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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[77,76,64,89,90,91,92,93,7,94,95],"嵌玉","文具","兰","竹","水仙","车式","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87331bcc66a2fbd86349fb303f1f7def.jpg",[],4,{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":111,"material":29,"size":30,"collection":31,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":35},228591,"tian-bai-fan-lian-ba-bao-wen-gao-zu-bei-yi-ming-228591","甜白番莲八宝纹高足杯","明","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。",[106,107,108,109,7,110,76],"明代","陶瓷","甜白釉","番莲","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1798ba3efa7a5fcd31c85956b2875589.jpg",[],3,{"id":115,"slug":116,"title":117,"dynasty":18,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":123,"material":29,"size":30,"collection":31,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},273397,"tong-tai-hua-fa-lang-ba-bao-shuang-xi-zi-bei-ba-jing-yi-ming-273397","铜胎画珐琅八宝双喜字背把镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[23,120,121,44,7,65,122],"铜制","日用具","画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53017d57e6f405211576f9bab8f8f5b1.jpg",[],2,"F48FB1",{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":139,"material":29,"size":30,"collection":31,"collections":140,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":35},268774,"huang-se-duan-xiu-ba-bao-gou-lian-wen-jia-fu-zhuo-wei-yi-ming-268774","黄色缎绣八宝勾莲纹夹佛桌围","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[133,134,135,7,136,137,138],"宗教","刺绣","布料","勾莲纹","莲花","佛桌围","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06c9b14500954fb9f782c20c1c5cc44.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":18,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":152,"material":29,"size":30,"collection":31,"collections":153,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":35},266171,"shi-qing-se-ke-si-ba-tuan-yun-fu-ba-bao-shou-jin-long-wen-tian-ma-pi-bian-nv-long-gua-yi-ming-266171","石青色缂丝八团云蝠八宝寿金龙纹天马皮边女龙褂","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[147,135,148,78,149,7,150,151],"衣帽","缂丝","云蝠纹","寿纹","海水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9e7ea017694490f3c4e40a224b09cc.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":19,"museum":20,"description":131,"tags":158,"thumbUrl":163,"material":29,"size":30,"collection":31,"collections":164,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":35},264358,"xue-hui-se-duan-xiu-ba-tuan-you-shui-ba-bao-hua-hui-wen-liao-yi-ming-264358","雪灰色缎绣八团有水八宝花卉纹料",[135,134,7,159,160,161,162],"花卉纹","海水江崖","团花","缎面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e06c7a6dcc62739f248b1f3c6a7f8f8.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":175,"material":29,"size":30,"collection":31,"collections":176,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":177},263914,"hong-se-di-ba-bao-chang-yuan-shou-zi-wen-zhi-jin-jin-yi-ming-263914","红色地八宝长圆寿字纹织金锦","《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》。",[171,135,172,7,173,174],"织金锦","寿字纹","织金工艺","红底","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9767eae9b3d48b484bad01fa6090d3.jpg",[],"37474F",{"id":179,"slug":180,"title":181,"dynasty":103,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":190,"material":29,"size":30,"collection":31,"collections":191,"showCount":125,"zanCount":34,"manualWeight":11,"mainColor":35},263671,"yue-bai-se-di-ba-bao-wen-jia-xie-chou-yi-ming-263671","月白色地八宝纹夹缬绸","这件夹缬织物，月白底色晕开旧时光的柔润质感，暖黄与浅褐的八宝瑞纹错落铺陈。佛八宝各展其态，线条圆融舒展，套色晕染柔和自然，没有生硬的边界感，带着古旧织物独有的温润晕调。纹样排布疏密得宜，规整中藏着灵动韵律，将纳福祈祥的美好寓意凝在每一处织纹里，尽显传统染织技艺的雅致匠心，古韵悠然沉静。",[135,184,7,185,186,187,188,189],"夹缬","织物","设色","鱼","蝴蝶","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bbf26f8ea21fa12ad90ca054cadb15c.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":103,"author":19,"museum":20,"description":87,"tags":196,"thumbUrl":202,"material":29,"size":30,"collection":31,"collections":203,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":54},252148,"qing-yu-ba-bao-hua-hui-wan-shou-wen-dai-gai-zhi-hu-yi-ming-252148","青玉八宝花卉万寿纹带盖执壶",[106,197,64,7,159,198,199,200,110,201,76],"玉石","万寿纹","执壶","玉器","带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f97bdb9a2731fa1b3f84ef6259c74e.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":59,"tags":208,"thumbUrl":211,"material":29,"size":30,"collection":31,"collections":212,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":54},249513,"hua-fa-lang-shuang-xi-zi-ba-bao-gou-lian-wen-jiu-zi-he-yi-ming-249513","画珐琅双喜字八宝勾莲纹九子盒",[43,122,61,7,136,209,210,189],"双喜字纹","多格器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f44e1c3eac45a98558f1178aebee591.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":18,"author":19,"museum":20,"description":21,"tags":217,"thumbUrl":222,"material":29,"size":30,"collection":31,"collections":223,"showCount":125,"zanCount":113,"manualWeight":11,"mainColor":126},246679,"ti-hong-chan-zhi-lian-ba-bao-wen-shuang-er-huo-huan-hai-tang-shi-ping-yi-ming-246679","剔红缠枝莲八宝纹双耳活环海棠式瓶",[61,62,218,66,7,219,220,64,221],"剔红","双耳活环","海棠式瓶","立器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942cc9d8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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。",[107,300,7,301,121,76],"红彩","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722765900bd454676ab49c529c314b1f.jpg",[],{"id":305,"slug":306,"title":307,"dynasty":18,"author":19,"museum":20,"description":87,"tags":308,"thumbUrl":312,"material":29,"size":30,"collection":31,"collections":313,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":54},252058,"qian-long-fang-gu-kuan-bi-yu-shou-er-xian-huo-huan-ba-bao-wen-dai-gai-hu-yi-ming-252058","乾隆仿古款碧玉兽耳衔活环八宝纹带盖壶",[61,197,64,309,310,7,311,76],"兽","活环","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e2174f278b91b46f4289e94f6b8ee0.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":18,"author":19,"museum":20,"description":318,"tags":319,"thumbUrl":321,"material":29,"size":30,"collection":31,"collections":322,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":54},249877,"qia-si-fa-lang-gou-lian-ba-bao-wen-yu-gang-yi-ming-249877","掐丝珐琅勾莲八宝纹鱼缸","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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