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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。",[142,73,145,7,76,63],"青花斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769e71346a5778a164c29140e9497115.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":20,"description":108,"tags":152,"thumbUrl":154,"material":31,"size":32,"collection":33,"collections":155,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":128},248400,"hei-qi-miao-jin-zhe-zhi-hua-hui-wen-shan-shi-he-yi-ming-248400","黑漆描金折枝花卉纹扇式盒",[110,153,111,63,7,64,100],"黑漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feae75b6731c6353d4333a6522f1f6c46.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":166,"material":31,"size":32,"collection":33,"collections":167,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":128},264328,"jiang-se-di-qu-shui-zhe-zhi-mu-dan-wen-zhi-jin-jin-yi-ming-264328","绛色地曲水折枝牡丹纹织金锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[162,25,26,7,163,164,165],"织金锦","织金工艺","曲水纹","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ef08598743c201b11f262b56e7308d.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":18,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":178,"material":31,"size":32,"collection":33,"collections":179,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":128},262115,"kang-xi-yu-zhi-kuan-yan-zhi-hong-di-fa-lang-cai-kai-guang-zhe-zhi-mu-dan-tu-wan-yi-ming-262115","康熙御制款胭脂红地珐琅彩开光折枝牡丹图碗","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。",[73,174,100,175,26,7,63,176,177],"琺瑯器","日用具","珐琅彩","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580072b3f4bebc204e6bf31df4ba9a8d.jpg",[],{"id":181,"slug":182,"title":120,"dynasty":18,"author":19,"museum":20,"description":58,"tags":183,"thumbUrl":188,"material":31,"size":32,"collection":33,"collections":189,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":53},261760,"fen-cai-zhe-zhi-shi-er-yue-hua-hui-wen-ping-yi-ming-261760",[73,184,74,7,185,26,186,187,124,99,76],"瓶","荷花","月季","芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162f9b31ad8469170c92db9300b8d528.jpg",[],{"id":191,"slug":192,"title":193,"dynasty":142,"author":19,"museum":20,"description":143,"tags":194,"thumbUrl":197,"material":31,"size":32,"collection":33,"collections":198,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":53},260456,"qing-hua-zhe-zhi-shi-liu-hua-niao-tu-san-zu-lu-yi-ming-260456","青花折枝石榴花鸟图三足炉",[73,123,46,195,196,7],"石榴","三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1743f84bec035f68c794b5dd82e35de9.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":142,"author":19,"museum":20,"description":203,"tags":204,"thumbUrl":209,"material":31,"size":32,"collection":210,"collections":211,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":128},257579,"long-quan-yao-qing-you-ke-zhe-zhi-hua-hui-wen-san-zu-lu-yi-ming-257579","龙泉窑青釉刻折枝花卉纹三足炉","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。",[205,73,206,207,7,208],"明代","青釉","刻花","三足器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5502d6898ddff26b81153b5fd522c028.jpg","瓷器精选",[210],{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":20,"description":58,"tags":216,"thumbUrl":217,"material":31,"size":32,"collection":33,"collections":218,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":53},256705,"fen-cai-zhe-zhi-hua-hui-wen-deng-long-ping-yi-ming-256705","粉彩折枝花卉纹灯笼瓶",[60,73,74,7,63,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F970bfe9cd970157f86b1bad76d0b8db1.jpg",[],{"id":220,"slug":221,"title":222,"dynasty":142,"author":19,"museum":20,"description":223,"tags":224,"thumbUrl":228,"material":31,"size":32,"collection":33,"collections":229,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":67},256438,"dou-cai-zhe-zhi-hua-hui-wen-jiu-bei-yi-ming-256438","斗彩折枝花卉纹酒杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[73,225,7,226,205,227,76],"斗彩","饮酒器","折枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c1748958f917f999f078ad3f6aca17.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":18,"author":19,"museum":20,"description":172,"tags":234,"thumbUrl":238,"material":31,"size":32,"collection":33,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":240},269652,"qian-long-kuan-pao-zhi-zhe-zhi-hua-die-wen-wan-yi-ming-269652","乾隆款匏制折枝花蝶纹碗",[100,235,236,7,87,175,237],"匏器","雕刻","饮食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81e560ec29b2c07290ffd3d109de5e0.jpg",[],"F48FB1",{"id":242,"slug":243,"title":244,"dynasty":18,"author":19,"museum":20,"description":160,"tags":245,"thumbUrl":248,"material":31,"size":32,"collection":33,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},267527,"yan-se-di-zhe-zhi-hua-hui-wen-tian-hua-jin-yi-ming-267527","烟色地折枝花卉纹天华锦",[25,246,7,247],"织锦","烟色地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e8dc45962f5f3d0b025108bd0c835e.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":18,"author":19,"museum":20,"description":42,"tags":254,"thumbUrl":259,"material":31,"size":32,"collection":33,"collections":260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},267435,"lan-se-duan-pan-jin-xiu-zhe-zhi-hua-wen-ding-guang-pian-jian-yi-yi-ming-267435","蓝色缎盘金绣折枝花纹钉广片箭衣",[44,255,256,257,258,24,7],"箭衣","缎面","盘金绣","钉广片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e0f36894a5b7574dd8f72e963ea862.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":18,"author":19,"museum":20,"description":21,"tags":265,"thumbUrl":267,"material":31,"size":32,"collection":33,"collections":268,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},267422,"yue-bai-se-duan-xiu-zhe-zhi-ju-mei-wen-pai-sui-gong-da-yi-ming-267422","月白色缎绣折枝菊梅纹排穗宫搭",[44,24,25,98,266,7],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d833e49b2562d0bf995c7b8f496dea.jpg",[],{"id":270,"slug":271,"title":272,"dynasty":18,"author":19,"museum":20,"description":273,"tags":274,"thumbUrl":278,"material":31,"size":32,"collection":33,"collections":279,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},264824,"qian-lv-se-duan-di-zhi-jin-dan-cai-zhe-zhi-shi-hua-wen-tao-yi-ming-264824","浅绿色缎地织金淡彩折枝时花纹绦"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[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。",[73,350,392,7,76],"黄地绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc76d5b32a3f6b5c9f8410bbff175d7.jpg",[],{"id":396,"slug":397,"title":398,"dynasty":18,"author":19,"museum":20,"description":143,"tags":399,"thumbUrl":401,"material":31,"size":32,"collection":33,"collections":402,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258847,"ti-he-dian-kuan-qing-hua-zhe-zhi-hua-hui-wen-hua-pen-yi-ming-258847","体和殿款青花折枝花卉纹花盆",[60,123,7,73,400],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc108c08c32a090c4a83a1877d25fe4ac.jpg",[],{"id":404,"slug":405,"title":406,"dynasty":18,"author":19,"museum":20,"description":172,"tags":407,"thumbUrl":409,"material":31,"size":32,"collection":33,"collections":410,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258810,"huang-di-fen-cai-zhe-zhi-hua-hui-wen-wan-yi-ming-258810","黄地粉彩折枝花卉纹碗",[73,74,408,63,7,185,26,286,100],"工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca1713232a2cecfb6fc7b0fd0bd903a.jpg",[],{"id":412,"slug":413,"title":414,"dynasty":18,"author":19,"museum":20,"description":143,"tags":415,"thumbUrl":418,"material":31,"size":32,"collection":33,"collections":419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},258412,"qing-hua-you-li-hong-zhe-zhi-hua-wen-yu-gang-yi-ming-258412","青花釉里红折枝花纹鱼缸",[73,416,7,417],"青花釉里红","釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04ce8220e6b669e1e864c8c1df0de40.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":18,"author":19,"museum":20,"description":339,"tags":424,"thumbUrl":430,"material":31,"size":32,"collection":33,"collections":431,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},258331,"yong-zheng-kuan-qing-hua-zhe-zhi-hua-guo-wen-gai-guan-yi-ming-258331","雍正款青花折枝花果纹盖罐",[18,73,123,425,426,427,428,7,429],"折枝花果纹","盖罐","釉下彩纹饰","清代瓷器","果实纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdad18272b02cdfa9253f2262da24b5b.jpg",[],{"id":433,"slug":434,"title":435,"dynasty":142,"author":19,"museum":20,"description":143,"tags":436,"thumbUrl":437,"material":31,"size":32,"collection":33,"collections":438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},257123,"xuan-de-kuan-qing-hua-zhe-zhi-hua-hui-wen-wan-yi-ming-257123","宣德款青花折枝花卉纹碗",[205,73,123,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc554b7ec7454c5c3e16c1340baf4c95.jpg",[],{"id":440,"slug":441,"title":435,"dynasty":142,"author":19,"museum":20,"description":143,"tags":442,"thumbUrl":443,"material":31,"size":32,"collection":33,"collections":444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},257109,"xuan-de-kuan-qing-hua-zhe-zhi-hua-hui-wen-wan-yi-ming-257109",[73,123,7,64,100,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a97893426922ce8d80eeb25529bcce.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":449,"author":19,"museum":20,"description":450,"tags":451,"thumbUrl":454,"material":31,"size":32,"collection":210,"collections":455,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},256311,"ding-yao-bai-you-yin-hua-zhe-zhi-hua-hui-wen-wan-yi-ming-256311","定窑白釉印花折枝花卉纹碗","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。",[449,73,452,453,7,100],"白釉","印花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eba73c1fd20e112d47b4749169393e1.jpg",[210],{"id":457,"slug":458,"title":459,"dynasty":18,"author":19,"museum":20,"description":390,"tags":460,"thumbUrl":461,"material":31,"size":32,"collection":33,"collections":462,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":128},248735,"hei-qi-miao-jin-zhe-zhi-hua-hui-wen-pan-yi-ming-2487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