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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。",[160,161,162,163,7,164,31,165,166,167],"周代","玉器","雕刻","镂空","白鹭","兽面纹","直纹","礼器附件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1bbe9ae5f2de43eb3001b0b4d12a81.jpg",[],{"id":171,"slug":172,"title":173,"dynasty":89,"author":72,"museum":174,"description":175,"tags":176,"thumbUrl":181,"material":140,"size":182,"collection":39,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},234007,"liu-tang-fan-yue-ye-yi-ming-234007","柳塘泛月页","北京故宫博物院","图为岸边垂柳，荷叶浮于水面，月牙儿高，小船缓缓行，主人坐几条前，对面坐侍者，小伙子在 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笔墨柔滑，轮廓细腻，色彩淡雅，但柳枝荷叶的分布缺乏密度变化，不尽如人意。",[23,93,25,24,28,177,178,7,179,180,79],"美人","柳树","明月","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cecd49483a77fc4fd6f91a0589d93a3.jpg","23.2x25cm",[],8,{"id":186,"slug":187,"title":188,"dynasty":18,"author":72,"museum":90,"description":189,"tags":190,"thumbUrl":196,"material":39,"size":39,"collection":39,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":46},234509,"ming-ren-mo-jing-tu-dan-ye-yi-ming-234509","明人磨镜图单页","铜镜是古人用来妆饰理容的一种生活用品。中国的铜镜使用史非常悠久，上起新时器时代晚期的齐家文化，下至明清，约有近四千年发展演变的进程，几乎与中华民族的古代文明史相始终，可谓源远流长。\n铜镜由青铜铸造而成，和空气接触时间长了，会逐渐变得黯淡无光，无法用以映照形影，古人很形象地称之为“昏镜”。这种情况需要重新磨拭镜面才能让铜镜光可鉴人。《朱子语类》对此有很简洁的表述：“镜本明，被尘垢昏之，用磨擦之工，其明始现。”似乎只需要简简单单的擦拭便能将铜镜打磨光洁，可实际上磨镜蕴含的技术含量并不低，甚至还能体现古代的一些科技成就",[23,76,25,24,191,28,177,192,193,31,7,194,35,132,195],"册","孩童","树","器","磨镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46add39fa3b81871137ed0f724d7205.jpg",[],6,{"id":200,"slug":201,"title":202,"dynasty":125,"author":72,"museum":90,"description":203,"tags":204,"thumbUrl":209,"material":96,"size":97,"collection":39,"collections":210,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":152},229532,"song-hua-shi-he-tang-yan-yi-ming-229532","松花石荷塘砚","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。",[205,206,162,207,31,208,7,194],"清代","松花石","砚","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f273aa7bd61d7f1ba4450e52b22737.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":125,"author":72,"museum":90,"description":215,"tags":216,"thumbUrl":220,"material":96,"size":97,"collection":39,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":152},277005,"chang-hua-shi-diao-he-tang-xiao-jing-qian-long-chen-han-xi-yi-ming-277005","昌化石雕荷塘小景“乾隆宸翰”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。",[217,218,162,219,31,7],"印章","篆刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af3f67de36c461671f23d6aac1bdb82.jpg",[],1,{"id":224,"slug":225,"title":226,"dynasty":125,"author":72,"museum":90,"description":158,"tags":227,"thumbUrl":229,"material":96,"size":97,"collection":39,"collections":230,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":152},230081,"he-tang-lu-si-yu-ding-yi-ming-230081","荷塘鹭鸶玉顶",[205,219,162,7,228],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f37dc3e06fdce23e6e0836b0ae27a6a.jpg",[],1777535727504]