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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。",[18,23,24,25,26,7,27,28],"画珐琅","珐琅器","设色","花果","器","高足盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1767c64ab29078e28d94c8ba5d44d8.jpg","未知","Xcm*Xcm","",[],2,"37474F",{"id":37,"slug":38,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":39,"thumbUrl":44,"material":30,"size":31,"collection":32,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},249552,"hua-fa-lang-hua-guo-gua-die-wen-gao-zu-pan-yi-ming-249552",[40,23,41,24,28,26,7,42,43],"清代","工笔","花卉","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7416fc7fd87f92dc782d1ea84ebbc6a5.jpg",[],1,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":18,"author":19,"museum":20,"description":52,"tags":53,"thumbUrl":57,"material":30,"size":31,"collection":32,"collections":58,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":59},248567,"jin-qi-gua-die-wen-gua-shi-he-yi-ming-248567","金漆瓜瓞纹瓜式盒","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",[40,54,55,7,56,27],"金漆","雕刻","瓜式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5793c52aafa31462416ad1f972374714.jpg",[],"795548",{"id":61,"slug":62,"title":63,"dynasty":18,"author":19,"museum":20,"description":52,"tags":64,"thumbUrl":68,"material":30,"size":31,"collection":32,"collections":69,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":35},247294,"ti-hong-gua-die-wen-gu-shi-cuan-he-yi-ming-247294","剔红瓜瓞纹鼓式攒盒",[40,65,66,55,7,67],"漆器","剔红","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013b075ae99bb5bafa702f1a2ef6241f.jpg",[],{"id":71,"slug":72,"title":73,"dynasty":18,"author":19,"museum":20,"description":52,"tags":74,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":77,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":35},247165,"qian-long-kuan-ti-hong-gua-die-wen-hu-lu-shi-si-ceng-he-yi-ming-247165","乾隆款剔红瓜瓞纹葫芦式四层盒",[65,66,40,7,75,76,55],"葫芦式","四层盒",[],{"id":79,"slug":80,"title":81,"dynasty":18,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":85,"material":30,"size":31,"collection":32,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},249567,"hua-fa-lang-hua-hui-gua-die-wen-tuo-yu-yi-ming-249567","画珐琅花卉瓜瓞纹唾盂","浅蓝地色如春水漾开，缠枝花卉与瓜瓞肆意舒展蔓延。柔粉月季、明黄小花错落点缀其间，卷叶随纹饰缠转回旋，将瓜瓞绵绵的吉祥意趣藏于满工纹饰中。\n\n葵口与盖钮以金属镶边，勾勒出柔婉轮廓，盖身与器身纹饰呼应统一，繁而不乱。珐琅釉色鲜亮匀净，晕染细腻，将西洋珐琅的明艳精致，揉进中式雅致审美，把寻常器物晕染出雅致的宫廷意韵，于方寸之间尽显精巧工艺，让日常用具化作承载美好祈愿的雅致藏品。",[40,23,24,25,42,7,84],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61fc5b1ebfe7e1028c2408c1809f4827.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":93,"material":30,"size":31,"collection":32,"collections":94,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},249566,"hua-fa-lang-hua-hui-gua-die-wen-dai-gai-tuo-yu-yi-ming-249566","画珐琅花卉瓜瓞纹带盖唾盂","此器以米黄为底，满布细若织锦的针刻肌理，折枝牡丹柔媚舒展，粉瓣晕染出柔润层次，饱满瓜瓞坠于枝蔓，彩蝶振翅穿行其间，生机四溢。\n\n缠枝纹婉转绵延，将花卉瓜瓞串联成完整图景，釉色匀净透亮，填彩明丽雅致。花口宽沿搭配穹顶盖身，金属包边勾勒出柔和轮廓，盖身与器身纹样呼应统一，构图繁而不紊，把瓜瓞绵绵的吉祥寓意藏于精工之中，尽显珐琅工艺的柔美细腻，是实用与陈设兼具的雅致之作。",[23,25,42,7,24,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6cb389dd3f3f9a0335811e2aa6eac.jpg",[],{"id":96,"slug":97,"title":90,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":102,"material":30,"size":31,"collection":32,"collections":103,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},249565,"hua-fa-lang-hua-hui-gua-die-wen-dai-gai-tuo-yu-yi-ming-249565","米黄轧道为底，缠枝花卉萦绕周身，牡丹柔妍绽放，桃实饱满鲜亮，彩蝶振翅穿行其间，瓜瓞轻缀枝蔓，暗合瓜瓞绵绵的吉庆寓意。\n\n盖身纹样与器身呼应谐和，满工纹饰繁而不乱，画珐琅填色匀净明丽，轧道细密规整。铜质包边晕开沉朴古意，将精致珐琅彩的妍秀与金属厚重感相融，把传统吉祥意趣熔铸在精湛工艺之中，雅致富丽，是清代细巧珐琅工艺的典型佳作。",[40,23,24,42,7,27,100,25,101],"日用器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f71defba3d96253f1bd7ae7ae5602bb.jpg",[],{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":52,"tags":108,"thumbUrl":109,"material":30,"size":31,"collection":32,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},248611,"ti-hong-gua-die-wen-bian-yuan-he-yi-ming-248611","剔红瓜瓞纹扁圆盒",[40,65,55,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1792b4c6cfd574ed4393abbccb34f5.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":18,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":120,"material":30,"size":31,"collection":32,"collections":121,"showCount":11,"zanCount":11,"manualWeig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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。",[65,117,118,7,119,27],"描金","嵌玉","梅花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b675dac88d18c8adabbf18e2cda3a7.jpg",[],1777535735145]