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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。",[23,24,25,26,7,27,28,29],"盆景","玉石","雕刻","葡萄","工艺品","藤蔓","假山","未知","Xcm*Xcm","",[],3,"795548",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":47,"material":30,"size":31,"collection":32,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":35},273533,"hong-mu-diao-hua-wen-kang-zhuo-yi-ming-273533","红木雕花纹炕桌","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[42,7,43,25,44,45,46],"器","炕桌","木质","日用具","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20341227ae11311b96ea146557a00d8.jpg",[],1,{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":58,"material":30,"size":31,"collection":32,"collections":59,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":60},272751,"hong-mu-ban-yuan-zhuo-yi-ming-272751","红木半圆桌","此桌倚墙陈放，形制端庄雅致。束腰三段透雕卷草纹，缠枝回旋柔婉舒展，尽显灵动雅致，牙板回纹古拙利落，线条转折见出匠心。圆材立柱挺拔修长，管脚枨搭配棂格脚踏，加固结构同时增添通透空灵之美。\n\n整器木质沉郁温润，纹理匀净细腻，将实用功能与陈设美学相融。刀工细腻圆熟，雕饰繁简相宜，既不失厅堂家具的端庄大气，又带着苏作木器的精巧灵秀，晕染出旧时厅堂的雅致意趣，是清代传统红木家具工艺的精巧缩影。",[7,44,25,56,57,45],"半圆桌","木器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dde3ba1c0bad453e4178ee4de056373.jpg",[],"BDBDBD",{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":69,"material":30,"size":31,"collection":32,"collections":70,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},275700,"hong-mu-dan-bi-da-le-pai-ban-yi-ming-275700","红木丹陛大乐拍板","取整料红木斫成五片直板，错落排布，纹理沉敛细腻，色泽古雅醇厚。黄绳束系器身，兼具收纳之便与点缀之美，包浆温润凝实，是岁月浸润留下的痕迹。\n\n它曾作为朝贺大礼的奏乐之器，起落叩击间规整雅乐节奏，承载着宫廷仪典的庄重肃穆，静静晕开旧时皇家礼乐的厚重规制，将清代典制礼乐的肃穆氛围凝于一身。",[67,68,44,7],"乐器","拍板","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147bb1ba7e2c6088e4072025103e03c3.jpg",[],{"id":72,"slug":73,"title":74,"dynasty":18,"author":19,"museum":20,"description":75,"tags":76,"thumbUrl":79,"material":30,"size":31,"collection":32,"collections":80,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},273604,"hong-mu-yang-shi-yi-yi-ming-273604","红木洋式椅","敦煌285窟壁画就有两人分坐在椅子上的图像；257窟壁画中有坐方凳和交叉腿长凳的妇女；龙门莲花洞石雕中有坐圆凳妇女。这些图像生动地再现了南北朝时期椅、凳在仕宦贵族家庭中的使用情况。尽管当时的坐具已具备了椅子、凳子的形状，但因其时没有椅、凳的称谓，人们还习惯称之为“胡床”，在寺庙内，常用于坐禅，故又称禅床。唐代以后，椅子的使用逐渐增多，椅子的名称也被广泛使用，才从床的品类中分离出来。因此，论及椅、凳的起源，必须从汉魏时经印度传入的胡床谈起。\n唐代以前的“椅”字还有一种解释，作“车旁”讲，即车的围栏。其作用是人乘车时有所依靠。后来的椅子，其形式是在四足支撑的平台上安装围栏，其制当是受车旁围栏的启发，并沿用其名而称这种坐具为“椅子”了。从现存资料看，唐代已有相当讲究的椅子了。\n五代至宋，高型坐具空前普及，椅子的形式也多了起来，出现靠背椅、扶手椅、圈椅等。同时根据尊卑等级的不同，椅子的形制、质料和功能也有所区别。\n五代至两宋时期的家具大体保留着唐代遗风，只是高型家具较前更加普及了。\n椅子非常古老和简单，虽然许多世纪以来，是一个普通使用状态。在早王朝时期，他们用布或皮革、木雕覆盖椅背和椅面，但是覆盖面积均远低于21世纪的椅子，椅面有时仅离地25厘米。在古埃及时代的椅子似乎已经被极大的丰富，老式乌木、象牙雕刻、镀金的木材等都会被使用。它们被覆盖着昂贵的材料，华丽的图案和猎杀的野兽或雕刻着的俘虏数字。一般来说，地位越高的个人，他的椅子就越高越华丽，这是种荣誉的象征。",[7,44,77,25,45,78],"椅子","洋式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570b48e593e6aeea48095573d4c3c0c7.jpg",[],"F48FB1",{"id":83,"slug":84,"title":74,"dynasty":18,"author":19,"museum":20,"description":75,"tags":85,"thumbUrl":86,"material":30,"size":31,"collection":32,"collections":87,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},273603,"hong-mu-yang-shi-yi-yi-ming-273603",[7,44,25,45,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5150be5c3f6ef733f760cb9fa7782e.jpg",[],{"id":89,"slug":90,"title":74,"dynasty":18,"author":19,"museum":20,"description":75,"tags":91,"thumbUrl":93,"material":30,"size":31,"collection":32,"collections":94,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},273597,"hong-mu-yang-shi-yi-yi-ming-273597",[44,7,77,92,45,25,78],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2158c85fff7cba55e642658fb8009a52.jpg",[],{"id":96,"slug":97,"title":98,"dynasty":18,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":102,"material":30,"size":31,"col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