[{"data":1,"prerenderedAt":210},["ShallowReactive",2],{"subject-yu-hu-chun-ping":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9992,"yu-hu-chun-ping","玉壶春瓶","玉壶春瓶画高清赏析","精选中国历代玉壶春瓶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10076768304bd162d8b42c831fc3d679.jpg",0,18,[14,33,49,63,69,83,97,107,118,127,136,147,156,163,171,181,191,201],{"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":12,"zanCount":11,"manualWeight":11,"mainColor":32},256628,"yong-zheng-kuan-fen-cai-he-lian-wen-yu-hu-chun-ping-yi-ming-256628","雍正款粉彩荷莲纹玉壶春瓶","清","佚名","藏地不详","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。",[18,23,24,25,26,7],"陶瓷","粉彩","设色","荷莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c61b48fca0e103bac0e186873af703.jpg","未知","Xcm*Xcm","",[],"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":37,"author":19,"museum":20,"description":38,"tags":39,"thumbUrl":10,"material":28,"size":29,"collection":30,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},256197,"you-li-hong-chan-zhi-mu-dan-wen-yu-hu-chun-ping-yi-ming-256197","釉里红缠枝牡丹纹玉壶春瓶","明","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。",[40,23,41,42,43,7,44,45],"明代","釉里红","缠枝纹","牡丹","缠枝牡丹纹","器型",[],5,"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":54,"thumbUrl":59,"material":28,"size":29,"collection":30,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},259931,"qing-hua-zhu-shi-ba-jiao-wen-yu-hu-chun-ping-yi-ming-259931","青花竹石芭蕉纹玉壶春瓶","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。",[23,55,7,56,57,58],"青花瓷","竹","石","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a07d228980ca5193983595f522e605.jpg",[],4,"795548",{"id":64,"slug":65,"title":52,"dynasty":18,"author":19,"museum":20,"description":53,"tags":66,"thumbUrl":67,"material":28,"size":29,"collection":30,"collections":68,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":32},259929,"qing-hua-zhu-shi-ba-jiao-wen-yu-hu-chun-ping-yi-ming-259929",[23,55,7,56,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b11d322fc4bf508743a9eb0490312f.jpg",[],{"id":70,"slug":71,"title":72,"dynasty":18,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":79,"material":28,"size":29,"collection":80,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":48},257695,"fang-ding-yao-bai-you-hua-hua-chan-zhi-hua-wen-yu-hu-chun-ping-yi-ming-257695","仿定窑白釉划花缠枝花纹玉壶春瓶","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。",[23,75,76,77,78,7],"仿定窑","白釉","划花","缠枝花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bea5131e90e9b42e98541408d7a55ad.jpg","瓷器精选",[80],3,{"id":84,"slug":85,"title":86,"dynasty":87,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":94,"material":28,"size":29,"collection":30,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":48},262241,"bai-di-hei-hua-yu-hu-chun-ping-yi-ming-262241","白地黑花玉壶春瓶","宋","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 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。",[23,90,91,92,93,7],"饮酒器","日用具","白地黑花","植物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffade5132f5a6a8dd6ba1be878579270c.jpg",[],1,{"id":98,"slug":99,"title":100,"dynasty":101,"author":19,"museum":20,"description":38,"tags":102,"thumbUrl":105,"material":28,"size":29,"collection":30,"collections":106,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":48},262205,"hei-you-jia-cai-ti-jiu-zi-yu-hu-chun-ping-yi-ming-262205","黑釉加彩题酒字玉壶春瓶","元",[23,90,103,7,104],"黑釉加彩","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ca337c858edb73aee3d235e8482720.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":87,"author":19,"museum":20,"description":111,"tags":112,"thumbUrl":116,"material":28,"size":29,"collection":30,"collections":117,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":48},261572,"qing-you-ke-hua-yu-hu-chun-ping-yi-ming-261572","青釉刻花玉壶春瓶","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。”",[23,113,114,7,115],"青釉","刻花","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0389cbd563c2663285c972324b5ba73.jpg",[],{"id":119,"slug":120,"title":121,"dynasty":18,"author":19,"museum":20,"description":53,"tags":122,"thumbUrl":125,"material":28,"size":29,"collection":30,"collections":126,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":32},260942,"qing-hua-zhu-shi-jiao-ye-tu-yu-hu-chun-ping-yi-ming-260942","青花竹石蕉叶图玉壶春瓶",[23,123,7,56,57,124],"青花","蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bbbe72a0ebbf823c984cec485d56120.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":101,"author":19,"museum":20,"description":88,"tags":131,"thumbUrl":134,"material":28,"size":29,"collection":30,"collections":135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},270351,"da-de-yi-nian-kuan-tong-yu-hu-chun-ping-yi-ming-270351","大德一年款铜玉壶春瓶",[132,133,90,7,115],"铜制","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5911777dee6776e84b0d3e06670cfd27.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":18,"author":19,"museum":20,"description":88,"tags":140,"thumbUrl":145,"material":28,"size":29,"collection":30,"collections":146,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},261716,"cheng-hua-kuan-dou-cai-yu-hu-chun-ping-yi-ming-261716","成化款斗彩玉壶春瓶",[23,141,7,142,143,144,25,115],"斗彩","人物","楼阁","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e439b9c452174d97bc701a3a7a76eaf.jpg",[],{"id":148,"slug":149,"title":150,"dynasty":37,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":154,"material":28,"size":29,"collection":80,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":32},261308,"long-quan-yao-qing-you-yu-hu-chun-ping-yi-ming-261308","龙泉窑青釉玉壶春瓶","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[23,113,7,153,115],"龙泉窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f50c4aea9327fe3aff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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。",[23,7,187,77,188,177],"青白釉","缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6d2065f1d9f56e4b3f547d0497e17b.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":18,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":199,"material":28,"size":29,"collection":30,"collections":200,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},259730,"fen-cai-ren-wu-lu-tu-yu-hu-chun-ping-yi-ming-259730","粉彩人物鹿图玉壶春瓶","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。",[23,24,25,142,7,197,198],"福禄寿","孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702bde7408f1f9201ba62746f55a54ca.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":37,"author":19,"museum":20,"description":53,"tags":205,"thumbUrl":208,"material":28,"size":29,"collection":30,"collections":209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},257247,"jia-jing-kuan-qing-hua-chan-zhi-hua-wen-yu-hu-chun-ping-yi-ming-257247","嘉靖款青花缠枝花纹玉壶春瓶",[40,23,123,206,42,207,115,7],"釉下彩","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c83d163a33f5c5f787210d35ddf39c9.jpg",[],1777535722221]