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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[23,24,25,26,27,28,7,29],"清代","掐丝珐琅","珐琅器","寿字纹","暗八仙纹","蟠龙纹","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d18057d7477232406a556aa4909b879.jpg","未知","Xcm*Xcm","",[],12,"795548",{"id":38,"slug":39,"title":40,"dynasty":41,"author":19,"museum":20,"description":42,"tags":43,"thumbUrl":51,"material":31,"size":32,"collection":33,"collections":52,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":54},249594,"yin-shao-lan-long-xi-zhu-wen-zhang-jing-ping-yi-ming-249594","银烧蓝龙戏珠纹长颈瓶","民国","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。",[44,45,46,47,48,49,50,7,41],"银器","琺瑯器","烧蓝","雕刻","设色","龙","珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81221943025ba79a36eca6a767c2f170.jpg",[],11,"37474F",{"id":56,"slug":57,"title":58,"dynasty":18,"author":19,"museum":20,"description":59,"tags":60,"thumbUrl":66,"material":31,"size":32,"collection":33,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":54},261658,"qing-hua-chan-zhi-bian-fu-hu-lu-wen-zhang-jing-ping-yi-ming-261658","青花缠枝蝙蝠葫芦纹长颈瓶","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。",[61,62,7,63,64,65],"陶瓷","青花","缠枝纹","蝙蝠","葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a029275298892e806b722b8ca61d657.jpg",[],4,{"id":70,"slug":71,"title":72,"dynasty":18,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":79,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":80},229078,"hua-fa-lang-zhang-jing-ping-yi-ming-229078","画珐瑯长颈瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 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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。",[61,175,7,176],"白釉","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa50e904367b1b51debdf3b0bae74d80.jpg","瓷器精选",[178],{"id":181,"slug":182,"title":183,"dynasty":18,"author":19,"museum":20,"description":184,"tags":185,"thumbUrl":188,"material":31,"size":32,"collection":33,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},257999,"fang-ge-you-zhang-jing-ping-yi-ming-257999","仿哥釉长颈瓶","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。",[61,186,187,7,23],"仿哥釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebf59047a77f652eea96605f41f10ab.jpg",[],{"id":191,"slug":192,"title":183,"dynasty":18,"author":19,"museum":20,"description":184,"tags":193,"thumbUrl":194,"material":31,"size":32,"collection":33,"collections":195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},257998,"fang-ge-you-zhang-jing-ping-yi-ming-257998",[18,61,186,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1071564850b71dd425c20a512688e88b.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":18,"author":19,"museum":20,"description":59,"tags":200,"thumbUrl":202,"material":31,"size":32,"collection":33,"collections":203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},257888,"kang-xi-kuan-qing-hua-tuan-hua-wen-zhang-jing-ping-yi-ming-257888","康熙款青花团花纹长颈瓶",[23,61,62,201,102,7],"团花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329932936f94e28d7388a52c4e09714f.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":208,"tags":209,"thumbUrl":216,"material":31,"size":32,"collection":178,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},257832,"lang-yao-hong-you-xiao-ping-yi-ming-257832","郎窑红釉小瓶","清代康熙后期景德镇官窑。康熙四十四年到五十一年（1705—1712），江西巡抚郎廷极在景德镇督造瓷器，故名。釉色以宝石红、宝石蓝、宝石绿最佳，宝石红有“郎窑红”之称。法国人称“牛血红”。在红釉中最杰出。洒蓝和霁蓝瓷，再上一道极薄釉子，然后加绘金花金彩，华丽静穆，匠心独运。素三彩创于此时。青花和斗彩也很有名。\n清初郎廷极所监督的江西景德镇窑及其所督造的瓷器之代称。其瓷器仿古暗合，摹仿明永乐、宣德红釉烧制，釉水颜色，桔皮砂眼几可乱真，款字也酷肖，极难辨识。刘廷玑《在园杂记》谈及此事，事距郎廷极督造瓷器时间很近，极可能系刘所目睹。",[23,61,102,210,211,212,213,7,214,215],"红釉","高温铜红釉","釉色鲜亮","器物造型","高温釉","铜红釉技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66540f456514531ee2757e77eab94ac8.jpg",[178],{"id":219,"slug":220,"title":221,"dynasty":222,"author":19,"museum":20,"description":223,"tags":224,"thumbUrl":228,"material":31,"size":32,"collection":178,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},257636,"long-quan-yao-qing-you-hua-hua-jiao-ye-wen-zhang-jing-ping-yi-ming-257636","龙泉窑青釉划花蕉叶纹长颈瓶","明","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。",[61,225,226,227,7],"青釉","划花","蕉叶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3a7e384a7b85395a6f3168f9d21319.jpg",[178],1777535721559]