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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。",[18,88,105,7,61],"浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef6bffff3e70269b791234365a6b262.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":118,"material":29,"size":30,"collection":31,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},249294,"qia-si-fa-lang-qian-bo-li-ba-bao-san-yi-ming-249294","掐丝珐琅嵌玻璃八宝-伞","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 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[42,114,115,116,117,7,61],"掐丝珐琅","嵌玻璃","琺瑯器","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2df7352bc0dfaee1b95d2c37e0060f.jpg",[],3,"37474F",{"id":123,"slug":124,"title":125,"dynasty":18,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":131,"material":29,"size":30,"collection":31,"collections":132,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":121},245377,"jin-zan-hua-ba-bao-yu-yi-ming-245377","金錾花八宝-鱼","此作为佛门八宝中的双鱼造像，以纯金錾刻透雕而成。对鱼相向而视，轮廓饱满温婉，鳞片錾刻细密写实，鳍尾舒展灵动，两鱼交合处饰吉祥结，暗含圆满联结之意。顶部如意宝相纹端庄雅致，缠枝卷草环绕器身，虚实相生的透雕消解了方正形制的板滞，让金饰莹润流光间更添灵动感。\n\n整器金水饱满匀净，錾刻走线利落细腻，既带着清式工艺的妍丽工巧，也承载着吉庆有余、双福并至的美好祈愿，是清代金属细作的精巧佳构。",[42,89,128,129,7,130,117],"錾花","鱼","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57856c9a4d45df422f2f60893890a79.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":18,"author":19,"museum":20,"description":112,"tags":137,"thumbUrl":139,"material":29,"size":30,"collection":31,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":121},249289,"qia-si-fa-lang-qian-bo-li-ba-bao-luo-yi-ming-249289","掐丝珐琅嵌玻璃八宝-螺",[42,114,115,7,138,61,44],"螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb90224cbe9ae9c67098df3f889d38.jpg",[],1,{"id":143,"slug":144,"title":145,"dynasty":146,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":154,"material":29,"size":30,"collection":31,"collections":155,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":35},246239,"jia-jing-kuan-ti-hong-fu-zi-ba-bao-long-wen-fang-xing-wei-jiao-pan-yi-ming-246239","嘉靖款剔红福字八宝龙纹方形委角盘","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。",[149,150,92,151,152,7,153,61],"明代","漆器","剔红","龙","福字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a692ca87c437920d8f8a62359e7bb8b.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":20,"description":160,"tags":161,"thumbUrl":164,"material":29,"size":30,"collection":31,"collections":165,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":80},245378,"jin-zan-hua-ba-bao-guan-yi-ming-245378","金錾花八宝-罐","此件以纯金打造，主体錾刻宝罐，环绕缠枝云纹为饰。宝罐造型饱满端庄，盖顶圆钮精巧，覆莲、垂叶纹饰层叠排布，罐身席纹铺底，细节丰盈。云纹边框辗转流动，柔婉线条中和了宝罐的厚重规整，动静相宜。錾刻工艺细腻利落，每处纹饰都清晰流畅，将金器的华贵质感尽数展现，凝萃清代细金作工艺水准，寄寓着平安丰饶的美好祈愿。",[42,89,128,92,7,162,130,163],"器物","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065148b8a0611d15c93708b68d3dc04d.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":18,"author":19,"museum":20,"description":170,"tags":171,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":174,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":35},229711,"qian-jin-ba-bao-hei-rong-piao-dai-yi-ming-229711","嵌金八宝黑绒飘带","黑绒沉如凝夜，衬得鎏金八宝愈发明丽灼目。每一处金饰皆錾刻精妙，宝相饱满灵动，各呈吉庆意蕴，将佛家八宝的祥瑞熔于方寸。柔绒的哑光肌理撞着金饰的亮泽，静穆又华贵。\n\n末端垂坠的朱红、宝蓝饰石，莹润澄澈，随飘带轻晃便漾出细碎灵动，为沉敛整体点睛提亮。这缕飘带将匠人的细腻藏入经纬，把礼制之下的精致排场与祈福心意织为一体，垂坠之间，漾着雅致雍容的古韵余温。",[42,23,172,7,117,173],"嵌金","饰品",[],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":179,"tags":180,"thumbUrl":182,"material":29,"size":30,"collection":31,"collections":183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275071,"tong-ba-bao-yu-yi-ming-275071","铜八宝-鱼","这件供器以鎏金铜打造，取柄镜形制，华贵雍容。镜心内嵌双鱼宝饰，双鲤舒展灵动，环拥法物，线条饱满细腻，暗藏丰饶有余、清净无染的吉祥禅意。器身满布缠枝卷草纹，柔婉繁复的纹饰层叠环绕，鎏金莹润醇厚，尽显细腻工巧。莲瓣底座沉稳端庄，将装饰之美与宗教意趣相融，是一件兼具陈设价值与祈福内涵的精巧供器。",[90,89,92,129,181,7,61],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e5ec1a7fbc359b0b4841edb3c8c9f0.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":20,"description":188,"tags":189,"thumbUrl":191,"material":29,"size":30,"collection":31,"collections":192,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275070,"tong-ba-bao-hua-yi-ming-275070","铜八宝-花","此器鎏金铜质温润亮眼，整体造型柔婉精巧，缠枝卷草纹饰繁复灵动，满布器身，尽显华贵气度。镜心深色地子上錾刻花卉，舒展饱满的花叶仿佛幽园折枝被定格，写实生动又兼具装饰美感。底座仰莲舒展承接，将陈设性与工艺美融为一体。\n\n它以花为具象载体，将吉祥意涵藏于精湛工巧之中，花叶鲜活写实，鎏金历经岁月仍流光温润，尽显清代金属细作的精致雅丽，把祈福纳祥的美好愿景凝于这一方小品之中。",[90,92,190,7,173,89],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4720bd98c83582b45c51d04d3edbf9.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":20,"description":197,"tags":198,"thumbUrl":199,"material":29,"size":30,"collection":31,"collections":200,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275042,"tong-du-jin-ba-bao-guan-yi-ming-275042","铜镀金八宝-罐","鎏金通体明丽璀璨，形制层层递进，意韵悠长。环中宝瓶丰肩敛足，宝顶精巧雅致，两侧卷草柔婉舒展，将清净祥瑞凝于圆光之中，仿若盛纳无量福泽。\n\n下方莲茎托举环座，层叠莲瓣饱满如生，似带露初绽的宝莲，把圣洁之意具象呈现。基座錾刻缠枝纹样，辗转间尽显工巧，沉稳承托整器。\n\n整器将吉祥意涵融于锻錾鎏金的匠心之中，线条刚柔相济，金泽温润华贵，既是礼佛供珍，亦是金工巧艺的精妙缩影，晕开平和安谧的祥瑞氛围。",[90,89,92,117,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e016e3f90dd81e9bee03e4b0f0a831e.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":18,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":207,"material":29,"size":30,"collection":31,"collections":208,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275041,"tong-du-jin-ba-bao-hua-yi-ming-275041","铜镀金八宝-花","此造像鎏金厚重莹润，色泽璀璨明丽，华贵雅致。上部圆环内宝相花层叠绽放，花瓣饱满舒展，雍容端方，圆环形边框烘托出圆满吉庆的意蕴。下方莲台缠枝舒展灵动，浮雕纹饰细腻入微，尽显錾刻工艺的精湛考究。\n\n宝花寓意清净无染，整器造型层层递进，线条柔美流畅，既带着规整大气的造办风韵，又饱含雪域吉祥文化的祈福深意，是一件兼具审美价值与宗教意涵的精巧佛供器物。",[90,89,92,117,190,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed58108c2d40e6afa908b8b31bbec47.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":20,"description":213,"tags":214,"thumbUrl":216,"material":29,"size":30,"collection":31,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},275039,"tong-du-jin-ba-bao-gai-yi-ming-275039","铜镀金八宝-盖","通体鎏金明丽匀净，宝光内敛沉静。法轮圆环内，华盖宝饰浮雕饱满玲珑，两侧卷叶缠枝柔婉拱卫，线条舒展流畅。下接仰莲束茎，层叠瓣叶肌理分明，如盛放琼花，将供器的庄严法度与盎然生机相融一体。底足环绕缠枝宝相花，錾刻细腻入微，处处可见匠心淬炼。\n\n它凝合精湛金属细作工艺，形制规整雅致，静穆间尽显宗教器物的神圣质感，是信仰美学的精巧载体，于流光中沉淀着沉静肃穆的信仰力量。",[89,90,92,117,215,7],"法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8d860840e7e56c747c9a5e0560d1e.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":225,"material":29,"size":30,"collection":31,"collec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