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景德镇窑为我国传统窑炉中独具风格的窑。它的烧成室型呈一头大一头小的长椭圆形，近窑门处宽而高，靠近烟囱则逐渐狭窄矮小，故有"鸭蛋窑"之称，全长约15-20米，容积为300-400立方米，是以松柴为燃料，火焰长而灰分少，因不含硫或者含量极少，适宜烧还原焰，对于白瓷、青花瓷、颜色釉瓷等传统瓷的釉面呈色效果良好，可装烧高火、中火、低火的瓷坯。因窑内腔较高（最高高度不超过6米），便于装烧大件制品，适合多品种生产的条件。因此，景德镇窑（在景德镇也叫柴窑）单位公斤瓷的燃料消耗量小。另外，其结构简单，镇窑建筑速度快，基建费用少，产量大，周转期快，可以快速烧成和快速冷却，适应于景德镇附近制瓷原料的特性和瓷器的传统风格。对南方某些瓷窑来说，在控制烧成气氛和瓷器质量，以及燃料（松柴）消耗等方面，镇窑均较龙窑、阶级窑和倒焰窑等优点。",[212,213,214,215,7,216,217,218],"元代","陶瓷","蓝釉","描金","朵云纹","器","日用器","瓷器精选",[219],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":225,"tags":226,"thumbUrl":230,"material":32,"size":33,"collection":34,"collections":231,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":104},264002,"xing-huang-se-di-zhe-zhi-hua-tiao-wen-hui-hui-zhi-jin-jin-yi-ming-264002","杏黄色地折枝花条纹回回织金锦","《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》。",[23,227,7,228,229],"织金锦","条纹","杏黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c32a4dcb99a18ff65c6c3605c627106.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":18,"author":19,"museum":20,"description":236,"tags":237,"thumbUrl":243,"material":32,"size":33,"collection":34,"collections":244,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":115},261780,"qing-hua-kai-guang-shan-shui-tu-zhe-zhi-hua-wen-zun-yi-ming-261780","青花开光山水图折枝花纹尊","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。",[213,238,7,239,240,241,242,217],"青花","山水","树木","明月","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa7f068f4eb57ff77181a9a05c11cac.jpg",[],{"id":246,"slug":247,"title":248,"dynasty":18,"author":19,"museum":20,"description":249,"tags":250,"thumbUrl":253,"material":32,"size":33,"collection":34,"collections":254,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":115},261695,"dong-qing-you-fen-cai-zhe-zhi-hua-die-wen-zun-yi-ming-261695","冬青釉粉彩折枝花蝶纹尊","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。”",[213,251,7,121,252,63],"粉彩","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310a70906ae6758c8fd6d1f224e505c8.jpg",[],{"id":256,"slug":257,"title":258,"dynasty":18,"author":19,"museum":20,"description":259,"tags":260,"thumbUrl":263,"material":32,"size":33,"collection":34,"collections":264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},281447,"yang-ci-miao-jin-zhe-zhi-hua-wen-die-yi-ming-281447","洋瓷描金折枝花纹碟","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[213,261,215,7,262,217],"珐琅器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db7999877b45e7a5b4ae0496e703cc4.jpg",[],{"id":266,"slug":267,"title":268,"dynasty":18,"author":19,"museum":20,"description":84,"tags":269,"thumbUrl":271,"material":32,"size":33,"collection":34,"collections":272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},267456,"qing-se-zhou-chou-xiu-zhe-zhi-hua-fu-wen-nan-pei-yi-ming-267456","青色绉绸绣折枝花蝠纹男帔",[57,23,58,7,270,63,133],"蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346a29a8d528b79890065d3589133460.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":18,"author":19,"museum":20,"description":277,"tags":278,"thumbUrl":281,"material":32,"size":33,"collection":34,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},264828,"jin-di-san-lan-bai-fu-bian-zhe-zhi-shi-hua-wen-tao-yi-ming-264828","金地三蓝百蝠边折枝时花纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[23,279,29,7,60,25,280],"饰品","金地蓝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43ed9a7c77b9797099c21a1e8d0690bc.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":277,"tags":287,"thumbUrl":290,"material":32,"size":33,"collection":34,"collections":291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},264826,"qian-lv-se-duan-di-zhi-jin-dan-cai-zhe-zhi-shi-hua-wen-tao-yi-ming-264826","浅绿色缎地织金淡彩折枝时花纹绦",[23,279,288,289,7],"织金","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42000eba8fcc9eebd749ea3366c0adbb.jpg",[],{"id":293,"slug":294,"title":286,"dynasty":18,"author":19,"museum":20,"description":277,"tags":295,"thumbUrl":297,"material":32,"size":33,"collection":34,"collections":298,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},264825,"qian-lv-se-duan-di-zhi-jin-dan-cai-zhe-zhi-shi-hua-wen-tao-yi-ming-264825",[23,279,288,289,7,27,296,193],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f53858b973af150b15ae261e0cb80ea.jpg",[],{"id":300,"slug":301,"title":286,"dynasty":18,"author":19,"museum":20,"description":277,"tags":302,"thumbUrl":304,"material":32,"size":33,"collection":34,"collections":305,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":104},264823,"qian-lv-se-duan-di-zhi-jin-dan-cai-zhe-zhi-shi-hua-wen-tao-yi-ming-264823",[23,279,288,289,7,303],"绦带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead92e859c16ca352798670ecda774bf.jpg",[],{"id":307,"slug":308,"title":309,"dynasty":310,"author":19,"museum":20,"description":311,"tags":312,"thumbUrl":316,"material":32,"size":33,"collection":34,"collections":317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},262287,"wu-cai-li-yun-long-wai-zhe-zhi-hua-wen-ling-hua-shi-pan-yi-ming-262287","五彩里云龙外折枝花纹菱花式盘","明","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。",[213,262,313,314,7,27,315],"五彩","云龙","菱花形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89702a38233b8fd95fd3331d084b910.jpg",[],1777535716567]