[{"data":1,"prerenderedAt":39},["ShallowReactive",2],{"artwork-fu-zhuang-gua-gou-yi-ming-221631":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":18,"material":19,"size":20,"collection":21,"collections":22,"showCount":23,"zanCount":24,"manualWeight":24,"mainColor":25,"tagLinks":26},221631,"fu-zhuang-gua-gou-yi-ming-221631","服装挂钩","元","佚名","藏地不详","元代社会是一个由游牧民族主政的朝代，中华本土文化受到极大的压制。此时的玉器虽然保持了宋玉的造诣和风格，但却没能继续发扬光大，而是出现回落，其艺术性和加工工艺均显得较为粗糙。元代除碾琢礼制用玉之外，还将玉材广泛地用于建筑和家具，玉器应用范围扩大，数量有所增加。内廷的制玉机构及碾玉作坊规模空前庞大，元代内廷与官办玉器手工业特别发达。因为承袭金与南宋的官办玉艺的既成布局，大都和杭州遂成为两大玉器工艺中心。元玉继承宋、辽、金玉器形神兼备的造诣而略呈小变，其做工渐趋粗犷，不拘小节，继续碾制春水玉和秋山玉以及从南宋继承下来的汉族传统玉器。元玉器中有两种是与蒙古族相联系的，一是玉押，供签署公文、告示之用，一品高官方可使用，十分珍贵；二是玉帽顶。明曾召西域国工碾治玉九龙帽顶，螭、虎形象的运动和曲线处理颇为灵秀细劲，均较为成功，但对细部的磨光上不够注意，往往留下一些砣痕。文人用玉制造文具，仿古尊彝玉器继续流行，古玉的搜集、保存、鉴赏在文人中一如既往，风行不止。画家朱德润编写的《古玉图》，是我国第一部专门性的古玉图录。元代具有代表性的玉器是“渎山大玉海”，可贮酒三十余石，饰海龙、海马等十几种瑞兽翻腾沉浮于波涛汹涌的大海，气势雄伟，动人心魄，神态生动，是元代玉器的代表作。",[12,13,14,15,16,17],"元代","玉石","雕刻","饰品","兽","螭龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb8c22812c33adcb106aafbad42f6e.jpg","未知","Xcm*Xcm","",[],3,0,"37474F",[27,29,31,33,35,37],{"name":12,"slug":28},"yuan-dai",{"name":13,"slug":30},"yu-shi",{"name":14,"slug":32},"diao-ke",{"name":15,"slug":34},"shi-pin",{"name":16,"slug":36},"shou",{"name":17,"slug":38},"chi-long",1777535460021]