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蜂蝶、蜻蜓分别飞向折枝花，花均为两叶两苞，设计精巧细致。",[7,23,24,38,39],"龙","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165f6bf70a49531d448e9403c93ce68.jpg",[],46,"795548",{"id":45,"slug":46,"title":47,"dynasty":7,"author":18,"museum":19,"description":48,"tags":49,"thumbUrl":54,"material":26,"size":27,"collection":28,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":57},253292,"tong-mi-le-fo-zuo-xiang-yi-ming-253292","铜弥勒佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese 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 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,23,50,51,52,24,53],"青铜器","宗教","人物","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bbdab89a628ce29e8227f6c5937f7b9.jpg",[],43,"37474F",{"id":59,"slug":60,"title":61,"dynasty":7,"author":18,"museum":19,"description":62,"tags":63,"thumbUrl":67,"material":28,"size":28,"collection":68,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":57},253593,"shi-wang-si-he-zao-pu-sa-xiang-yi-ming-253593","石王思和造菩萨像","这件汉白玉造像虽背光残损，却难掩秀雅气韵。菩萨面相圆润柔和，眉目低垂，自带沉静悲悯之态。身着贴体长裙，衣褶如流云轻漾，雕刻流畅细腻，将温婉身形勾勒尽致。右手抬举施无畏印，左手自然垂落，赤足立于饱满写实的莲台之上，尽显匠者精工巧思。\n\n整体造型简约洗练，将秀骨清像的特质诠释入微，残存背光依稀可见当初造像的华美规制。沉静石质承载千年虔敬，凝缩着旧时信仰的温柔温度，静静诉说着往昔的匠心与祈愿。",[7,64,24,51,52,65,66],"石雕","菩萨","石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8589a0e7a44910b8ea44fb071aad6f79.jpg","雕塑精选",[68],33,{"id":72,"slug":73,"title":74,"dynasty":7,"author":18,"museum":19,"description":75,"tags":76,"thumbUrl":78,"material":28,"size":28,"collection":68,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":57},253577,"tong-xu-xi-zao-pu-sa-li-xiang-yi-ming-253577","铜徐喜造菩萨立像","身形颀秀挺拔，菩萨面容古朴静穆，眉目敛着淡淡的慈悲意。高挑的背光收束为尖顶，斑驳铜锈如晕开的朱痕，是岁月浸淫留下的印记。\n衣褶线条简练硬朗，却暗合柔婉体态韵律，双手合十伫立，满是虔敬端方。双足稳稳落于镂空高座，虽体量小巧，却风骨凛然。古铜肌理间的红绿锈迹，将千余载的沉凝厚重凝于方寸，拙稚古朴间尽显宗教造像的沉静美感，藏着旧时光里的信仰温度。",[7,23,24,51,65,77,52],"立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72858d4c9614acedd52740f67c4a23b.jpg",[68],30,{"id":82,"slug":83,"title":84,"dynasty":7,"author":18,"museum":19,"description":85,"tags":86,"thumbUrl":87,"material":28,"size":28,"collection":68,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":57},253594,"di-zhao-zao-shi-guan-yin-xiang-yi-ming-253594","邸昭造石观音像","此造像观音头戴宝冠，面容沉静温婉，神情悲悯柔和。身姿修长挺秀，衣衫层叠繁复，衣褶垂坠流畅如流水，纹饰细密精美，将织物质感刻画入微，尽显灵动飘逸。\n\n背光虽有残损，却未减整体庄严气韵，莲座古朴厚重，承托出造像的安稳沉静。整体雕刻兼具洗练与细腻，既有这一时代造像特有的空灵秀逸，又将观音的慈悲神性融于古典雕刻的柔美之中，静穆间自有清净禅意流转。",[51,24,66,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a812a3f6922f8d3e04b6f966b0d51e9.jpg",[68],27,{"id":91,"slug":92,"title":93,"dynasty":7,"author":18,"museum":19,"description":94,"tags":95,"thumbUrl":98,"material":26,"size":27,"collection":28,"collections":99,"showCount":100,"zanCount":101,"manualWeight":11,"mainColor":57},252876,"tong-liu-jin-meng-hui-zhou-zao-shi-jia-duo-bao-fo-xiang-yi-ming-252876","铜鎏金孟回周造释迦多宝佛像","此作为释迦多宝并坐样式，对称排布尽显规制之美。双佛面容圆和沉静，身披通肩袈裟，手印严整，安然端坐于莲瓣背屏之下，两侧胁侍分立屏侧，静穆间漫出禅定安然的气韵。\n\n岁月鎏金斑驳，铜胎青锈裹身，古雅厚重的质感呼之欲出。台座錾刻古朴几何纹样，朴拙凝练承托诸佛法相，将南北朝的对称美学与宗教意涵相融，凝住千年前的虔敬匠心，尽显六朝造像特有的空灵静雅。",[7,51,23,96,24,52,97],"鎏金","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724602a39b86c9c148259b32e50dbb3e.jpg",[],23,1,{"id":103,"slug":104,"title":105,"dynasty":7,"author":18,"museum":19,"description":106,"tags":107,"thumbUrl":110,"material":28,"size":28,"collection":68,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":57},253618,"tong-chan-ding-fu-zuo-xiang-yi-ming-253618","铜禅定佛坐像","此像朴拙厚重，佛结禅定印安坐，高发髻圆和柔和，面相温婉方圆，神情沉静内敛，尽显安然禅意。衣纹以浅刻勾勒层次，古雅简约，带着独有的稚拙古朴质感。兽形壸门座沉稳厚重，与造像浑然一体，消弭了宗教的疏离感，尽显早期佛教造像由朴入雅的过渡特质，凝萃着岁月沉淀的沉静古韵，是小型造像的典型风貌。",[7,23,24,51,52,108,109],"兽","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a559140811e64a962877b4a15bb0f10.jpg",[68],19,{"id":114,"slug":115,"title":116,"dynasty":7,"author":18,"museum":19,"description":117,"tags":118,"thumbUrl":121,"material":26,"size":27,"collection":28,"collections":122,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":57},252856,"tao-wu-dao-nv-li-yong-yi-ming-252856","陶舞蹈女立俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[7,119,120,52,24],"陶瓷","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13464fcb5d6023da118aac199650cc08.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":7,"author":18,"museum":19,"description":127,"tags":128,"thumbUrl":129,"material":26,"size":27,"collection":28,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":57},252879,"tong-guan-shi-yin-pu-sa-li-xiang-yi-ming-252879","铜观世音菩萨立像","身姿挺拔匀秀，面容沉静温婉，自带超然出尘的慈悲气韵。褒衣博带贴合身形，衣纹洗练舒展，尽显古朴拙稚的质感，复刻出特有的秀骨清风神貌。尖桃形背光浅刻火焰纹饰，线条灵动流畅，烘托出庄严圣洁的宗教氛围。四方台座纹饰规整沉稳，稳稳承托造像，愈发凸显整体的端凝肃穆。铜色沉郁古旧，包浆醇厚温润，带着岁月浸润的沧桑质感，将宗教的肃穆意蕴与古朴的审美意趣融为一体，尽显经典造像之美。",[7,51,52,23,24,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aeda372d13360271e2053fce55dc8e.jpg",[],18,{"id":133,"slug":134,"title":135,"dynasty":7,"author":18,"museum":19,"description":136,"tags":137,"thumbUrl":141,"material":26,"size":27,"collection":28,"collections":142,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":43},224054,"wei-xing-tai-shou-zhang-yi-ming-224054","「魏兴太守章」","鎏金龟钮，方面铜印，印面铸篆体印文「魏兴太守章」五字，做白文三行，有白边。汉景帝中二年(148 B.C.)将秦官「郡守」改名「太守」，沿用至后世，宋代起改称「知府」，相当于现在的「省长」。本印置于清乾隆朝「金薤留珍」之五箧其中「壁」屉之中，「金薤留珍」乃乾隆朝时将内府所收的前代印记整理编次而成；包含铜官印221件，私印1070件，共1291件，存放于「东」、「壁」、「图」、「书」、「府」五个黑地金漆龙纹屉匣中，并依各柜所藏编制印谱。印谱目录编次方式以官印为始，继以私印，可能是承袭明顾从德《集古印谱》之编目方法。",[7,138,139,23,24,140],"印章","篆刻","龟形钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16464cc568cfebe6469b48e5f378f842.jpg",[],{"id":144,"slug":145,"title":146,"dynasty":7,"author":18,"museum":19,"description":147,"tags":148,"thumbUrl":154,"material":28,"size":28,"collection":28,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":31},227064,"bei-wei-yuan-xian-jun-mu-zhi-ming-yi-ming-227064","北魏元显俊墓志铭","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字。",[149,150,151,152,7,153],"书法","拓本","楷书","碑刻","魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf80031420d0ab1fcd48e2349734aca2.jpg",[],16,{"id":158,"slug":159,"title":160,"dynasty":7,"author":18,"museum":19,"description":161,"tags":162,"thumbUrl":167,"material":28,"size":28,"collection":168,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":43},227070,"bei-wei-wang-song-qi-yuan-gui-fei-mu-zhi-ming-yi-ming-227070","北魏王诵妻元贵妃墓志铭","王诵（482~528年），字国章，琅琊临沂（今山东省临沂市）人。北魏大臣，黄门侍郎王融的儿子。\n出身琅琊王氏，颇有文才，神气清秀，风流俊美。起家员外散骑侍郎、迁前将军、通直散骑常侍，迎娶安丰王元猛之女元贵妃。正光末年，出任左将军、幽州刺史，入朝担任秘书监、度支尚书，迁给事黄门侍郎。\n建义元年，遇害于河阴之变，获赠骠骑大将军、司空公、尚书左仆射、徐州都督，谥号文宣。",[150,149,151,153,163,164,7,165,152,166],"石刻","拓印","文字","墓志铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc2e43c873bcdc5f33b0bf6d5cdf263.jpg","碑帖精选",[168],15,{"id":172,"slug":173,"title":174,"dynasty":7,"author":18,"museum":19,"description":175,"tags":176,"thumbUrl":178,"material":26,"size":27,"collection":28,"collections":179,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":43},226525,"yuan-lve-mu-zhi-yi-ming-226525","元略墓志","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[177,150,149,151,153,152,163,165,7],"高清","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea21c648984611ee319190732f9880.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":7,"author":18,"museum":19,"description":117,"tags":184,"thumbUrl":187,"material":26,"size":27,"collection":28,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":43},252844,"tao-hua-cai-wu-shi-li-yong-yi-ming-252844","陶画彩武士立俑",[7,119,185,52,186,120],"设色","武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852973871f4e428ebfa1932851395a06.jpg",[],14,{"id":191,"slug":192,"title":193,"dynasty":7,"author":18,"museum":19,"description":194,"tags":195,"thumbUrl":200,"material":26,"size":27,"collection":28,"collections":201,"showCount":202,"zanCount":101,"manualWeight":11,"mainColor":43},251289,"he-qin-bai-yu-mei-hua-xing-huan-yi-ming-251289","褐沁白玉梅花形环","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。",[7,196,197,24,198,199],"玉石","梅","饰品","沁色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6480d17f66f51eff7d2778b923ebe2.jpg",[],13,{"id":204,"slug":205,"title":206,"dynasty":7,"author":18,"museum":19,"description":207,"tags":208,"thumbUrl":209,"material":26,"size":27,"collection":28,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":43},253779,"tong-liu-jin-fu-li-xiang-yi-ming-253779","铜鎏金佛立像","身姿舒展灵动，衣袂翩跹若携魏晋长风而来。温婉浅笑的面庞褪去了早期造像的肃穆疏离，尽显柔和雅致。右手轻抬托举，左臂垂展舒展，宽袍大袖线条流畅写意，将秀骨清像的时代审美藏进衣褶起伏之中。\n\n鎏金虽斑驳脱落，却为周身晕染出岁月沉淀的厚重质感。简约的底座稳稳承托身形，匠师以凝练的工艺，将佛教仪轨与东方气韵相融，让造像既有神性的静穆，亦有人间的温婉。静静伫立间，千年前的禅意雅致跨越时光扑面而来。",[7,51,52,77,23,96,24,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27441f673a3a454c863964a895705c4b.jpg",[],12,{"id":213,"slug":214,"title":215,"dynasty":7,"author":18,"museum":19,"description":216,"tags":217,"thumbUrl":218,"material":26,"size":27,"collection":28,"collections":219,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":57},252908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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。",[7,196,24,283,284,246],"螭","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d0f5d036626c4c4116ae685f4c7e90.jpg",[],9,{"id":289,"slug":290,"title":291,"dynasty":7,"author":18,"museum":19,"description":292,"tags":293,"thumbUrl":298,"material":26,"size":27,"collection":28,"collections":299,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":43},224107,"xi-yuan-220-xi-yuan-420-nian-bu-qu-du-yin-tong-yin-yi-ming-224107","西元220-西元420年「部曲督印」铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[138,23,139,7,294,295,296,297],"金属工艺","古代器物","铜器","印信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8a006a127faea80013d8ccf78f2175.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":7,"author":18,"museum":19,"description":304,"tags":305,"thumbUrl":308,"material":26,"size":27,"collection":28,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":31},256695,"qing-you-ke-hua-dan-bing-hu-yi-ming-256695","青釉刻花单柄壶","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[7,119,306,307,246],"青釉","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573748b13253d34364e71827ef344728.jpg",[],8,{"id":312,"slug":313,"title":223,"dynasty":7,"author":18,"museum":19,"description":314,"tags":315,"thumbUrl":316,"material":26,"size":27,"collection":28,"collections":317,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":57},254784,"shi-tou-diao-fei-tian-bei-guang-yi-ming-254784","采用透雕技法塑造，整体空灵通透，飞天身姿舒展曼妙，衣袂随风飘举，似凌虚遨游于九天，尽显凌云御风的轻盈。诸飞天错落排布，或扬手散花，或悠然曼舞，层次分明又浑然一体，将极乐天境的曼妙空灵具象呈现。砂石肌理自带古朴质感，虽有残损，却晕染出岁月沉淀的厚重古韵，尽显秀骨清像的典型风韵，把造像的飘逸雅致与雕刻工艺的精湛融于一处，晕开悠远沉静的宗教美学意蕴。",[7,226,227,24,51,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa01cc14f6b59fef75a895f6ec4e0ad4f.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":7,"author":18,"museum":19,"description":322,"tags":323,"thumbUrl":326,"material":26,"size":27,"collection":28,"collections":327,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":43},244795,"long-shou-bing-jiao-dou-yi-ming-244795","龙首柄浇斗","此器古朴厚重，敞口深腹下承三枚兽蹄形足，稳稳撑托器身，端庄沉稳。龙首长柄是点睛之笔，龙首轮廓凌厉刚健，鬃毛错落分明，将瑞兽的威严灵动凝于柄端，让日用器具染上祥瑞气韵。\n\n整体包浆沉郁苍古，青铜质地带着岁月摩挲的温润质感，工匠将实用功能与美学巧思融于一体，把浇具化作兼具威仪与雅致的造物，尽显古朴拙雅的审美意趣，质朴中藏着精巧匠心，静立间自有古雅沉凝的气韵。",[7,50,23,38,24,324,325],"铸造","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2aa827659a9539c1e08d05ec9edb4f.jpg",[],{"id":329,"slug":330,"title":331,"dynasty":7,"author":18,"museum":19,"description":332,"tags":333,"thumbUrl":334,"material":28,"size":28,"collection":28,"collections":335,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":31},227071,"nv-shang-shu-wang-seng-nan-mu-zhi-yi-ming-227071","女尚书王僧男墓志","1917年河南洛阳城南石山村出土《女尚书王僧男墓志》，北魏正光二年（521年）九月二十日刻。志高39.5厘米，宽35厘米，十五行，行十六字，共255字。有盖，二行，行三字，题“魏品一墓志铭”。志、盖俱正书。字体古茂朴拙、天真率趣，是典型的魏书。",[150,149,151,7,163,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d80c10b030db2d505f36e466a6a05.jpg",[],{"id":337,"slug":338,"title":339,"dynasty":7,"author":18,"museum":19,"description":253,"tags":340,"thumbUrl":342,"material":26,"size":27,"collection":28,"collections":343,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":43},227061,"rui-shou-wen-jian-1-yi-ming-227061","瑞兽纹鉴-1",[7,23,24,341,38,246],"瑞兽","https:\u002F\u002F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