[{"data":1,"prerenderedAt":183},["ShallowReactive",2],{"subject-zhan-tuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8904,"zhan-tuo","盏托","盏托画高清赏析","精选中国历代盏托题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb105d45d25434df25a78a450263dcb7.jpg",0,16,[14,34,49,62,74,90,101,110,119,128,136,145,152,162,169,176],{"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":11,"manualWeight":11,"mainColor":33},256843,"jun-yao-tian-lan-you-zhan-tuo-yi-ming-256843","钧窑天蓝釉盏托","宋","佚名","藏地不详","钧窑，即钧台窑，是在柴窑和鲁山花瓷的风格基础上综合而成的一种独特风格，受道家思想深刻影响，在宋徽宗时期达到高峰，其工艺技术发挥到极致。无论是呈色和各种纹理的表现，做到窑变可控随心所欲的表现技术，无人能仿造。宋代受理学的影响，反应在瓷器上就是规整对称，无论是造型或纹理都遵循这一原则，特别是北宋官造钧瓷，不论文房用具或大型祭器都严格遵守这一原则。规整对称，高雅大气，宫廷气势，一丝不苟。其势沉重古朴，明亮而深沉。建窑，耀州窑，钧窑，作为中国传统瓷文化正宗，历史悠久的风格传承。放大镜观察，蚯蚓走泥纹，用气泡一个个串连一体呈立体的爬行状，青蛙卵纹包裹卵核一摞摞正欲孵化而出。还有牛血纹，血色深红暗沉杀气腾腾，庄重威严等等，难以一一叙述。北宋官窑钧瓷的发色和纹理大小和分布，都难以做到人为控制而恰到好处，是北宋瓷艺的最高工艺水平的体现。这批钧瓷工艺早已失传，而窑址也随冰冻积水而下沉。“纵有家财万贯，不如钧瓷一片”。可见当时钧瓷产生的轰动效应。于是各地群相仿效，窑口林立，但仍然不得要领。今研究文章汗牛充栋，考古窑口不计其数，因都未见过这批北宋官造钧瓷，也只能是管中窥豹了。1955年，禹县（今禹州）陶瓷厂开始研制、探索湮没已久的钧瓷胎釉的基本配方与烧成技术，不仅烧制出玫瑰紫，海棠红、天青、月白等传统色釉，还发展了十多种花釉，并增加了现代日用器皿、艺术陈设瓷等新品种。\n有人认为钧窑的必备特点就是釉面具有“蚯蚓走泥纹”，这不完全正确，只能说是特点之一。很多馆藏钧窑的釉面是不具有走泥纹的。因为在当时的官窑，力求釉色均匀，但由于少数器皿在烧制中的窑温、釉色原料配比、烧制环境等因素的影响造成了釉面在温度中的变化还原不一，才形成了走泥纹。\n北宋钧窑做到窑变可控，蚯蚓走泥纹是其特征之一。用气泡串起一条条呈立体状的蚯蚓奔爬，蛙卵纹，\n鱼卵纹包裹正欲孵化而出的鱼籽，等等。北宋钧瓷最重要的价值就是在于它对釉面随心所欲的表现力。钧，即重量，北宋早期官窑钧瓷分量沉重。中华瓷文化的传统风格就是外表朴实而内秀其中。所谓“华夷光暗滋”的含蓄内敛，道出了宋瓷的本质特点。五代柴窑瓷器发色的鲜美以及色调的神奇变化，是中国瓷艺发展史上的一座里程牌。在柴窑瓷的光辉照耀下，宋，元瓷艺向着风格不同，但技艺精深非凡的道路上发展。掀开了中国瓷艺史上最为辉煌的篇章。原创一直贯穿始终，原创是瓷艺生命的灵魂。一个“隐”一个“显”，道出了几千年中华文化的内在本质。从石器时代东方人便对玉石内蕴的无穷魅力深深吸引，拓展了东方人领悟自然奥秘宽度与厚度。可是直到如今，西方人仍然认为只有闪闪发光的东西才有价值。对自然环境的细微观察，并在瓷器上把它们表现出来，是钧瓷的核心技术所在。这种表现艺术的高度让人惊叹，并一直是贯穿北宋和南宋宫廷制瓷的主流技术。瓷器纹理从北宋的“隐”到南宋的“显”，以至官窑，哥窑纹理的表面形式对元代瓷艺产生了直接影响。\n钧窑瓷器历来被人们称之为“国之瑰宝”，在宋代五大名窑中以“釉具五色，艳丽绝伦”而独树一帜。古人曾用“夕阳紫翠忽成岚”等诗句来形容钧瓷釉色灵活、变化微妙之美。传统钧瓷瑰丽多姿，玫瑰紫、海棠红、茄皮紫、鸡血红、葡萄紫、朱砂红、葱翠青……釉中红里透紫、紫里藏青、青中寓白、白里泛青，可谓纷彩争艳。釉质乳光晶莹，肥厚玉润，类翠似玉赛玛瑙，有巧夺天工之美。\n钧窑烧成温度已经达到1350℃-1380℃之间，延承了传统钧窑胎质细腻，釉色绚丽夺目的特点，又结合了现代审美，器形饱满玲珑。独特研制的玛瑙釉水在烧制后形成更加鲜明的层次感，十多种釉色绚丽多彩，周身还布满珍珠点、兔丝纹、鱼子纹和曲折迂回的蚯蚓走泥纹等生动美妙的流纹给人无限遐想的空间。",[18,23,24,25,7,26],"陶瓷","钧窑","天蓝釉","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c0f3298c35c44fbde79230cdbd8b5c.jpg","未知","Xcm*Xcm","瓷器精选",[30],5,"795548",{"id":35,"slug":36,"title":37,"dynasty":38,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":44,"material":28,"size":29,"collection":45,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},260606,"qing-hua-shuang-feng-wen-zhan-tuo-yi-ming-260606","青花双凤纹盏托","明","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。",[23,41,42,7,43],"青花","凤纹","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb534296912c14a40d29805a95f458b9c.jpg","",[],3,"BDBDBD",{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":58,"material":28,"size":29,"collection":45,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},259718,"qing-you-ke-hua-zhan-tuo-yi-ming-259718","青釉刻花盏托","唐","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。”",[23,56,57,7,43],"刻花","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F540b524e11f7588c19c2cd524367f756.jpg",[],2,"37474F",{"id":63,"slug":64,"title":65,"dynasty":38,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":71,"material":28,"size":29,"collection":45,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":33},262177,"you-li-hong-chan-zhi-lian-wen-ling-hua-shi-zhan-tuo-yi-ming-262177","釉里红缠枝莲纹菱花式盏托","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。",[23,68,69,70,7,43],"釉里红","缠枝莲纹","菱花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e6526d5e0aca1d542e726fabfb08fc.jpg",[],1,{"id":75,"slug":76,"title":77,"dynasty":78,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":10,"material":28,"size":29,"collection":45,"collections":89,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":48},246598,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246598","乾隆款剔红云龙纹葵瓣式盏托","清","此件剔红器物刀工圆熟精湛，朱漆色泽莹润厚重。盏与托身游龙蜿蜒穿梭于祥云之间，龙躯矫健遒劲，爪牙凌厉威严，祥云层叠卷舒，将真龙的神武气势烘托得淋漓尽致。口沿、托沿及底足以回纹环饰，线条规整内敛，与灵动飞扬的云龙形成鲜明动静对比，更衬得主体纹饰张力十足。浮雕层次饱满分明，髹漆层叠细密，尽显造办工艺的极致考究，将清代雕漆华贵雍容的气质尽数展现，把皇权象征的龙纹与传统雕漆技法完美融合，是一件兼具礼制内涵与审美价值的工艺精品。",[81,82,83,84,85,86,7,87,88],"清代","漆器","剔红","雕刻","云龙纹","葵瓣式","龙","云纹",[],{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":94,"tags":95,"thumbUrl":99,"material":28,"size":29,"collection":30,"collections":100,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},262252,"ding-yao-bai-you-he-ye-shi-zhan-tuo-yi-ming-262252","定窑白釉荷叶式盏托","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。",[23,43,7,96,97,98],"荷叶造型","白釉","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3402c241b329e4062beed663c4e8fce.jpg",[30],{"id":102,"slug":103,"title":104,"dynasty":78,"author":19,"museum":20,"description":105,"tags":106,"thumbUrl":108,"material":28,"size":29,"collection":30,"collections":109,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},262251,"de-hua-yao-bai-you-hua-hua-wen-zhan-tuo-yi-ming-262251","德化窑白釉划花纹盏托","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,43,97,107,7],"划花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08dd4c5b864a76b6891ad6cf3650162.jpg",[30],{"id":111,"slug":112,"title":113,"dynasty":38,"author":19,"museum":20,"description":114,"tags":115,"thumbUrl":117,"material":28,"size":29,"collection":30,"collections":118,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262248,"long-quan-yao-qing-you-zhan-tuo-yi-ming-262248","龙泉窑青釉盏托","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。",[23,43,116,57,7],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0333167ea78a5bd422d99d259befd79.jpg",[30],{"id":120,"slug":121,"title":122,"dynasty":18,"author":19,"museum":20,"description":66,"tags":123,"thumbUrl":126,"material":28,"size":29,"collection":45,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262234,"jiang-you-zhan-tuo-yi-ming-262234","酱釉盏托",[23,124,7,43,125,116],"酱釉","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782a699cb376d117079116ae97e1e5b.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":38,"author":19,"museum":20,"description":66,"tags":132,"thumbUrl":134,"material":28,"size":29,"collection":45,"collections":135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262183,"you-li-hong-chan-zhi-mu-dan-wen-zhan-tuo-yi-ming-262183","釉里红缠枝牡丹纹盏托",[23,68,133,7],"缠枝牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae002f666046de3dabcb675bf0fd1a6.jpg",[],{"id":137,"slug":138,"title":139,"dynasty":38,"author":19,"museum":20,"description":66,"tags":140,"thumbUrl":143,"material":28,"size":29,"collection":45,"collections":144,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":33},262178,"you-li-hong-chan-zhi-mu-wen-dan-ling-hua-shi-zhan-tuo-yi-ming-262178","釉里红缠枝牡纹丹菱花式盏托",[23,68,141,142,70,7,43],"牡丹","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12e85024ef906c45304d264d7a9b69d0.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":78,"author":19,"museum":20,"description":39,"tags":149,"thumbUrl":150,"material":28,"size":29,"collection":45,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},259785,"qing-hua-chan-zhi-lian-wen-zhan-tuo-yi-ming-259785","青花缠枝莲纹盏托",[23,41,69,7,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e695fbd32268e5273b0af6c1329f3a3.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":78,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":160,"material":28,"size":29,"collection":45,"collections":161,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},259080,"kang-xi-kuan-huang-you-an-hua-yun-long-wen-zhan-tuo-yi-ming-259080","康熙款黄釉暗划云龙纹盏托","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[23,116,43,87,158,159,7],"暗划纹","黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0a41b1715e5ab15ea5231638dd6911.jpg",[],{"id":163,"slug":164,"title":77,"dynasty":78,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":167,"material":28,"size":29,"collection":45,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},246609,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246609","朱红漆色莹润沉厚，衬色古雅沉静，葵瓣造型温婉雅致。盏沿回纹规整内敛，器身云龙矫健灵动，龙身辗转腾挪于云气之间，爪牙张弛尽显威严。刀工圆熟利落，浮雕层次分明，流云舒展环伺，将龙的神威烘托得淋漓尽致。整体刚柔并济，既带着祥瑞庄重的气度，又尽显髹漆工艺的精湛造诣，把皇家器物的威仪与匠人的极致匠心融为一体，是一件极具审美价值的工艺佳作。",[78,82,83,84,87,88,85,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331168526e67872b6bbb43691968e5bf.jpg",[],{"id":170,"slug":171,"title":77,"dynasty":78,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":174,"material":28,"size":29,"collection":45,"collections":175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},246603,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246603","此作取葵瓣造型，雅致婉转，回纹饰边，规整端方。通体剔红雕就云龙穿云之景，龙躯矫健灵动，鳞爪张弛尽显威仪，云纹舒卷层叠，烘托出缥缈祥瑞之气。刀工圆润细腻，纹饰层次分明，朱红漆色沉穆古雅，经年包浆更添古朴质感，将皇权象征的庄重与髹漆技艺的精工融为一体，尽显考究工致，方寸之间尽显髹漆巅峰水准，是兼具礼制意涵与审美价值的匠造佳器。",[82,84,83,87,88,86,7,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd1826b034d824b4136f4bba629c2f5.jpg",[],{"id":177,"slug":178,"title":77,"dynasty":78,"author":19,"museum":20,"description":179,"tags":180,"thumbUrl":181,"material":28,"size":29,"collection":45,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},246602,"qian-long-kuan-ti-hong-yun-long-wen-kui-ban-shi-zhan-tuo-yi-ming-246602","此件剔红盏托以红绿漆层交叠雕琢，朱红龙纹矫健穿梭于绿漆云涛间，龙身鳞爪分明，身姿遒劲灵动，祥云卷舒环绕，层次错落有致。葵瓣式托沿舒展雅致，通体雕工圆熟利落，漆色温润莹润，将皇家仪仗的威严祥瑞藏于刀工漆色之中，尽显清代漆作工艺的精细工致，是髹漆雕刻中颇具代表性的上乘之作。",[78,82,83,85,86,84,7,87,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99baf7074764a6f6a0e0299c2bab689.jpg",[],1777535724362]