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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。",[42,43,27,7,44,45,46,47,48],"玉石","浮雕","龙","人物","树木","书法","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4133eda505fbcf905f43ea20755bca.jpg",[],4,"37474F",{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":63,"material":29,"size":30,"collection":31,"collections":64,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":65},223743,"qing-ci-hua-hua-pan-chi-pan-yi-ming-223743","青瓷划花蟠螭盘","宋","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。",[57,60,61,62,7,48],"陶瓷","青瓷","划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc58bd97d0d5eea3a73c956495f050970.jpg",[],"795548",{"id":67,"slug":68,"title":69,"dynasty":70,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":52},221631,"fu-zhuang-gua-gou-yi-ming-221631","服装挂钩","元","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。",[73,42,27,74,75,7],"元代","饰品","兽",[],3,{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":40,"tags":82,"thumbUrl":92,"material":29,"size":30,"collection":31,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":65},251695,"bi-yu-chi-er-xian-huo-huan-dai-zuo-bian-fang-gai-hu-yi-ming-251695","碧玉螭耳衔活环带座扁方盖壶",[42,27,83,7,84,85,86,87,88,89,90,91],"清代","活环","带座","扁方","盖壶","玉器","兽耳","衔环","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79161d1afdf632b03fe849d238b81851.jpg",[],1,{"id":96,"slug":97,"title":98,"dynasty":18,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":102,"material":29,"size":30,"collection":31,"collections":103,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":52},229486,"yong-zheng-cha-ye-mo-chi-er-hua-jiao-yi-ming-229486","雍正 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一。",[110,111,42,27,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb2f414edb30a2c8112f50ee081a5c.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":20,"description":126,"tags":134,"thumbUrl":135,"material":29,"size":30,"collection":31,"collections":136,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},277011,"chi-niu-yu-ci-lang-yin-ge-bao-yi-ming-277011","螭纽“御赐朗吟阁宝”",[110,111,42,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca9fc9192a1cafe0c812bd5f4332f1c.jpg",[],{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":118,"tags":141,"thumbUrl":142,"material":29,"size":30,"collection":31,"collections":143,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":144},277002,"wei-jun-nan-diao-chi-chang-fang-shi-yin-yi-ming-277002","“为君难”雕螭长方石印",[110,111,42,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e35aabefc2370c647dfca2987c5e55.jpg",[],"FFFFFF",{"id":146,"slug":147,"title":148,"dynasty":18,"author":19,"museum":20,"description":118,"tags":149,"thumbUrl":150,"material":29,"size":30,"collection":31,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},276924,"chi-niu-zhen-ren-tian-ji-yin-yi-ming-276924","螭纽“真人天霁”印",[110,42,27,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e06f4d3a7661e08eb31b4d0b7ecc729.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":158,"material":29,"size":30,"collection":31,"collections":159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},276493,"chi-niu-wei-yu-shu-shi-xi-yi-ming-276493","螭纽“味余书室”玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[110,42,27,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc4536edce381a551ee783a16bad6f36.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":20,"description":108,"tags":164,"thumbUrl":165,"material":29,"size":30,"collection":31,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},276271,"chi-niu-xia-guan-er-hua-zhang-yi-ming-276271","螭纽“下观而化”章",[110,111,42,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e2e880faf25f492e7446e2ab6b4cbd.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":18,"author":19,"museum":20,"description":118,"tags":171,"thumbUrl":173,"material":29,"size":30,"collection":31,"collections":174,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},276263,"chi-niu-tong-zhi-yin-yi-ming-276263","螭纽“同”“治”印",[110,111,42,27,7,172],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d0a5eb4fda1a4d423d7919cd16e70b.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":126,"tags":179,"thumbUrl":180,"material":29,"size":30,"collection":31,"collections":181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},275766,"pan-chi-niu-xuan-wen-zhi-bao-yi-ming-275766","蟠螭纽“宣文之宝”",[110,42,111,7,75,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17da2adae13a4a8680089a937187b66.jpg",[],{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":192,"material":29,"size":30,"collection":31,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},274758,"tong-pan-chi-wen-hua-gu-yi-ming-274758","铜蟠螭纹花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[188,189,27,7,190,191],"青铜器","铜制","花觚","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3c9d1729ece9aa16525cc33578601b.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":18,"author":19,"museum":20,"description":198,"tags":199,"thumbUrl":202,"material":29,"size":30,"collection":31,"collections":203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},272399,"tao-dai-shuang-chi-mo-yi-ming-272399","陶岱双螭墨","瓜尔佳氏，满洲正蓝旗人，清朝大臣，官至署两江总督、仓场侍郎。",[200,27,7,201],"墨","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87b307ccc4c45251bb5baf8b6a77ee6.jpg",[],{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":208,"tags":209,"thumbUrl":213,"material":29,"size":30,"collection":31,"collections":214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272302,"duan-shi-diao-chi-tuo-yuan-yan-yi-ming-272302","端石雕螭椭圆砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[210,211,27,7,212],"砚","端石","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da9d56558dacbfb4a3359322604a4be.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":18,"author":19,"museum":20,"description":208,"tags":219,"thumbUrl":221,"material":29,"size":30,"collection":31,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},272008,"song-hua-jiang-shi-diao-yun-chi-wen-lian-gai-yan-yi-ming-272008","松花江石雕云螭纹连盖砚",[42,210,27,7,220,212],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08ccb8e77dbb916d0f7dab53494af53.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":18,"author":19,"museum":20,"description":227,"tags":228,"thumbUrl":230,"material":29,"size":30,"collection":31,"collections":231,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},271208,"li-wen-ling-shi-pan-chi-mo-yi-ming-271208","丽文灵石蟠螭墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[200,212,27,7,229,110,172],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966e9be9729252e88227e5682ba8a143.jpg",[],{"id":233,"slug":2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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。",[300,27,301,7,212,48,302],"木质","笔筒","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42966c91d77c82e4cae88d325afcc20d.jpg",[],{"id":306,"slug":307,"title":308,"dynasty":39,"author":19,"museum":20,"description":275,"tags":309,"thumbUrl":312,"material":29,"size":30,"collection":31,"collections":313,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},269090,"xi-jiao-diao-he-ye-shuang-chi-wen-bei-yi-ming-269090","犀角雕荷叶双螭纹杯",[27,259,310,277,7,311],"杯","犀角器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd576c2a2c2227c3bec48f8978e19e.jpg",[],{"id":315,"slug":316,"title":317,"dynasty":18,"author":19,"museum":20,"description":318,"tags":319,"thumbUrl":322,"material":29,"size":30,"collection":31,"collections":323,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},262219,"bai-you-tu-hua-chi-wen-fang-bei-yi-ming-262219","白釉凸花螭纹方杯","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。",[60,259,27,7,320,321,48],"白釉","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f18983188762efc5b91173925d9cf6.jpg",[],{"id":325,"slug":326,"title":327,"dynasty":18,"author":19,"museum":20,"description":328,"tags":329,"thumbUrl":332,"material":29,"size":30,"collection":31,"collections":333,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":334},259622,"kang-xi-kuan-qing-hua-chi-long-wen-gai-guan-yi-ming-259622","康熙款青花螭龙纹盖罐","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[60,330,7,331],"青花","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2af2561193f5325b0fb3a971f2c509b.jpg",[],"F48FB1",{"id":336,"slug":337,"title":338,"dynasty":70,"author":19,"museum":20,"description":339,"tags":340,"thumbUrl":343,"material":29,"size":30,"collection":31,"collections":344,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},252565,"bai-yu-tou-diao-chi-long-wen-dai-gou-yi-ming-252565","白玉透雕螭龙纹带钩","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[73,341,42,342,7,44,75,48,74],"白玉","透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c9dd950e414df380ba0375a413d295.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":18,"author":19,"museum":20,"description":40,"tags":349,"thumbUrl":351,"material":29,"size":30,"collection":31,"collections":352,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},251655,"qing-yu-shi-er-zhang-gui-bi-yi-ming-251655","青玉十二章圭璧",[42,88,191,27,7,350],"圭璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947ffc610cad9490d031776be282e41.jpg",[],{"id":354,"slug":355,"title":356,"dynasty":39,"author":19,"museum":20,"description":40,"tags":357,"thumbUrl":362,"material":29,"size":30,"collection":31,"collections":363,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},228696,"ming-zhong-wan-qi-yu-fu-shou-wu-jiang-chi-er-shui-sheng-yi-ming-228696","明中晚期 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