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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],"唐代","玉石","透雕","饰品","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe764390eb4f09a680538b7288fdd423c.jpg","未知","Xcm*Xcm","",[],5,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":29,"size":30,"collection":31,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},281467,"ri-ben-yin-si-feng-wen-diao-hua-gao-zu-wan-yi-ming-281467","日本银四凤纹雕花高足碗","清","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。",[42,43,44,7,45,46],"银器","雕刻","凤纹","高足碗","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7117cc48f6e637d3de92f4bbf0e8547d.jpg",[],2,"BDBDBD",{"id":52,"slug":53,"title":54,"dynasty":39,"author":19,"museum":20,"description":55,"tags":56,"thumbUrl":59,"material":29,"size":30,"collection":31,"collections":60,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},229867,"bai-yu-diao-hua-xiao-he-yi-ming-229867","白玉雕花小盒","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。",[57,24,43,58,7],"清代","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ea3cd62fbd1d1374edb0945d74007b7.jpg",[],{"id":62,"slug":63,"title":64,"dynasty":39,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":81,"material":29,"size":30,"collection":31,"collections":82,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":50},229533,"song-hua-shi-ju-hua-yan-yi-ming-229533","松花石菊花砚","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。",[57,43,67,68,69,70,58,71,27,72,73,74,75,76,77,7,78,79,80],"菊","砚","石材","花鸟","文房","雕刻技法","松花石","文房用具","清代器物","菊花纹样","石质","花饰","石砚","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e4dfe08ebd3971576141808cf13d0f.jpg",[],{"id":84,"slug":85,"title":86,"dynasty":39,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":95,"material":29,"size":30,"collection":31,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":98},269589,"yong-zheng-kuan-xiang-ya-ran-diao-hua-shi-shi-he-yi-ming-269589","雍正款象牙染雕花柿式盒","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[89,43,90,91,58,7,92,93,94],"象牙","染色","日用具","卍字","白菜","柿式盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2067eab986b7f47ec68c6654887d30df.jpg",[],1,"795548",{"id":100,"slug":101,"title":102,"dynasty":39,"author":19,"museum":20,"description":21,"tags":103,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":105,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":98},229424,"qing-yu-diao-hua-bian-zhuo-yi-ming-229424","青玉雕花扁镯",[57,24,43,26,7,104],"玉器",[],{"id":107,"slug":108,"title":109,"dynasty":39,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":115,"material":29,"size":30,"collection":31,"collections":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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。",[57,42,243,43,91,7],"椭圆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeabb96b282ad610fe6a8074d66cbe0e.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":39,"author":19,"museum":20,"description":250,"tags":251,"thumbUrl":254,"material":29,"size":30,"collection":31,"collections":255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},230093,"diao-hua-gai-guan-yi-ming-230093","雕花盖罐","取匀净青玉琢就，莹润翠色如将春水凝为实体。盖顶花苞为钮，盖面莲瓣层叠舒展，似携朝露初绽。罐身纹饰自上而下渐次铺陈，颈部仰莲挺括利落，腹部开光内饰团花，缠枝柔婉盘绕，托举娇花盛放，刀走线随，将玉质温润与花姿柔美相融无间。下配花口玉盘，轮廓舒展如盛放莲华，与罐身纹饰呼应成趣。整体器型饱满圆融，工致细腻不见糙痕，把江南莲塘的清隽雅致凝于一方玉中，尽显含蓄温婉的中式意趣。",[57,24,43,252,253,58,27,7],"青绿","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6edd44c080082a8023d3668f7d1ba4a.jpg",[],{"id":257,"slug":258,"title":259,"dynasty":39,"author":19,"museum":20,"description":21,"tags":260,"thumbUrl":264,"material":29,"size":30,"collection":31,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},230013,"qing-yu-shou-zi-diao-hua-shuang-er-lu-yi-ming-230013","青玉寿字雕花双耳炉",[24,43,58,261,262,263,7],"兽","龙","寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed3cd9acfe232ccba030619da6d0118.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":39,"author":19,"museum":20,"description":21,"tags":270,"thumbUrl":274,"material":29,"size":30,"collection":31,"collections":275,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},229670,"qian-long-bi-yu-diao-hua-he-yi-ming-229670","乾隆 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