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问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[18,23,48,372,7,43,373,374,46,375],"翡翠","秋叶","福字","翠色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9985d0e4f7c2191e8257c9a2d927ee22.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":18,"author":19,"museum":20,"description":382,"tags":383,"thumbUrl":388,"material":65,"size":66,"collection":30,"collections":389,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":88},241860,"dai-mao-xiang-jin-qian-zhu-bao-zhuo-yi-ming-241860","玳瑁镶金嵌珠宝镯","传统腕饰，流行于全国各地。其多用金、银、玉等制圆环，束于臂腕间。汉代即有。套在手腕脚腕上的环形装饰品。",[42,384,385,147,23,386,387,7],"玳瑁","镶金","镶嵌工艺","珠宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f1c1d502a53aee8391c2302a0cbb09.jpg",[],{"id":391,"slug":392,"title":393,"dynasty":18,"author":19,"museum":20,"description":394,"tags":395,"thumbUrl":398,"material":65,"size":66,"collection":30,"collections":399,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":140},241831,"song-shi-chao-zhu-yi-ming-241831","松石朝珠","这串朝珠以莹润绿松石为主珠，匀净苍绿如凝苍山翠色，沉静雅致。四颗浓红玛瑙隔珠错落点缀，冷暖相映，衬得整串层次分明，鲜活亮眼。\n\n佛头下的背云尤为精巧，缠金丝镶就轮廓，内嵌青金石晕开幽蓝，如藏夜空中的星芒，内敛又带着华贵气度。四串记捻以米珠串联，垂坠小巧嵌宝坠角，轻晃间自带灵动雅韵。\n\n整体制式规整肃穆，尽显旧时仪制的端庄华贵，松石的温润中和了礼制的严苛，将清雅意趣与朝堂仪轨相融，静静沉淀着岁月打磨过后的内敛风华。",[42,23,396,48,239,397,135,7],"松石","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89133faa297896d0e3971128a6e553ab.jpg",[],{"id":401,"slug":402,"title":403,"dynasty":116,"author":404,"museum":20,"description":405,"tags":406,"thumbUrl":420,"material":65,"size":66,"collection":30,"collections":421,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":88},232438,"he-er-bai-yin-97-he-er-bai-yin-232438","荷尔拜因97","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[407,408,409,230,410,411,7,412,413,414,415,387,416,417,418,419],"油画","写实","人物","男性肖像","服饰","皮毛","权杖","织物纹理","精细刻画","红色织物","白色毛领","金属装饰","手持器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1e5860cfea683e5754dc3204b7abb2.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":116,"author":404,"museum":20,"description":405,"tags":426,"thumbUrl":439,"material":65,"size":66,"collection":30,"collections":440,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":140},232388,"he-er-bai-yin-47-he-er-bai-yin-232388","荷尔拜因47",[407,408,409,230,427,428,429,414,418,430,431,432,433,7,434,435,436,437,438],"肖像","衣帽","珠宝饰品","毛皮装饰","面部细腻刻画","华丽服饰","宝石镶嵌","毛皮帽饰","人物肖像画","写实技法","色彩丰富","细节刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c27e131a00052268232ef0417439d9c.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":18,"author":19,"museum":20,"description":445,"tags":446,"thumbUrl":449,"material":65,"size":66,"collection":30,"collections":450,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},229689,"bao-jin-qian-zhu-shi-hua-yi-ming-229689","包金嵌珠石花","整体造型宛若一束盛放的生花，包金工艺细腻匀实，将花枝叶脉的纤柔灵动尽数还原，每一处枝桠都带着鲜活的舒展姿态。底部嵌饰的珠石色泽浓艳莹润，与赤金底色相互映衬，华贵又不失灵动生机。留存至今的黄绶带着斑驳的旧日印记，为这件饰物晕开了古拙厚重的岁月质感。\n\n它以金为骨，以石为睛，将细金工艺的精妙与雅致审美融为一体，既带着金饰与生俱来的华贵大气，又藏着花草柔婉的鲜活意趣，是清代细金工艺造诣的精巧缩影，静静诉说着往昔的精致美学。",[42,447,61,23,76,165,448,83,386,7],"包金","花卉造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac54440c595e10d9f12980cbed69083e.jpg",[],{"id":452,"slug":453,"title":454,"dynasty":18,"author":19,"museum":20,"description":382,"tags":455,"thumbUrl":456,"material":65,"size":66,"collection":30,"collections":457,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},229677,"ga-nan-xiang-zhuo-yi-ming-229677","伽楠香镯",[42,23,312,7,46,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e5b646a2395655578f49cd7a34b692.jpg",[],{"id":459,"slug":460,"title":461,"dynasty":18,"author":19,"museum":20,"description":462,"tags":463,"thumbUrl":466,"material":65,"size":66,"collection":30,"collections":467,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":88},229571,"qia-si-fa-lang-feng-er-dou-yi-ming-229571","掐丝珐瑯凤耳豆","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 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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 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