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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。",[23,24,25,7,26,27,28,29],"银器","珐琅器","玉石","月季","花卉","瓶景","摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154c4785f11a9d82183db6c7f9d3581a.jpg","未知","Xcm*Xcm","",[],18,1,"795548",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":54,"material":31,"size":32,"collection":33,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":57},224009,"yao-lian-shi-jin-xiang-gua-biao-bo-li-bi-yan-hu-yi-ming-224009","腰炼式金镶挂表玻璃鼻烟壶","不详","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[45,7,46,47,48,49,50,51,52,53],"金器","雕刻","镂空","金镶","饰品","挂表","鼻烟壶","腰链","装饰工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd5a2988d2b3d42d69a09bdc9f0ab6b.jpg",[],10,"BDBDBD",{"id":59,"slug":60,"title":61,"dynasty":18,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":70,"material":31,"size":32,"collection":33,"collections":71,"showCount":72,"zanCount":36,"manualWeight":11,"mainColor":73},270526,"fen-cai-ba-bao-wen-tong-shi-pen-yu-shi-bo-li-yu-lan-pen-jing-yi-ming-270526","粉彩八宝纹筒式盆玉石玻璃玉兰盆景","这件盆景重工巧作，铜胎珐琅盆身以湖蓝为底，缠枝莲纹间点缀八宝饰样，鎏金铺陈口沿、底足与兽耳，华贵雍容。盆中景致生机盎然，枝干摹拟枯木苍劲之态，白玉碾琢的玉兰花苞饱满、盛放舒展，温润莹洁如凝霜积雪。粉翠玉石雕琢的牡丹层叠娇妍，与通透玻璃花叶相映成趣，晕染出春日盛景。匠师以各色珍料摹写花姿，将玉石凝润、珐琅明丽融于一器，既有案上清供雅致之趣，尽显宫廷精工细作的华贵风貌，是清代仿生盆景的精妙之作。",[64,25,7,65,66,67,68,69],"盆景","琺瑯器","玉兰","牡丹","工艺品","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c21b69229cd58b6cb3bf8f720dc12.jpg",[],9,"37474F",{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":81,"material":31,"size":32,"collection":33,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":57},270503,"hua-fa-lang-wei-jiao-chang-fang-pen-bai-se-bo-li-shui-xian-pen-jing-yi-ming-270503","画珐琅委角长方盆白色玻璃水仙盆景","此盆景以珐琅盆为座，盆身绘缠枝花卉，填彩妍丽饱满，勾勒柔婉细腻，尽显珐琅工艺的华贵精巧。白色玻璃水仙冰姿莹润，瓣型舒展灵动，仿真肌理鲜活逼真，金属制叶片脉络分明，鎏金饰边晕出雅致光泽。旁生配花错落点缀，让整体疏密有致，层次丰盈。\n\n整作写实生动，将水仙清雅脱俗的气韵尽数彰显，把匠心工艺与花艺意趣相融，尽显案头清供的静雅意韵，是仿生盆景中的精巧之作。",[64,65,7,80,27],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37acfcec93fa197b18f0e4bf7b892d9.jpg",[],7,{"id":85,"slug":86,"title":87,"dynasty":18,"author":19,"museum":20,"description":21,"tags":88,"thumbUrl":91,"material":31,"size":32,"collection":33,"collections":92,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":37},270496,"tong-du-jin-qian-yu-shi-bo-li-hu-lu-shi-ping-bo-li-hua-hui-shan-hu-tian-zhu-ping-jing-yi-ming-270496","铜镀金嵌玉石玻璃葫芦式瓶玻璃花卉珊瑚天竹瓶景",[89,45,25,7,69,46,27,90,28],"铜制","葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f5dc59151aaeed74c28db52a2168ab.jpg",[],{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":20,"description":43,"tags":97,"thumbUrl":102,"material":31,"size":32,"collection":33,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":37},270352,"meng-zi-shou-kuan-bai-se-bo-li-nei-hua-ren-wu-tu-bi-yan-hu-yi-ming-270352","孟子受款白色玻璃内画人物图鼻烟壶",[98,99,7,51,100,101],"内画","人物","日用具","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6bd63e1fecfa07919839de3b6b21a9.jpg",[],5,{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":43,"tags":109,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},229115,"tao-liao-hua-die-bi-yan-hu-yi-ming-229115","套料花蝶鼻烟壶",[110,111,46,7,112,113,69],"清代","套料","花","蝶",[],3,"F48FB1",{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":127,"material":31,"size":32,"collection":33,"collections":128,"showCount":129,"zanCount":36,"manualWeight":11,"mainColor":57},274331,"tong-du-jin-qian-bo-li-zhen-zhu-dai-kou-biao-yi-ming-274331","铜镀金嵌玻璃珍珠带扣表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[49,45,89,123,124,7,125,126],"钟表","镶嵌工艺","珍珠","带扣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1a60ae9f7eeae6e4495af9ced42383.jpg",[],2,{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":20,"description":21,"tags":134,"thumbUrl":136,"material":31,"size":32,"collection":33,"collections":137,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},270495,"tong-du-jin-qian-yu-shi-bo-li-hu-lu-shi-ping-yu-shi-bo-li-hua-hui-ping-jing-yi-ming-270495","铜镀金嵌玉石玻璃葫芦式瓶玉石玻璃花卉瓶景",[89,45,25,7,69,28,27,46,135],"葫芦形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faddc134f9262dcf7bfbe2a5f2c2d6905.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":151,"material":31,"size":32,"collection":33,"collections":152,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":37},269368,"zi-tan-qian-bo-li-yu-shi-gou-qi-hua-die-tu-bi-tong-yi-ming-269368","紫檀嵌玻璃玉石枸杞花蝶图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[144,145,46,146,25,7,147,148,149,150],"木质","笔筒","镶嵌","枸杞","花蝶","山石","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a5078f7cbc59556cfbe7292b6e2ba3.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":18,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":161,"material":31,"size":32,"collection":33,"collections":162,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},270504,"hua-fa-lang-wei-jiao-chang-fang-pen-bo-li-xuan-cao-pen-jing-yi-ming-270504","画珐琅委角长方盆玻璃萱草盆景","盆身珐琅彩绘缠枝繁花，开光留白题字添古雅意趣。橙褐玻璃萱草舒展如沐朝晖，色阶渐变灵动鲜活。莹白玉雕素花点缀其间，似凝露初绽，衬以点翠细枝，深浅碧色错落晕染。下承雕花漆座，朱红底托提亮整器格调。\n以人工攒花复刻天工意趣，将料器、玉雕、点翠诸般工艺集于一炉，尽显造办匠心。案头小景藏纳生机，华贵精巧间不失娴静清供之美。",[64,65,159,27,160,25,7],"萱草","工艺摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618cbc3376d16d485bdc1f5806068fb6.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":20,"description":21,"tags":167,"thumbUrl":169,"material":31,"size":32,"collection":33,"collections":170,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":73},270148,"tong-du-jin-qian-yu-shi-bo-li-pen-bo-li-ju-hua-pen-jing-yi-ming-270148","铜镀金嵌玉石玻璃盆玻璃菊花盆景",[64,168,25,89,65,7,27,68],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8d9058c15aba9e6e0cc95f3c2d7b81.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":175,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":179,"material":31,"size":32,"collection":33,"collections":180,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},270066,"bo-li-qian-hua-wen-lei-zi-yi-ming-270066","玻璃嵌花纹勒子","周","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[69,49,7,178],"嵌花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2746ff1fa361d622f766f70d4b7712f4.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":189,"material":31,"size":32,"collection":33,"collections":190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},281519,"xiang-tong-lv-bo-li-shuang-er-san-zu-guan-yi-ming-281519","镶铜绿玻璃双耳三足罐","幽碧玻璃如凝冻的深潭冰纹，幻彩光泽随光影晕开朦胧涟漪。鎏金铜饰以花草兽首塑就双耳与三足，兽首衔缠花茎沿着器身攀附舒展，柔婉线条中和了玻璃的冷冽。金属暖光衬得琉璃愈发明润莹透，将自然生机凝于方寸器物，揉合东方雅致与西洋装饰意趣。冷硬琉璃与柔媚铜饰相映成趣，静立便自带复古华贵的气质，把工艺美学藏在每一处细节之中。",[69,7,89,187,188,46],"双耳","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6141612926d7b688a4b54da37398094.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":18,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":198,"material":31,"size":32,"collection":33,"collections":199,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},281503,"tong-xiang-bo-li-qian-zhu-tuo-yuan-he-yi-ming-281503","铜镶玻璃嵌珠椭圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[89,69,49,100,146,7,197],"嵌珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0329578f9e034c4bb2bbee85d65438.jpg",[],{"id":201,"slug":202,"title":203,"dynasty":18,"author":19,"museum":20,"description":204,"tags":205,"thumbUrl":209,"material":31,"size":32,"collection":33,"collections":210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":57},274468,"tong-du-jin-bo-li-zhu-qian-yang-ci-yin-yue-biao-jing-yi-ming-274468","铜镀金玻璃柱嵌洋瓷音乐表镜","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。",[89,7,24,206,123,207,100,49,46,208],"镜子","乐器","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4440bf9459ae680bc27f70961fb5c178.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":18,"author":19,"museum":20,"description":121,"tags":215,"thumbUrl":218,"material":31,"size":32,"collection":33,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},274281,"tong-du-jin-qian-ma-nao-bo-li-zhuan-hua-gui-ju-he-biao-yi-ming-274281","铜镀金嵌玛瑙玻璃转花规矩盒表",[45,89,216,7,49,100,46,123,217],"玛瑙","嵌饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29a13e8b65604f5cc3802902271d159.jpg",[],{"id":221,"slug":222,"title":214,"dynasty":18,"author":19,"museum":20,"description":121,"tags":223,"thumbUrl":224,"material":31,"size":32,"collection":33,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},274280,"tong-du-jin-qian-ma-nao-bo-li-zhuan-hua-gui-ju-he-biao-yi-ming-274280",[45,89,216,7,124,49,100,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5345bea00ae4c442385d551d77a904ff.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":21,"tags":230,"thumbUrl":233,"material":31,"size":32,"collection":33,"collections":234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},270493,"tong-du-jin-qian-yu-shi-bo-li-hai-tang-shi-pen-yu-shi-mei-hua-pen-jing-yi-ming-270493","铜镀金嵌玉石玻璃海棠式盆玉石梅花盆景",[64,89,45,25,7,24,231,232,144,46,68,69],"梅花","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269c31d1fe8d4c58fcc62321516d5db3.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":18,"author":19,"museum":20,"description":239,"tags":240,"thumbUrl":245,"material":31,"size":32,"collection":33,"collections":246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},270394,"dao-guang-kuan-dou-lv-se-bo-li-guang-su-wan-yi-ming-270394","道光款豆绿色玻璃光素碗","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。",[7,69,100,241,242,243,244],"饪食器","豆绿色","光素","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c7cd238ca4d2d00a20594b5639221b.jpg",[],{"id":248,"slug":249,"title":250,"dynasty":175,"author":19,"museum":20,"description":176,"tags":251,"thumbUrl":253,"material":31,"size":32,"collection":33,"collections":254,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},270069,"lv-se-bo-li-gu-wen-huan-yi-ming-270069","绿色玻璃谷纹环",[69,49,7,252],"谷纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5461a2b12b03715e0c5beb03449c845b.jpg",[],{"id":256,"slug":257,"title":258,"dynasty":259,"author":19,"museum":20,"description":260,"tags":261,"thumbUrl":264,"material":31,"size":32,"collection":33,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},254437,"bo-li-ren-wu-zuo-xiang-yi-ming-254437","玻璃人物坐像","明","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[262,7,46,99,263],"明代","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fe096d58e4da6cd40f5af41ea0821e.jpg",[],1777535719501]