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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[23,45,46,47,7,31,48],"掐丝珐琅","嵌玻璃","八宝","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb90224cbe9ae9c67098df3f889d38.jpg",[],1,"37474F",{"id":54,"slug":55,"title":56,"dynasty":18,"author":19,"museum":20,"description":57,"tags":58,"thumbUrl":64,"material":33,"size":34,"collection":35,"collections":65,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},275067,"tong-ba-bao-luo-yi-ming-275067","铜八宝-螺","它以鎏金铜为骨，整体仿若一朵舒展的宝莲托举圣物。镜心嵌精铸法螺，法螺周身缠枝瑞纹环绕，气韵庄重肃穆，是宣说正法、妙音远扬的象征。\n鎏金外框錾刻繁复缠枝卷草，层叠环绕如同佛光晕染，线条柔婉灵动，将宗教的神圣感融于精湛工巧之中。柄身满饰缠枝莲纹，自上而下铺展，与仰覆莲底座呼应，整体层次分明，华丽而不失典雅。\n器物鎏金厚重匀净，宝光内敛，凝练典型的清代藏传造像工艺，将礼佛的虔诚与匠人的精工融于一体，静静诉说着清净庄严的祈愿。",[59,60,61,62,63,7],"金器","铜制","雕刻","宗教","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b01cc6ca5736cdd2f60e3caa900b68.jpg",[],{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":43,"tags":70,"thumbUrl":72,"material":33,"size":34,"collection":35,"collections":73,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},274905,"tao-si-fa-lang-ba-bao-luo-yi-ming-274905","搯丝珐琅八宝-螺",[71,45,62,31,47,7,60],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6c5559e66748658f32207acafacb0e.jpg",[],{"id":75,"slug":76,"title":77,"dynasty":18,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":82,"material":33,"size":34,"collection":35,"collections":83,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},251475,"qing-yu-ba-bao-luo-yi-ming-251475","青玉八宝-螺","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。 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。",[80,61,81,62,31,7],"玉石","透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2575858dfda5baf9513529fdaf5d3724.jpg",[],{"id":85,"slug":86,"title":87,"dynasty":18,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":92,"material":33,"size":34,"collection":35,"collections":93,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},249497,"tong-liu-jin-qian-bo-li-ba-bao-luo-yi-ming-249497","铜鎏金嵌玻璃八宝-螺","整器鎏金灿然华贵，仰莲台承托法螺，螺身錾刻细腻传神，外绕宝相花背光晕染出庄严佛光。支架掐丝舒展灵动，嵌饰玻璃釉色幽蓝清透，与金质底色交相辉映，尽显清式造像的华丽工巧。\n\n法螺暗含妙音远扬、传法醒世的祥瑞意涵，整器将宗教神性与宫廷精工融为一体，线条柔婉格局端庄，把藏传佛教的神圣意趣与清代精湛金属细作工艺完美结合，尽显庄重华美的藏式佛具风韵，是兼具神性与匠心的精巧造像。",[23,90,46,62,91,31,47,7],"铜鎏金","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f99d1e2dbeb01bf08e598351581e9a.jpg",[],{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":101,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},245387,"jin-zan-hua-ba-bao-luo-yi-ming-245387","金錾花八宝-螺","此件以右旋法螺为主体，内嵌于鎏金方牌之中。錾刻工艺细腻入微，螺身满饰圆点涡纹，右旋螺线灵动舒展，尽显法螺的神圣质感，环绕的卷草祥云柔婉灵动，将圣物烘托得愈发高洁不凡。\n乌木底座回纹缠枝错落雅致，沉穆底色更衬金饰流光溢彩。它承载着清净平安的祈愿，金辉里凝缩着精湛錾金工艺水准，把宗教器物的庄严肃穆与传统金属造办的审美意趣融为一体，尽显华贵雅致的藏地工艺美学。",[23,59,100,61,62,47,7],"錾花",[],1777535745176]