[{"data":1,"prerenderedAt":172},["ShallowReactive",2],{"subject-zhe-yan-pan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10028,"zhe-yan-pan","折沿盘","折沿盘画高清赏析","精选中国历代折沿盘题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab832fbb2a5982abba8bab9cc8c99ee.jpg",0,15,[14,36,49,61,74,85,93,103,112,120,128,135,141,152,164],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},260655,"long-quan-yao-qing-you-ke-hua-chan-zhi-lian-wen-ju-ban-shi-zhe-yan-pan-yi-ming-260655","龙泉窑青釉刻花缠枝莲纹菊瓣式折沿盘","明","佚名","藏地不详","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。",[23,24,25,26,7,27,28],"陶瓷","刻花","缠枝莲纹","菊瓣式","青釉","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb04b3e92e2a1f963c56b502f997ce34.jpg","未知","Xcm*Xcm","瓷器精选",[32],5,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":46,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},256315,"ding-yao-bai-you-ke-hua-mu-dan-wen-zhe-yan-pan-yi-ming-256315","定窑白釉刻花牡丹纹折沿盘","宋","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。",[40,43,44,24,45,7,23],"定窑","白釉","牡丹纹",[32],2,"37474F",{"id":50,"slug":51,"title":52,"dynasty":18,"author":19,"museum":20,"description":21,"tags":53,"thumbUrl":58,"material":30,"size":31,"collection":32,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":35},260247,"long-quan-yao-qing-you-ke-yun-long-wen-zhe-yan-pan-yi-ming-260247","龙泉窑青釉刻云龙纹折沿盘",[23,54,55,27,24,56,7,57],"瓷器","龙泉窑","龙纹","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e35da0e6fcb8dbea7bfc362d85fab0.jpg",[32],1,{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":71,"material":30,"size":31,"collection":72,"collections":73,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},262179,"qing-hua-chan-zhi-hua-hui-wen-zhe-yan-pan-yi-ming-262179","青花缠枝花卉纹折沿盘","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。",[23,67,68,69,7,70],"青花","缠枝纹","牡丹","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe524fe88c702b3e19d4f8cbfc0b32e04.jpg","",[],{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":82,"material":30,"size":31,"collection":32,"collections":83,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},261989,"de-hua-yao-bai-you-hua-hua-zhe-yan-pan-yi-ming-261989","德化窑白釉划花折沿盘","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。",[23,44,80,7,28,81],"划花","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e9197166d5a0b3b065817040f9f05a.jpg",[32],"795548",{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":21,"tags":89,"thumbUrl":91,"material":30,"size":31,"collection":32,"collections":92,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},261892,"long-quan-yao-qing-you-ke-he-hua-wen-zhe-yan-pan-yi-ming-261892","龙泉窑青釉刻荷花纹折沿盘",[23,54,27,24,90,7,28],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcbba3fa52e65bae3a3ac3597150b2d.jpg",[32],{"id":94,"slug":95,"title":96,"dynasty":97,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":101,"material":30,"size":31,"collection":72,"collections":102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},261280,"yong-zheng-kuan-qing-hua-chan-zhi-hua-guo-wen-zhe-yan-pan-yi-ming-261280","雍正款青花缠枝花果纹折沿盘","清","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。",[23,67,100,7,28],"缠枝花果纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4477a1d4c102656095c2e97fcfa7b50f.jpg",[],{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":21,"tags":107,"thumbUrl":110,"material":30,"size":31,"collection":32,"collections":111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260682,"long-quan-yao-qing-you-yin-hua-ju-ban-shi-zhe-yan-pan-yi-ming-260682","龙泉窑青釉印花菊瓣式折沿盘",[23,27,108,26,7,28,109],"印花","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7861e5aedf266d9b8685524f9e19169a.jpg",[32],{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":21,"tags":116,"thumbUrl":118,"material":30,"size":31,"collection":32,"collections":119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260681,"long-quan-yao-qing-you-zhe-yan-pan-yi-ming-260681","龙泉窑青釉折沿盘",[23,27,7,117],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e6b6687d49ae66c1d4606a48563710.jpg",[32],{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":21,"tags":124,"thumbUrl":126,"material":30,"size":31,"collection":32,"collections":127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260674,"long-quan-yao-qing-you-long-feng-wen-zhe-yan-pan-yi-ming-260674","龙泉窑青釉龙凤纹折沿盘",[23,27,125,7,57,109],"龙凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad20717053aa94c5dbbc1de6f2c6b62.jpg",[32],{"id":129,"slug":130,"title":131,"dynasty":18,"author":19,"museum":20,"description":21,"tags":132,"thumbUrl":133,"material":30,"size":31,"collection":32,"collections":134,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260670,"long-quan-yao-qing-you-ke-mu-dan-wen-zhe-yan-pan-yi-ming-260670","龙泉窑青釉刻牡丹纹折沿盘",[23,55,27,24,45,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982efd82f9d7fd6502d5c6e7486480.jpg",[32],{"id":136,"slug":137,"title":131,"dynasty":18,"author":19,"museum":20,"description":21,"tags":138,"thumbUrl":139,"material":30,"size":31,"collection":32,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},260668,"long-quan-yao-qing-you-ke-mu-dan-wen-zhe-yan-pan-yi-ming-260668",[23,27,55,7,69,24,57,28,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff19d9740dd868f703c4b2a38de990b2c.jpg",[32],{"id":142,"slug":143,"title":144,"dynasty":97,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":150,"material":30,"size":31,"collection":72,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},259548,"fang-jun-mei-gui-zi-you-zhe-yan-pan-yi-ming-259548","仿钧玫瑰紫釉折沿盘","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。",[23,28,147,148,149,7],"盘","仿钧釉","玫瑰紫釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f784d25288d139bd7d32a49806a1e9d.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":97,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":162,"material":30,"size":31,"collection":72,"collections":163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},258876,"chu-xiu-gong-zhi-kuan-huang-di-zi-lv-cai-yun-long-hua-hui-wen-zhe-yan-pan-yi-ming-258876","储秀宫制款黄地紫绿彩云龙花卉纹折沿盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[23,158,159,160,70,161,109,7],"设色","黄地紫绿彩","龙","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62514bf8940a9eb7c8a9975b9525441b.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":18,"author":19,"museum":20,"description":21,"tags":168,"thumbUrl":170,"material":30,"size":31,"collection":32,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},257570,"long-quan-yao-qing-you-hua-hua-chan-zhi-lian-wen-zhe-yan-pan-yi-ming-257570","龙泉窑青釉划花缠枝莲纹折沿盘",[23,27,80,25,7,169],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82234f75232e15d0ae63769a7d7bcabd.jpg",[32],1777535725600]