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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。",[118,7,55,119,88,120,121,122,29,123],"镶珠","设色","西洋建筑","剧场场景","器","西洋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05973ae0665f948f055be6a62f11d62.jpg",[],14,{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":135,"material":104,"size":105,"collection":39,"collections":136,"showCount":137,"zanCount":79,"manualWeight":11,"mainColor":62},242087,"yin-du-jin-hu-die-wen-zan-yi-ming-242087","银镀金蝴蝶纹簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[51,133,7,134,29,55],"银镀金","蝴蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15162ae0bd0839d0674f18549ad5135a.jpg",[],9,{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":149,"material":104,"size":105,"collection":39,"collections":150,"showCount":151,"zanCount":79,"manualWeight":11,"mainColor":62},245344,"jin-ou-yong-gu-bei-yi-ming-245344","金瓯永固杯","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。",[51,53,32,33,7,144,145,75,27,74,146,147,148,122],"龙","象","礼器","饮酒器","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd525d8028d773e4dc808b1d7f2d07fa9.jpg",[],8,{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":131,"tags":156,"thumbUrl":160,"material":104,"size":105,"collection":39,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":109},241982,"zhang-zhu-hua-duo-wen-zan-yi-ming-241982","长珠花朵纹簪",[51,29,27,157,33,7,158,159],"花朵纹","金属","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0531845595fe687e5796e494bbdd03f4.jpg",[],7,{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":170,"material":104,"size":105,"collection":39,"collections":171,"showCount":162,"zanCount":79,"manualWeight":11,"mainColor":44},229904,"lv-song-shi-chao-zhu-yi-ming-229904","绿松石朝珠","整串以莹润松石为主体，如凝萃苍山翠色，清透温婉。蜜蜡隔珠错落其间，暖调晕开冷意，平衡配色层次。\n\n珊瑚记捻朱红鲜亮，与松石苍碧相映成趣，垂坠间漾出灵动生气。背云以鎏金勾勒轮廓，嵌饰宝光内蕴的珠石，将礼制规制与精工巧思相融。\n\n依循典制排布，材质遴选极尽考究，配色和谐雅致，将清代配饰的端重与精巧融于一身，静静伫立便晕开旧时仪范的温润风华，是传统配饰美学的凝练缩影。",[51,169,26,29,122,7,119],"绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25dbb380ecd6fe6d6bfeaa2307832ca.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":18,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":180,"material":104,"size":105,"collection":39,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":62},268954,"yin-du-jin-lei-si-ru-yi-bian-fang-yi-ming-268954","银镀金累丝如意扁方","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[29,53,178,7,179],"累丝","扁方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc906d7526889695f7f5df368e5021b.jpg",[],6,{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":20,"description":131,"tags":187,"thumbUrl":190,"material":104,"size":105,"collection":39,"collections":191,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":44},241996,"yin-du-jin-qian-zhu-bao-bian-dou-hu-die-wen-zan-yi-ming-241996","银镀金嵌珠宝扁豆蝴蝶纹簪",[51,133,70,7,29,188,189,73],"扁豆","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbd329420876fc25419d9fb4563988.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":18,"author":19,"museum":20,"description":131,"tags":196,"thumbUrl":201,"material":104,"size":105,"collection":39,"collections":202,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":80},245703,"jin-xiang-shan-hu-tao-fu-shuang-xi-zan-yi-ming-245703","金镶珊瑚桃蝠双喜簪",[51,53,29,197,7,198,199,200,33],"珊瑚","桃","蝠","双喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c65913781188b6ff4262926e69cf31.jpg",[],5,{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":20,"description":131,"tags":208,"thumbUrl":213,"material":104,"size":105,"collection":39,"collections":214,"showCount":203,"zanC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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。",[7,256,308,87,88,626,32],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6661130c1f862bd70d77d8329c0a0906.jpg",[],{"id":630,"slug":631,"title":623,"dynasty":18,"author":19,"museum":20,"description":624,"tags":632,"thumbUrl":633,"material":104,"size":105,"collection":39,"collections":634,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},255593,"fa-lang-luo-han-zuo-xiang-yi-ming-255593",[51,87,88,461,7,256,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c75f9bc7337f4c71a0c3003ef425ee.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":18,"author":19,"museum":20,"description":304,"tags":639,"thumbUrl":642,"material":104,"size":105,"collection":39,"collections":643,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},250118,"qia-si-fa-lang-wan-shou-wu-jiang-wan-yi-ming-250118","掐丝珐琅万寿无疆碗",[306,308,256,122,640,641,51,307,7,119],"寿字","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d019cdec158c157fc74ddffae36e76.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":18,"author":19,"museum":20,"description":304,"tags":648,"thumbUrl":650,"material":104,"size":105,"collection":39,"collections":651,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},249672,"qia-si-fa-lang-fang-kui-wen-chu-ji-shuang-er-si-zu-lu-yi-ming-249672","掐丝珐琅方夔纹出戟双耳四足炉",[306,308,122,649,18,307,7],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba10b2f780bbc1fd9a05d1e81e8af11.jpg",[],{"id":653,"slug":654,"title":655,"dynasty":380,"author":19,"museum":20,"description":656,"tags":657,"thumbUrl":659,"material":104,"size":105,"collection":39,"collections":660,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},249270,"qia-si-fa-lang-wu-gong-shuang-long-peng-shou-wen-zhu-tai-yi-ming-249270","掐丝珐琅五供-双龙捧寿纹烛台","此烛台古韵盎然，以铜为胎，掐丝勾勒缠枝纹为地，双龙矫健灵动，拱捧团寿纹样，饱满富丽。宝蓝釉色沉厚为底，朱红鎏金鲜亮点缀，冷暖碰撞间尽显古拙华贵。整体造型方正挺拔，自基座至灯台层层递进，线条刚劲规整，尽显庙堂礼制器物的庄重肃穆。\n\n纹饰排布疏密相宜，匠师以精细掐丝让龙纹张弛有神，寿纹圆满祥和，暗合福寿绵长的美好寓意，尽显成熟的珐琅工艺造诣，是兼具礼制功用与审美价值的精工之作。",[380,306,308,144,210,658,462,122,307,7],"双龙捧寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29806bc178f6d388f53bd5f484a7e41a.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":18,"author":19,"museum":20,"description":665,"tags":666,"thumbUrl":671,"material":104,"size":105,"collection":39,"collections":672,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},245522,"jin-qian-bao-qi-zhen-mo-ni-bao-yi-ming-245522","金嵌宝七珍-摩尼宝","这件供器以纯金为骨，以累花丝嵌、点翠镶宝工艺打造。顶饰轮盘饱满华丽，中心与周身满嵌红蓝宝石，宝光莹润鲜亮，环绕的点翠饰件晕出幽蓝雅致，与赤金相衬更显华贵。\n\n器身花枝舒展，翠羽铺就花叶纹理，宝石点缀其间，将贵金属的厚重雍容与点翠的清灵雅致相融，细节处尽显繁复精巧的宫廷造办技艺，尽显庄严华贵的佛供美学，是藏传礼供器物中的精工之作。",[51,87,667,53,668,548,7,461,122,669,55,670],"佛教","嵌宝","器物","清代工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ddb4e5a81aeea5152399081b3cef7a1.jpg",[],{"id":674,"slug":675,"title":676,"dynasty":18,"author":19,"museum":20,"description":677,"tags":678,"thumbUrl":685,"material":104,"size":105,"collection":39,"collections":686,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},242148,"yin-du-jin-tou-hua-yi-ming-242148","银镀金头花","中国妇女最偏爱的头花当属绒花，尤其是在女儿出嫁时，头上必须戴红色绒花，图火红吉利。在中国妇女中，只要条件允许，不仅婚礼喜庆日时要戴绒花，而且一年四季都愿意头戴绒花，求谐音吉祥。尤其到应时节序戴应季绒花：立春日戴春幡，清明日戴柳枝，端阳日戴艾草，中秋日戴桂花，重阳日戴茱萸，立冬日戴葫芦阳生……。清宫后妃们的头花，还有大批的绒花、绢花、绫花流存于世，这些花色彩协调，晕色层次丰富，堪称“乱真”之花。清代遗留下来的绒、绢、绫、绸等质地的头花有白、粉、桃红三晕色的牡丹花，浅黄、中黄、深黄三色的菊花，白、藕、雪青三色的月季花及粉、白相间的梅花等等，历时百年不久，仍鲜艳悦人。",[51,133,29,7,33,32,679,680,681,74,682,683,684],"花朵","叶子","猫","金属丝","精致","华丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efd4b844207237546b1f29d2acffe55.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":18,"author":19,"museum":20,"description":691,"tags":692,"thumbUrl":693,"material":104,"size":105,"collection":39,"collections":694,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},241939,"shan-hu-xiang-bao-shi-hua-yi-ming-241939","珊瑚镶宝石花","它将多种工艺织就方寸浪漫，点翠的蓝如同揉碎了霁色长空，晕在花瓣之上，静谧又灵动。橘红珊瑚攒作花簇，凝着深海暖光，鲜活热烈。宝石点缀枝梢，似星芒轻落，鎏金叶片晕着温柔哑光，舒展如春日新叶。\n\n整体取庭院花枝之态，枝桠错落自然，仿佛将一捧春日凝在簪间。匠人把对草木生机的细致摹写，融于花丝、点翠、镶嵌的精巧工艺中，温婉雅致又自带夺目光华，藏着旧时东方首饰的细腻审美与浪漫意趣。",[51,29,33,7,197,74,540,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F135976bd8e13887515584d854671a84c.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":18,"author":19,"museum":20,"description":699,"tags":700,"thumbUrl":701,"material":104,"size":105,"collection":39,"collections":702,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},241814,"tong-du-jin-xiang-hong-lan-bao-shi-gou-huan-yi-ming-241814","铜镀金镶红蓝宝石钩环","铜镀金为底錾刻缠枝卷草，填饰烧蓝晕开幽蓝柔光，衬得主石愈发莹润鲜活。左侧随形红宝石色如赤霞凝露，浓艳深邃，右侧蓝宝石似幽夜寒潭，星色散动，中间小石呼应成趣，衔接自然柔婉。\n\n金水厚重亮泽，錾刻纹路细腻灵动，将金属细工与天然宝光揉合无间，既有宫廷造办的规整精工，又带着游牧配饰的大气华贵，尽显旧时贵族配饰的奢雅格调。",[51,256,53,33,74,7,29,55,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42497d57e0e0f06e993f1da150616df8.jpg",[],{"id":704,"slug":705,"title":706,"dynasty":18,"author":19,"museum":20,"description":707,"tags":708,"thumbUrl":709,"material":104,"size":105,"collection":39,"collections":710,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},241810,"yin-du-jin-xiang-bao-shi-dai-gou-yi-ming-241810","银镀金镶宝石带钩","以银为底，鎏金晕开华贵底色，花丝累丝掐出缠枝卷草，细密纹路间尽显极致匠心。随形主石红宝石色泽浓酽醇厚，凝敛深邃宝光，两侧蓝宝石清透幽邃，与点缀的祖母翠绿意相映，冷暖交织。浅淡点翠晕染出雅致底色，宝石错落排布，将清代花丝镶嵌工艺的精致华贵尽数展现，方寸之间铺陈出富丽堂皇的宫廷意韵，是细金工艺与珠宝镶嵌结合的上乘之作。",[51,52,53,29,33,7,74,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10da541b1a8b500521bf681bcce00c7c.jpg",[],{"id":712,"slug":713,"title":714,"dynasty":18,"author":19,"museum":20,"description":715,"tags":716,"thumbUrl":718,"material":104,"size":105,"collection":39,"collections":719,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},229945,"tong-tai-qia-si-fa-lang-ping-yi-ming-229945","铜胎掐丝珐瑯瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[18,717,307,7,256,122,119],"铜胎掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf27287a036988479e5460361351aca.jpg",[],{"id":721,"slug":722,"title":723,"dynasty":18,"author":19,"museum":20,"description":715,"tags":724,"thumbUrl":725,"material":104,"size":105,"collection":39,"collections":726,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},229938,"tong-fa-lang-xi-yi-ming-229938","铜珐瑯洗",[18,256,7,308,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df68c21707f18739653843202c653c7.jpg",[],{"id":728,"slug":729,"title":730,"dynasty":18,"author":19,"museum":20,"description":731,"tags":732,"thumbUrl":736,"material":104,"size":105,"collection":39,"collections":737,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},229878,"bi-yu-yun-long-da-xiang-tong-yi-ming-229878","碧玉云龙大香筒","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。 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。",[51,26,32,144,733,7,734,669,158,230,735],"云纹","楼阁","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f226c8449c9dfc8331f46818fe76e11.jpg",[],{"id":739,"slug":740,"title":741,"dynasty":18,"author":19,"museum":20,"description":572,"tags":742,"thumbUrl":745,"material":104,"size":105,"collection":39,"collections":746,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},229710,"qian-xi-yang-hua-fa-lang-ren-wu-huo-lian-he-yi-ming-229710","嵌西洋画珐瑯人物火镰盒",[7,743,119,88,122,744,29],"西洋画","日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb805a1e8b0e63b2d3b3aa99d2e4000f7.jpg",[],{"id":748,"slug":749,"title":750,"dynasty":18,"author":19,"museum":20,"description":572,"tags":751,"thumbUrl":756,"material":104,"size":105,"collection":39,"collections":757,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},229289,"jin-shu-tai-lei-si-shao-lan-fa-lang-tao-shi-he-yi-ming-229289","金属胎累丝烧蓝珐瑯桃式盒",[51,752,178,753,7,754,122,755,230],"金属胎","烧蓝","桃式","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9749c6b3f08dc9c892a5c89c9b53b0e5.jpg",[],{"id":759,"slug":760,"title":761,"dynasty":18,"author":19,"museum":20,"description":715,"tags":762,"thumbUrl":10,"material":104,"size":105,"collection":39,"collections":765,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":80},229146,"tong-tai-fa-lang-fan-lian-wen-lu-yi-ming-229146","铜胎珐瑯番莲纹炉",[18,763,7,764,122,144],"铜胎","番莲纹",[],1777535706137]