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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。",[44,45,46,25,47,7,48,49],"夏代","古玉","玉石","兽面纹","器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f699c6829f280c2ab97dc7558c7998.jpg","未知","Xcm*Xcm",[],408,1,"795548",{"id":58,"slug":59,"title":60,"dynasty":61,"author":19,"museum":20,"description":62,"tags":63,"thumbUrl":65,"material":31,"size":31,"collection":32,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":36},242604,"shou-mian-wen-ding-yi-ming-242604","兽面纹鼎","商","造型沉稳端方，对称立耳高挑出檐，柱足敦实撑起器身，勾勒出规整肃穆的轮廓。器身四道扉棱将兽面纹饰工整排布，线条狞厉雄健，兽目圆睁、鼻梁高挺，纹理辗转间带着沉浑古拙的气势，尽显上古狞厉之美。深褐间晕着青绿锈色覆裹周身，是岁月浸淫的痕迹，凝缩着往昔庄重的祭祀礼制氛围，静静诉说着青铜时代的庄严厚重，让观者似能触碰到跨越时光的古朴质感。",[23,47,7,64,25,29],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ff8cb826f2bed29b5a96902f05ee7d.jpg",[32],164,{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":77,"material":31,"size":31,"collection":32,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":36},242601,"fu-wu-jiang-zhong-yi-ming-242601","福无疆钟","它青锈裹身，带着岁月浸淫出的沉郁肌理，甬部兽面纹古拙威严，静静衔着这份来自上古的庄重。舞部之下枚乳齐整排布，如列队的仪兵，将规整礼制藏进细节。篆间铭文虽已漫漶，却依旧凝着祈福的温热心意。\n\n曾在庙堂之上振鸣的钟体，将对绵长福泽的祈愿熔铸进青铜筋骨。冷硬铜料被赋予礼乐神魂，青褐锈迹是时光镌下的勋章，静立便带着三代庙堂的肃穆底蕴，将千年前的虔诚礼制凝于一身。",[18,23,24,25,74,7,49,75,76],"乐器","乳钉纹","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad8f1fdee1ab36894c68ca2088a8805.jpg",[32],161,{"id":81,"slug":82,"title":83,"dynasty":61,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":86,"material":51,"size":52,"collection":31,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":56},223862,"pan-long-wen-pan-yi-ming-223862","蟠龙纹盘","圆腹圈足，足下有外凸圈足座。盘面饰龙纹蟠绕于中心，蟠龙外围有鱼纹、夔龙纹及鸟纹围绕。盘外面上层饰夔纹，上有如棱脊的平面纹饰；圈足上饰俯首夔纹，下有如棱脊的平面纹饰。纹饰在盘面的布局与母题基本上与妇好盘(M5:777)近。盘外有一小环及二小环，各对准盘面大龙首的上下鼻梁，共形成一中轴线。与之相交的另一中轴线，左右上下有兽首。考古资料显示，商代墓葬出土有水器盘者并不普遍，在殷墟中期时它似局限在稍大型且铜容器较多的墓葬。",[23,24,25,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeef9dc1d0c890a9e966f80d194f5098.jpg",[],140,{"id":90,"slug":91,"title":92,"dynasty":93,"author":19,"museum":20,"description":94,"tags":95,"thumbUrl":97,"material":51,"size":52,"collection":31,"collections":98,"showCount":99,"zanCount":55,"manualWeight":11,"mainColor":36},224007,"liang-zhu-wen-hua-zhong-wan-qi-san-cha-xing-qi-yi-ming-224007","良渚文化中、晚期 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,24,7,64,25,29,61,255],"古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d488bc59abff2807dc7d206e50744f7.jpg",[],53,{"id":260,"slug":261,"title":262,"dynasty":263,"author":19,"museum":20,"description":42,"tags":264,"thumbUrl":267,"material":51,"size":52,"collection":31,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":56},252115,"qing-yu-can-wen-bi-yi-ming-252115","青玉蚕纹璧","秦",[265,46,25,266,7],"秦代风格","蚕纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc687cadc93316f1e0350f509549809d8.jpg",[],48,{"id":271,"slug":272,"title":273,"dynasty":18,"author":19,"museum":20,"description":274,"tags":275,"thumbUrl":276,"material":31,"size":31,"collection":32,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":36},242617,"xing-fu-yi-ding-yi-ming-242617","幸父乙鼎","立耳微撇，承托宽腹敛口的器身，轮廓饱满沉稳。腹身兽面纹线条狞厉古朴，卷涡纹路在铜锈斑驳间流转，尽显上古青铜礼器的狞厉之美。\n\n三只柱足粗壮敦实，稳稳撑起鼎身，带着祭祀重器的威严厚重。铜色间浮着绿锈红斑，是千年时光浸漫的痕迹，将礼制的庄重与岁月沧桑凝于一身。静静伫立间，沉凝古韵扑面而来，尽显上古青铜工艺的精湛与肃穆品格。",[23,7,64,25,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ffc5fb3cb6154ffd307ad1fd807bc4.jpg",[32],47,{"id":280,"slug":281,"title":282,"dynasty":61,"author":19,"museum":20,"description":283,"tags":284,"thumbUrl":285,"material":31,"size":31,"collection":32,"collections":286,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":36},242812,"shou-mian-wen-gui-yi-ming-242812","兽面纹簋","双龙耳蜷曲灵动，中和了器身的沉穆厚重。兽面纹狞厉威严，双目突出极具张力，回纹勾连环绕，层层铺陈出上古的肃穆祭祀氛围。斑驳铜锈是岁月浸淫出的肌理，将崇神尚礼的庄重凝于一身。\n\n线条刚劲利落，器形端庄沉稳，狞厉的纹饰暗藏古人对天地神祇的敬畏，古朴质感里藏着跨越千年的文明回响，是青铜礼器中狞厉之美的典型缩影。",[23,7,29,25,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee7e17535f86a46393733d49c4bd499.jpg",[32],45,{"id":289,"slug":290,"title":291,"dynasty":61,"author":19,"museum":20,"description":292,"tags":293,"thumbUrl":294,"material":31,"size":31,"collection":32,"collections":295,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":56},242837,"wei-jue-yi-ming-242837","囗爵","它敞口前伸为流，收束成尖尾，口沿立柱亭亭卓立，高挑三足稳稳托起器身，刚劲挺拔又不失平衡之美。器身遍饰兽面纹，线条古拙虬结，带着上古祭祀礼器独有的狞厉威严。青绿铜锈层层覆裹，晕开岁月浸蚀的斑驳肌理，将商代青铜工艺的厚重质感尽显无余。作为礼宴重器，它凝缩着神权时代的肃穆礼制，藏着古人对天地先祖的敬畏，静静沉淀着三千年的时光余韵。",[23,24,243,7,25,105,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc748c55cc3865b25ee23e764fa2721.jpg",[32],42,{"id":298,"slug":299,"title":300,"dynasty":61,"author":19,"museum":20,"description":301,"tags":302,"thumbUrl":303,"material":31,"size":31,"collection":32,"collections":304,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":56},242608,"wei-fu-yi-ding-yi-ming-242608","囗父乙鼎","立耳微张踞于口沿，束颈鼓腹下承三足，线条刚劲沉稳，尽显庄重古拙。腹身满饰兽面纹，纹样对称规整，浮雕线条狞厉威严，饕餮双目圆睁、犄角翻卷，将上古祭祀礼器的狞美感拉至极致，流转着神秘肃穆的巫祝氛围。\n\n青黑铜身晕开幽绿锈色，是岁月沉淀的斑驳印记，每一寸肌理都凝缩着先民的造物匠心，将祭祀重器的威仪与狞厉美学融为一体，静静诉说着那个时代的信仰与工艺巅峰。",[23,24,7,25,29,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed71767b93979aa9d113a5c57407723.jpg",[32],{"id":306,"slug":307,"title":308,"dynasty":309,"author":19,"museum":20,"description":310,"tags":311,"thumbUrl":314,"material":31,"size":31,"collection":32,"collections":315,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":36},243051,"feng-wen-fang-zun-yi-ming-243051","凤纹方尊","明","方口外撇，颈、腹、足层层出戟，形制规整端庄，线条刚柔相济。器身以凤纹为主体，身姿舒展灵动，翎羽细密精致，搭配兽面纹辅衬，庄重间透着婉转生机。青铜绿锈凝着岁月痕迹，古意盎然。\n它承袭上古青铜礼器的肃穆大气，暗合复古审美意趣，将古礼器的厚重质感与造器的精细工艺相融，静立间尽显古朴庄重的器物之美，沉潜着传统工艺的传承脉络。",[23,24,25,312,7,313],"凤纹","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3e8664a4fa5213d397d91d595abbe.jpg",[32],41,{"id":318,"slug":319,"title":320,"dynasty":61,"author":19,"museum":20,"description":321,"tags":322,"thumbUrl":323,"material":31,"size":31,"collection":32,"collections":324,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":36},242679,"ya-f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，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[1137,1784,1821,48,7],"三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79534a26dc41e441a242a4b3e611202.jpg",[1143],{"id":1825,"slug":1826,"title":1827,"dynasty":309,"author":19,"museum":20,"description":1135,"tags":1828,"thumbUrl":1832,"material":51,"size":52,"collection":1143,"collections":1833,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":36},257498,"yi-xing-yao-yue-bai-you-chu-ji-hua-gu-yi-ming-257498","宜兴窑月白釉出戟花觚",[309,1137,1829,1830,1831,7],"月白釉","出戟","花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf3d401977c6a8ca2742857ab60b1e7.jpg",[1143],{"id":1835,"slug":1836,"title":1837,"dynasty":309,"author":19,"museum":20,"description":1135,"tags":1838,"thumbUrl":1841,"material":51,"size":52,"collection":1143,"collections":1842,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":125},256529,"yi-xing-yao-fang-gu-tong-wen-zun-yi-ming-256529","宜兴窑仿古铜纹尊",[1137,1839,25,7,48,1840],"仿古","铜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b945232f0366903a4f9837070242928.jpg",[1143],{"id":1844,"slug":1845,"title":514,"dynasty":93,"author":19,"museum":20,"description":42,"tags":1846,"thumbUrl":1847,"material":51,"size":52,"collection":31,"collections":1848,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":36},252654,"qing-yu-cong-yi-ming-252654",[93,46,7,25,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1a0552cd5ef9a9b381609a2ad34b2b.jpg",[],{"id":1850,"slug":1851,"title":1852,"dynasty":61,"author":19,"museum":20,"description":42,"tags":1853,"thumbUrl":1854,"material":51,"size":52,"collection":31,"collections":1855,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":125},252454,"yu-zhang-yi-ming-252454","玉璋",[46,25,7,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490dd1dccdfe1f967272d716f4ac7ccd.jpg",[],{"id":1857,"slug":1858,"title":1859,"dynasty":1860,"author":19,"museum":20,"description":1861,"tags":1862,"thumbUrl":1864,"material":51,"size":52,"collection":31,"collections":1865,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":125},251994,"bai-yu-shuang-chi-wen-bi-yi-ming-251994","白玉双螭纹璧","南北朝","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[46,25,1863,29,28,7],"螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76657dca7c5072bd6dec109497d32b15.jpg",[],{"id":1867,"slug":1868,"title":1869,"dynasty":162,"author":19,"museum":20,"description":1870,"tags":1871,"thumbUrl":1875,"material":51,"size":52,"collection":31,"collections":1876,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":36},249655,"qian-long-kuan-qia-si-fa-lang-shou-mian-jiao-ye-wen-chao-tian-er-san-zu-ding-shi-lu-yi-ming-249655","乾隆款掐丝珐琅兽面蕉叶纹朝天耳三足鼎式炉","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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绽未绽。\n\n器身缠枝纹虬结回转，线条柔婉又暗含劲力，浅刻铭文为这件古物镌下时光的注脚，静静诉说过往岁月。底足镂空莲台稳稳承托，通体鎏金莹润亮泽，历经年岁依旧熠熠生辉。\n\n整器将宗教的神圣肃穆与金属细作的精巧工致相融，把信仰的庄重与工艺美学精妙糅合，尽显匠心独运，是一件兼具精神价值与审美价值的上乘之作。",[24,1152,25,1033,7,9026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bedfc7a841a719fd5109629db0aa18d.jpg",[],{"id":9556,"slug":9557,"title":9558,"dynasty":162,"author":19,"museum":20,"description":9016,"tags":9559,"thumbUrl":9560,"material":51,"size":52,"collection":31,"collections":9561,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274795,"tong-xiang-tuo-ping-yi-ming-274795","铜象驮瓶",[24,23,25,1155,29,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9dba23e21fe1d60909897d0b20301f.jpg",[],{"id":9563,"slug":9564,"title":9565,"dynasty":162,"author":19,"museum":20,"description":9566,"tags":9567,"thumbUrl":9568,"material":51,"size":52,"collection":31,"collections":9569,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274792,"tong-xing-yi-ming-274792","铜铏","此器圆浑饱满，古韵悠然。盖顶三枚扉棱如古兽耸角，盖面回纹勾连，肌理规整古雅。器身错金饰纹，上部缠枝婉转柔媚，下部龟背纹排布齐整，刚柔相济。两侧兽首耳怒目卷须，威严灵动，为器物平添雄浑气势。三足作兽蹄形，沉稳敦实，稳稳承托器身，尽显庄重端凝。整体鎏金晕染，古铜底色与金辉交相辉映，既有先秦礼器的肃穆厚重，又融清代造作的精巧工致，是仿古铜器中的精妙之作，静静诉说着古礼与匠心的交融。",[23,24,64,7,25,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b65b4037c95221fa1f881c2a3bfc2e.jpg",[],{"id":9571,"slug":9572,"title":9573,"dynasty":162,"author":19,"museum":20,"description":9574,"tags":9575,"thumbUrl":9576,"material":51,"size":52,"collection":31,"collections":9577,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},274791,"tong-shou-mian-wen-fang-jia-yi-ming-274791","铜兽面纹方斝","方口挺括，立柱高耸沉稳，腹身先敞后束，三锥足劲挺高挑，整体形制规整端雅。腹身兽面纹狞厉威严，雷纹衬底，线条古朴苍劲，层次分明。鋬身纹饰呼应主体，细节精巧古朴。\n\n苍绿铜色凝厚沉静，包浆内敛温润，摹古重器神韵，复刻上古礼器的雄浑肃穆，将三代青铜的狞厉之美传神呈现，尽显祭祀重器的庄严威仪，带着上古祭祀的肃穆底蕴，古韵盎然，尽显青铜礼器的大雅庄重。",[23,24,243,47,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd124444e83a0ff944374715a363c226.jpg",[],{"id":9579,"slug":9580,"title":9581,"dynasty":162,"author":19,"museum":20,"description":9582,"tags":9583,"thumbUrl":9585,"material":51,"size":52,"collection":31,"collections":9586,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274790,"qian-long-kuan-jin-wen-tong-xing-yi-ming-274790","乾隆款锦纹铜铏","整体圆浑饱满，盖顶三钮作峰峦之形，暗合古礼器的典雅意趣。盖身锦地、回纹层叠排布，鎏金弦线勾出规整界边，古铜色泽凝润沉稳。两侧兽首耳狞厉威严，为器物添增庄重气势。\n\n腹身纹饰次第铺展，回纹带下六角锦纹细密如织，工致精巧。三兽足敦实稳重，足面浅雕回纹呼应整体装饰脉络。整器循古礼器形制复刻，纹饰繁而不乱，既承袭商周青铜的礼制意蕴，又融入清代造办处的精工细节，是仿古铜作中的佳制，尽显复古工巧的融合之美。",[23,24,64,7,25,9584,6225,1499],"锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67e6c15d3a04a0a33b20a98cd07e7a6.jpg",[],{"id":9588,"slug":9589,"title":9590,"dynasty":162,"author":19,"museum":20,"description":9591,"tags":9592,"thumbUrl":9593,"material":51,"size":52,"collection":31,"collections":9594,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274789,"qian-long-kuan-tong-xu-yi-ming-274789","乾隆款铜盨","此器仿商周青铜古制，圆浑饱满，盖身扣合严密。盖顶对称兽形捉手狞厉古朴，盖面浅浮雕团花，周遭纹饰层叠排布。回纹衬底之上，夔纹婉转、弦纹规整，腹侧兽首耳厚重沉稳，高足环饰回纹与乳钉纹，层次分明。整体铜色温润，包浆沉厚，将上古礼器的肃穆大气复刻传神，既恪守古制神韵，又尽显清代仿古工艺的精细考究，是仿古铜器中的精妙之作，尽显复古尚雅的审美意趣。",[23,24,64,7,25,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3867a1baf48ba58df129fa66ad321f2.jpg",[],{"id":9596,"slug":9597,"title":9598,"dynasty":162,"author":19,"museum":20,"description":9599,"tags":9600,"thumbUrl":9601,"material":51,"size":52,"collection":31,"collections":9602,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274786,"tong-jue-yi-ming-274786","铜爵","敞口宽流，双柱鼎立挺拔，三足修长沉稳撑起器身，形制复刻上古礼器的经典样貌。腹部浅饰兽面纹，线条古拙狞厉，带着商周青铜礼器的厚重威严。通体覆着温润的红铜包浆，凝敛着岁月摩挲的质感，既承袭了古爵的庙堂端方之气，又尽显仿古作工的细腻匠心，将上古礼制中的庄重典雅复刻传神，自带沉静古雅的古韵风华。",[23,24,243,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c758512d8ade97aef619551aeb0872.jpg",[],{"id":9604,"slug":9605,"title":9606,"dynasty":162,"author":19,"museum":20,"description":9607,"tags":9608,"thumbUrl":9609,"material":51,"size":52,"collection":31,"collections":9610,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274784,"qian-long-kuan-tong-jue-yi-ming-274784","乾隆款铜爵","宽敞流槽舒展雅致，双柱挺拔峙于口沿，恪守上古酒器规制。腹部兽面古纹蜿蜒狞厉，带着商周青铜的古韵遗风，在沉郁铜色映衬下愈见厚重肃穆。修长三足劲挺沉稳，稳稳承起器身，将端庄威仪凝在古雅铜色中，复刻着初代酒爵的庄重礼制。\n\n包浆醇厚温润，铜色历经摩挲沉淀出内敛质感，循着古法精心铸造，把千年青铜风雅凝缩于此。虽属追摹复刻，却藏着对古礼古器的深挚追慕，静静诉说旧时光里的宴饮礼制与青铜风雅，将跨越岁月的古典庄重融于一身。",[23,24,243,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6755560bc6eb67a5f0849317152dfa81.jpg",[],{"id":9612,"slug":9613,"title":9606,"dynasty":162,"author":19,"museum":20,"description":9614,"tags":9615,"thumbUrl":9616,"material":51,"size":52,"collection":31,"collections":9617,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},274783,"qian-long-kuan-tong-jue-yi-ming-274783","此器仿商周青铜爵形制，敞口宽流微微上扬，双柱高挑而立，利落挺拔。腹身浅饰兽面纹，线条古拙狞厉，带着上古礼器的威仪肃穆。三足斜撑，沉稳伫立间自带端方气度。\n通体包浆厚重温润，铜色沉敛内敛，虽为仿古之作，却精准复刻三代礼器的庙堂风华。将古器的庄重雅致融于一身，静静伫立间尽显悠悠古韵与金石雅趣，藏着复刻工艺的精细考究，凝缩着对青铜古礼的追慕之心。",[23,24,243,7,25,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f98e070ab4465cf693c861f5ec71b8.jpg",[],{"id":9619,"slug":9620,"title":9606,"dynasty":162,"author":19,"museum":20,"description":9621,"tags":9622,"thumbUrl":9623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的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[238,1015,1517,240,1030,48,23,7,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d325622acc47b6ddce3a7c202cc65c.jpg",[],{"id":14698,"slug":14699,"title":14691,"dynasty":309,"author":14692,"museum":20,"description":14693,"tags":14700,"thumbUrl":14701,"material":31,"size":31,"collection":31,"collections":14702,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},233507,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233507",[238,1015,1517,240,1030,48,23,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6863ee3b30f17a37c0ed0ae610a26ea.jpg",[],{"id":14704,"slug":14705,"title":14706,"dynasty":968,"author":19,"museum":20,"description":14707,"tags":14708,"thumbUrl":14710,"material":51,"size":52,"collection":31,"collections":14711,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},231871,"san-ding-mi-ni-xiang-lu-yi-ming-231871","三鼎迷你香炉","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[1137,48,7,836,14709],"香具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb814c0b0c4b4ad08a527404426f2ef95.jpg",[],{"id":14713,"slug":14714,"title":14715,"dynasty":1039,"author":19,"museum":20,"description":14716,"tags":14717,"thumbUrl":14718,"material":51,"size":52,"collection":31,"collections":14719,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},230750,"qie-qu-wen-ding-yi-ming-230750","窃曲纹鼎","立耳高挑敞口，腹颈间环绕窃曲纹，线条勾连盘转，柔中带刚，将狞厉的兽面解构为抽象卷涡，褪去上古图腾的威吓，流转出典雅韵律。\n\n三足肥硕外撇，沉稳撑住器身，弧度敦厚朴拙，兼顾置物实用与视觉平衡。铜色沉穆青幽，绿锈斑驳间凝住岁月摩挲的痕迹，古朴肌理诉说着青铜时代的礼制审美，把祭祀重器的庄重，融于简约洗练的形制之中，凝练着上古工艺与审美意趣的缩影。",[23,24,64,7,25,3817,836,2392,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0776ec5392a17c5a14053abdb931558a.jpg",[],{"id":14721,"slug":14722,"title":10536,"dynasty":1039,"author":19,"museum":20,"description":42,"tags":14723,"thumbUrl":14724,"material":51,"size":52,"collection":31,"collections":14725,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},230738,"yu-bi-yi-ming-230738",[46,25,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9c34d576b86b917024fea29a84eab0.jpg",[],{"id":14727,"slug":14728,"title":14729,"dynasty":1039,"author":19,"museum":20,"description":14730,"tags":14731,"thumbUrl":14732,"material":51,"size":52,"collection":31,"collections":14733,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},230691,"kui-wen-fang-hu-yi-ming-230691","夔纹方壶","器身方正敦实，方口束颈，兽首衔环双耳平添威严厚重，古拙形制尽显庄重仪范。\n\n腹部夔纹蜿蜒流转，线条狞厉诡谲，衬以回纹地子，规整间带着上古独有的神秘肃穆。铜色深沉，斑驳锈迹晕开岁月的痕迹，凝着千年沉浑古韵，将青铜礼器的礼制风华静静铺展，是上古工艺美学的凝练缩影，静默间诉说着远去的先秦礼制底蕴。",[23,24,25,473,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef21d7cc4a3519bfa9e46999b784ed44.jpg",[],{"id":14735,"slug":14736,"title":282,"dynasty":1039,"author":19,"museum":20,"description":5958,"tags":14737,"thumbUrl":14738,"material":51,"size":52,"collection":31,"collections":14739,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1803},230685,"shou-mian-wen-gui-yi-ming-230685",[23,24,47,25,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356de1d6eba7803da8ab3e507fc5c1e6.jpg",[],{"id":14741,"slug":14742,"title":14743,"dynasty":1039,"author":19,"museum":20,"description":14744,"tags":14745,"thumbUrl":14747,"material":51,"size":52,"collection":31,"collections":14748,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},230684,"shou-mian-wen-bian-zu-fang-ding-yi-ming-230684","兽面纹扁足方鼎","它立耳方腹，器身满饰兽面纹，回环线条勾画出狞厉威严的神异面容，带着上古祭祀礼器的庄重肃穆。龙形扁足蜿蜒扭转，刚健的器身搭配灵动的足饰，静穆中藏着飞动之姿，刚柔相济。\n\n细密的纹饰铺满器身，将上古先民对天地神祇的敬畏，凝铸在青铜肌理中，冷硬铜色裹着岁月锈蚀的斑驳，为这件礼器添上时间的厚重。瑰奇的造型暗藏巧思，祭祀的庄严与浪漫的上古想象融于一体，尽显青铜工艺的极致匠心。",[23,24,25,7,64,47,198,14746,3867,49,255,5973,714,835],"扁足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1c0b935df646981ef41b8a6b5226cc4.jpg",[],{"id":14750,"slug":14751,"title":14752,"dynasty":1039,"author":19,"museum":20,"description":14753,"tags":14754,"thumbUrl":14755,"material":51,"size":52,"collection":31,"collections":14756,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},230676,"fang-shang-gui-gu-yi-ming-230676","仿商 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