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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[72,73,7,41,74,75,51,76],"铜制","金器","钟表","灯具","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377822b1c99c1047922ba64110dc9545.jpg",[],3,"37474F",{"id":82,"slug":83,"title":84,"dynasty":18,"author":19,"museum":20,"description":85,"tags":86,"thumbUrl":90,"material":28,"size":29,"collection":30,"collections":91,"showCount":79,"zanCount":92,"manualWeight":11,"mainColor":33},268973,"hong-ma-nao-shi-ba-zi-shou-chuan-yi-ming-268973","红玛瑙十八子手串","此手串以匀净莹润的红玛瑙为主珠，朱红光晕凝若脂玉，颗颗饱满圆融，尽显温婉华贵。四颗青金石圆珠错落其间，幽蓝如淬深海寒星，与玛瑙暖朱撞出灵动层次，明暗交织间韵致自生。\n佛头、背云与坠角工艺考究，背云以红玛瑙为芯，鎏金烧蓝边框缠饰珐琅细纹，雅致古韵晕染其间，坠角承续鎏金珐琅巧思，将精致细节藏于方寸。黄绦柔色串连，调和朱蓝浓艳，更衬珠石澄澈光泽。\n整串制式规整，工料俱佳，暗合旧时闲赏静修之雅趣，藏着东方配饰含蓄内敛的美学意蕴。",[87,88,7,40,89],"饰品","手串","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faecabf1709b750f3238e4ba3edb9ad4f.jpg",[],1,{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":20,"description":21,"tags":97,"thumbUrl":102,"material":28,"size":29,"collection":30,"collections":103,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":104},251926,"hei-bai-ma-nao-qiao-zuo-hua-niao-tu-dai-shan-hu-gai-bi-yan-hu-yi-ming-251926","黑白玛瑙巧作花鸟图带珊瑚盖鼻烟壶",[42,7,98,40,99,100,101],"珊瑚","巧作","花鸟","鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074b80b767eb19f087e83a6fe1d4fb5b.jpg",[],"BDBDBD",{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":115,"material":28,"size":29,"collection":30,"collections":116,"showCount":79,"zanCount":92,"manualWeight":11,"mainColor":80},250245,"ma-nao-fu-shou-ling-he-wen-bi-jia-yi-ming-250245","玛瑙福寿灵鹤纹笔架","此作俏色施艺，巧用玛瑙天然红白两色分界。以灵鹤、寿桃、灵芝铺陈造型，红料随形琢为虬曲枝干与饱满桃实，白料巧作仙鹤羽翼与花萼，红白相映，鲜亮雅致。\n\n灵鹤舒展灵动，羽翼翻卷肌理细腻，寿桃圆融丰润，灵芝缠枝蜿蜒柔婉。刀工婉转流畅，线条饱满柔和，将天然石色与雕刻匠心相融，把福寿祥瑞的美好寓意凝于顽石之上。既是案头文房清供，亦是精巧陈设佳器，尽显清代俏色玉雕的工艺精妙，藏着雅致文韵与纳福祈祥的美好期许。",[18,7,41,111,112,113,114,26],"灵鹤","福","寿","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e2e8ef12a61295ff2623f58b240015.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":18,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":125,"material":28,"size":29,"collection":30,"collections":126,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":33},229813,"ma-nao-yuan-yang-dai-kou-yi-ming-229813","玛瑙鸳鸯带扣","这枚带扣取南红玛瑙雕琢而成，通体匀净鲜亮的暖橘色自带温润柔光。匠者以鸳鸯为型，将雌雄水禽交颈依偎之态，巧融于带扣结构之中。浮雕出的翎羽纹理细密写实，把鸳鸯柔婉缱绻的亲昵勾勒得灵动传神，既保留了玉石的自然质感，又以精湛刀工刻画出生灵的鲜活意趣。\n\n鸳鸯自带相守偕老的吉祥意涵，器物将实用与雅趣合二为一，把玉石的莹润与雕刻的灵韵相融，雅致温情，浑然天成，尽显中式器物的浪漫巧思。",[42,7,41,123,124,26],"鸳鸯","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda59347740c609914de2876324b26d06.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":18,"author":19,"museum":20,"description":131,"tags":132,"thumbUrl":135,"material":28,"size":29,"collection":30,"collections":136,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":33},229811,"ma-nao-hou-xing-pei-yi-ming-229811","玛瑙猴形珮","这件珮饰质地清润通透，俏色巧用天然糖晕勾勒细节。灵猴隐于舒展荷叶间，圆雕尽显匠思，刀工圆润细腻，线条婉转柔畅。将灵猴憨态与荷叶柔形相融，既得生灵灵动俏皮之态，又以谐音暗藏封侯连科的吉祥寓意。器面打磨光莹，触手温润，尽显清代玉雕雅致工巧，把玩摩挲间，尽显文玩雅件的隽永意趣。",[42,7,41,87,133,134,40],"兽","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc69b6afeb303bada1890602a5ff6fd07.jpg",[],{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":144,"material":28,"size":29,"collection":30,"collections":145,"showCount":146,"zanCount":92,"manualWeight":11,"mainColor":80},268904,"qing-yu-chao-zhu-yi-ming-268904","青玉朝珠","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。",[40,87,143,89,7],"朝珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3656eee2f6abfd353c128a4d661ab00f.jpg",[],2,{"id":148,"slug":149,"title":150,"dynasty":18,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":154,"material":28,"size":29,"collection":30,"collections":155,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":80},252151,"ma-nao-wo-lian-yuan-yang-yi-ming-252151","玛瑙卧莲鸳鸯","这件摆件巧用料色分野，将糖色化作缠连莲茎、鸳鸯翎羽与交颈噙衔的花冠，莹白素料雕就双禽柔润躯体。\n\n双禽依偎交颈，姿态缱绻悠然，羽翼纹路婉转流畅，莲枝盘绕相拥，将水禽戏水的温情瞬间定格。圆雕技法娴熟利落，线条圆融柔和，将玉石温润质感与生灵柔婉意态相融，静中含动，把成双成对的美满祈愿藏在刀工肌理中，将天然石色与吉祥意象完美契合，温婉雅致，是俏色玉雕里颇具巧思的小品。",[7,41,100,123,153],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6434d9989ecc5f57ac54b20a4de43c9f.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":20,"description":21,"tags":160,"thumbUrl":162,"material":28,"size":29,"collection":30,"collections":163,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":104},251962,"ma-nao-diao-chan-chu-bi-yan-hu-yi-ming-251962","玛瑙雕蟾蜍鼻烟壶",[42,7,41,161,26],"蟾蜍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9097c8eefdf6814f03b518f0be4ca.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":18,"author":19,"museum":20,"description":168,"tags":169,"thumbUrl":177,"material":28,"size":29,"collection":30,"collections":178,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":80},242096,"yin-du-jin-ru-yi-wen-liu-su-yi-ming-242096","银镀金如意纹流苏","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[42,170,73,87,171,172,173,174,175,7,176],"银器","镶嵌","如意纹","流苏","镀金工艺","珍珠","水晶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca79910ff529171f59f21d8e56bf84e.jpg",[],{"id":180,"slug":181,"title":182,"dynasty":18,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":185,"material":28,"size":29,"collection":30,"collections":186,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":104},229304,"ge-se-ma-nao-zan-zi-yi-ming-229304","各色玛瑙簪子","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[42,40,87,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d94d8c5905910f19e67293da023a0d.jpg",[],{"id":188,"slug":189,"title":190,"dynasty":18,"author":19,"museum":20,"description":70,"tags":191,"thumbUrl":194,"material":28,"size":29,"collection":30,"collections":195,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":80},274494,"tong-du-jin-qian-ma-nao-yin-yue-xiang-biao-yi-ming-274494","铜镀金嵌玛瑙音乐箱表",[73,72,7,74,192,193,41,87],"音乐箱","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf383d8ebf60287d869f84c009f3668.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":18,"author":19,"museum":20,"description":70,"tags":200,"thumbUrl":201,"material":28,"size":29,"collection":30,"collections":202,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":80},274329,"tong-du-jin-ke-qian-ma-nao-deng-biao-yi-ming-274329","铜镀金壳嵌玛瑙灯表",[72,73,7,74,51,171,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826e305fed83bede85cafdcb98870268.jpg",[],{"id":204,"slug":205,"title":206,"dynasty":18,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":210,"material":28,"size":29,"collection":30,"collections":211,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":104},273357,"ma-nao-zi-ying-mu-xiao-suan-pan-yi-ming-273357","玛瑙子硬木小算盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[26,51,7,209],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7833bc13d2a076c4100abbb0d963c0.jpg",[],{"id":213,"slug":214,"title":215,"dynasty":18,"author":19,"museum":20,"description":216,"tags":217,"thumbUrl":219,"material":28,"size":29,"collection":30,"collections":220,"showCount":92,"zanCount":92,"manualWeight":11,"mainColor":80},268737,"tong-xiang-ma-nao-gou-huan-yi-ming-268737","铜镶玛瑙钩环","累丝铜胎环托着饱满莹润的红玛瑙，艳色凝润如熔凝的朱砂蜜蜡，莹泽内敛华贵。下接如意云纹钩环，缀以翠绿小饰石，冷暖色泽相映成趣。金属柔丝盘绕出细密卷边，将玛瑙明丽托举得分外夺目。\n整器兼具实用性与装饰性，既有器物持重规整的质感，又带着中式配饰独有的温婉灵秀，细节处尽显旧时手作匠心，静静晕开东方古雅的审美意趣。",[87,72,7,40,218,171],"钩环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8c2fafa5899b49ca90be1c612b398d.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":21,"tags":225,"thumbUrl":227,"material":28,"size":29,"collection":30,"collections":228,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":33},251929,"ma-nao-shi-liu-shi-bi-yan-hu-yi-ming-251929","玛瑙石榴式鼻烟壶",[42,7,41,226,26],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94315f143eff3ae4fc297d8426385f16.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":18,"author":19,"museum":20,"description":233,"tags":234,"thumbUrl":236,"material":28,"size":29,"collection":30,"collections":237,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":104},251906,"hong-ma-nao-diao-tao-hua-cha-yi-ming-251906","红玛瑙雕桃花插","此件依天然玛瑙肌理施艺，俏色巧琢，将乳白带绺的石质摹为苍劲老干，肌理皴裂尽显古木拙朴之态。艳红部分随形镂雕桃枝花苞，花瓣柔润舒展，枝蔓缠连回旋，镂空透雕消解了顽石厚重，添了灵秀雅致。刀意隐于天然形态，花叶鲜活如生，古干苍朴耐看，文房陈置，一器兼得天然意趣与人工匠心，静赏间便觉春意盈然。",[42,7,41,235,26],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25bf8d5a60c2797f16ce55b3d5cc239.jpg",[],{"id":239,"slug":240,"title":241,"dynasty":18,"author":19,"museum":20,"description":242,"tags":243,"thumbUrl":244,"material":28,"size":29,"collection":30,"collections":245,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":33},250591,"ma-nao-hua-niao-wen-guan-yi-ming-250591","玛瑙花鸟纹罐","此器巧用天然玛瑙的分层色带，以黑白玉髓纹路作为装饰分界线，随形施艺雕琢仿古兽面与花鸟纹。浮雕线条刚劲利落，古雅庄重的纹饰顺着玉料肌理排布，与天然色带虚实相映，层次分明。\n\n罐身饱满圆融，口沿莹润通透，仿古礼制意趣与玉石天然质感融为一体，既秉持了摹古风尚，又尽显因材施艺的绝妙匠心，静穆雅致中藏着灵秀巧思，是俏色玉雕的精巧之作。",[7,41,100,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf68e80b95d8a6c5052974fcbf623a1.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":250,"author":19,"museum":20,"description":251,"tags":252,"thumbUrl":257,"material":28,"size":29,"collection":30,"collections":258,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":104},232664,"qian-liao-shi-ma-nao-huai-biao-1-yi-ming-232664","嵌料石玛瑙怀表-1","不详","这枚怀表将实用性与装饰性精妙相融，金质基底配镶满圈料石，星芒般的冷光衬得玛瑙愈发温润厚重，撞出雅致华贵的视觉层次。素净的珐琅表盘衬着罗马刻度，指针纤秀字样规整，尽显古典制表工艺的内敛考究。\n\n鎏金长链雕饰细腻，挂坠将开锁钥匙与雕花饰件串联一体，兼顾美观与实用。它不再只是计时的工具，更是旧时随身佩戴的奢华饰物，凝缩着往昔的精致审美，静诉手工时代的匠心温度，藏着百年前的优雅绅士气韵。",[26,253,7,254,73,171,87,255,256],"怀表","料石","金链","钥匙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3cf6f932a0ed92441536fcac4a96f0.jpg",[],{"id":260,"slug":261,"title":262,"dynasty":250,"author":19,"museum":20,"description":70,"tags":263,"thumbUrl":264,"material":28,"size":29,"collection":30,"collections":265,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":104},232663,"qian-liao-shi-ma-nao-huai-biao-yi-ming-232663","嵌料石玛瑙怀表",[87,26,7,254,73,171,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c7de55364c0943777b3bce37809f33.jpg",[],{"id":267,"slug":268,"title":269,"dynasty":18,"author":19,"museum":20,"description":270,"tags":271,"thumbUrl":273,"material":28,"size":29,"collection":30,"collections":274,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":104},230069,"ma-nao-wei-ke-tu-zhang-yi-ming-230069","玛瑙未刻图章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻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