[{"data":1,"prerenderedAt":78},["ShallowReactive",2],{"subject-zhen-zhu-di-hua-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},10177,"zhen-zhu-di-hua-hua","珍珠地划花","珍珠地划花画高清赏析","精选中国历代珍珠地划花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bf8aeeed3a444a8633375f690ca00c.jpg",0,5,[14,32,43,53,65],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":27,"size":28,"collection":29,"collections":30,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":31},256951,"deng-feng-yao-zhen-zhu-di-hua-hua-shuang-hu-wen-ping-yi-ming-256951","登封窑珍珠地划花双虎纹瓶","宋","佚名","藏地不详","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。",[18,23,7,24,25,26],"陶瓷","虎","兽","器","未知","Xcm*Xcm","瓷器精选",[29],"BDBDBD",{"id":33,"slug":34,"title":35,"dynasty":18,"author":19,"museum":20,"description":21,"tags":36,"thumbUrl":39,"material":27,"size":28,"collection":29,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},261402,"deng-feng-yao-zhen-zhu-di-hua-hua-chan-zhi-hua-wen-liu-guan-ping-yi-ming-261402","登封窑珍珠地划花缠枝花纹六管瓶",[23,7,37,38],"缠枝花纹","六管瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013e0ae83d0341809f37e344cf867505.jpg",[29],3,"37474F",{"id":44,"slug":45,"title":46,"dynasty":18,"author":19,"museum":20,"description":21,"tags":47,"thumbUrl":50,"material":27,"size":28,"collection":29,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":31},262107,"deng-feng-yao-zhen-zhu-di-hua-hua-mu-dan-wen-ba-fang-zhen-yi-ming-262107","登封窑珍珠地划花牡丹纹八方枕",[23,48,7,49],"日用具","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d3828c51a2892bfcd47f6ea13175f0.jpg",[29],1,{"id":54,"slug":55,"title":56,"dynasty":18,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":63,"material":27,"size":28,"collection":29,"collections":64,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":42},257054,"ci-zhou-yao-ke-qian-long-yu-zhi-shi-zhen-zhu-di-hua-hua-zhen-yi-ming-257054","磁州窑刻乾隆御制诗珍珠地划花枕","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[23,59,60,7,61,62],"磁州窑风格","刻花","花卉","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1bc041717a1329a9f866e9d0764352.jpg",[29],{"id":66,"slug":67,"title":68,"dynasty":18,"author":19,"museum":20,"description":69,"tags":70,"thumbUrl":74,"material":27,"size":28,"collection":75,"collections":76,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":77},256970,"bai-you-zhen-zhu-di-hua-hua-zhe-zhi-mu-dan-wen-zhen-yi-ming-256970","白釉珍珠地划花折枝牡丹纹枕","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[71,23,72,7,73],"宋代","白釉","折枝牡丹纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd34eddcc2f623816c6865bf413847b3.jpg","",[],"795548",1777535754380]