为文房清供佳器，可伴香席雅事，暗合古人焚香静思的幽远意韵。",[58,57,7,69,60,70],"圈足炉","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee89d37477c8f85342d73d56d26e5171.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":66,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":79,"material":29,"size":30,"collection":46,"collections":80,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},270275,"xuan-de-kuan-tong-yu-er-lu-yi-ming-270275","宣德款铜鱼耳炉","此炉造型温婉端庄，敞口敛腹下承圈足，线条舒展柔和，自带沉静雅致的气韵。两侧鱼耳古拙灵动，既添装饰意趣，又暗合吉庆有余的美好寓意。周身铜色苍古，斑驳包浆凝着岁月浸蚀的痕迹，沉厚锈色晕染出旧时光的质感，古韵盎然。作为文房焚香的雅器，它以极简形制承载内敛雅致的审美意趣，摩挲间可感时光沉淀的温润，尽显古雅沉静的文人雅韵。",[58,57,26,7,70,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e353715b282e43665e012d4a54c1d95.jpg",[],{"id":82,"slug":83,"title":84,"dynasty":39,"author":19,"museum":20,"description":40,"tags":85,"thumbUrl":88,"material":29,"size":30,"collection":46,"collections":89,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},228125,"qing-ci-yu-er-lu-1-yi-ming-228125","青瓷鱼耳炉-1",[23,42,24,27,7,86,70,87],"玉钮","冰裂纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd81f35f8ecb3673e0ddd347d7f9f4a3.jpg",[],{"id":91,"slug":92,"title":93,"dynasty":39,"author":19,"museum":20,"description":40,"tags":94,"thumbUrl":95,"material":29,"size":30,"collection":46,"collections":96,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},228124,"qing-ci-yu-er-lu-yi-ming-228124","青瓷鱼耳炉",[23,42,24,70,27,7],"h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