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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。",[25,42,7,27,26,28,43,23],"雕刻","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3112e439885f3107e7084b5bf13562c.jpg",[],4,"37474F",{"id":49,"slug":50,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":51,"thumbUrl":52,"material":30,"size":31,"collection":32,"collections":53,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},250628,"bai-yu-lou-diao-pan-chi-pei-yi-ming-250628",[25,42,24,7,27,26,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190a4ee3bc14c64cc02cacc1eab56c92.jpg",[],{"id":55,"slug":56,"title":57,"dynasty":58,"author":19,"museum":20,"description":21,"tags":59,"thumbUrl":61,"material":30,"size":31,"collection":32,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},250762,"bai-yu-lou-diao-pan-chi-wen-pei-yi-ming-250762","白玉镂雕蟠螭纹佩","明",[60,25,24,7,27,26,28],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83407dbf8b5e0ff6335fa4be8a5dba4d.jpg",[],3,"795548",{"id":66,"slug":67,"title":68,"dynasty":69,"author":19,"museum":20,"description":21,"tags":70,"thumbUrl":72,"material":30,"size":31,"collection":32,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},251112,"bai-yu-tou-diao-pan-chi-wen-ji-xin-pei-yi-ming-251112","白玉透雕蟠螭纹鸡心佩","清",[69,25,71,42,7,26,27,28],"透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b852faa78f12f06c6e57d2c9d6b6ac8.jpg",[],2,"BDBDBD",{"id":77,"slug":78,"title":79,"dynasty":58,"author":19,"museum":20,"description":21,"tags":80,"thumbUrl":82,"material":30,"size":31,"collection":32,"collections":83,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":64},250758,"bai-yu-fu-diao-pan-chi-huan-pei-yi-ming-250758","白玉浮雕蟠螭环佩",[60,25,81,42,7,26,27,28],"浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8cb228e71a4d392fe431fa8df45a61.jpg",[],{"id":85,"slug":86,"title":87,"dynasty":69,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":95,"material":30,"size":31,"collection":32,"collections":96,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":64},229225,"shi-ba-shi-jiu-shi-ji-fei-xue-di-tao-lan-bo-li-pan-chi-bi-yan-hu-yi-ming-229225","十八 十九世纪 霏雪地套蓝玻璃蟠螭鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[90,91,92,7,93,94,42],"清代","霏雪地套玻璃","套蓝玻璃","玻璃器","鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f9f4a21cdcf761f7cbf2bb3fc71b3a.jpg",[],{"id":98,"slug":99,"title":100,"dynasty":69,"author":19,"museum":20,"description":101,"tags":102,"thumbUrl":108,"material":30,"size":31,"collection":32,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":64},261389,"bai-you-ke-hua-pan-chi-ling-zhi-wen-lian-kou-ping-yi-ming-261389","白釉刻花蟠螭灵芝纹莲口瓶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[103,104,105,7,106,107],"陶瓷","器","刻花","灵芝纹","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe755d67ecb35ce6be1aa6698e714f8.jpg",[],1,{"id":112,"slug":113,"title":114,"dynasty":69,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":123,"material":30,"size":31,"collection":32,"collections":124,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":64},257948,"qing-hua-you-li-hong-pan-chi-shan-shui-tu-zun-yi-ming-257948","青花釉里红蟠螭山水图尊","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[103,117,118,119,7,120,121,122,26,27],"青花","釉里红","山水","松树","山石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a653ad38d5a1a39007c56a1231d8eb.jpg",[],{"id":126,"slug":127,"title":128,"dynasty":58,"author":19,"museum":20,"description":129,"tags":130,"thumbUrl":133,"material":30,"size":31,"collection":134,"collections":135,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":64},257523,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-hu-yi-ming-257523","德化窑白釉凸雕蟠螭纹壶","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一。",[217,25,42,7,218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c748e07c12738f8954eea5e5a8d4d35.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":69,"author":19,"museum":20,"description":262,"tags":263,"thumbUrl":267,"material":30,"size":31,"collection":32,"collections":268,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":269},269799,"xi-jiao-diao-pan-chi-tao-tie-wen-bei-yi-ming-269799","犀角雕蟠螭饕餮纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[42,264,265,7,266],"饮酒器","犀角器","饕餮纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d57dfdbe9aba21c8135e6bfcfb4e438.jpg",[],"FFFFFF",{"id":271,"slug":272,"title":273,"dynasty":69,"author":19,"museum":20,"description":262,"tags":274,"thumbUrl":277,"material":30,"size":31,"collection":32,"collections":278,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":269},269623,"xi-jiao-diao-pan-chi-wen-yi-shi-bei-yi-ming-269623","犀角雕蟠螭纹匜式杯",[104,264,42,7,275,276],"犀角","杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8aca1b70148289f89a757c567eed29.jpg",[],{"id":280,"slug":281,"title":282,"dynasty":69,"author":19,"museum":20,"description":262,"tags":283,"thumbUrl":285,"material":30,"size":31,"collection":32,"collections":286,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},269613,"xi-jiao-diao-pan-chi-wen-jue-bei-yi-ming-269613","犀角雕蟠螭纹爵杯",[42,264,284,275,7,27,26,104],"爵杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd4745c2de7489c9eac8a2926f8609.jpg",[],{"id":288,"slug":289,"title":290,"dynasty":69,"author":19,"museum":20,"description":291,"tags":292,"thumbUrl":299,"material":30,"size":31,"collection":32,"collections":300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},258266,"yong-zheng-kuan-dou-cai-pan-chi-hua-hui-wen-gua-leng-shi-xiao-ping-yi-ming-258266","雍正款斗彩蟠螭花卉纹瓜棱式小瓶","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[69,103,293,7,294,295,296,297,298],"斗彩","花卉","梅","兰","瓜棱式","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f92b25c397102dda84b1f506c4c6be.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":69,"author":19,"museum":20,"description":305,"tags":306,"thumbUrl":310,"material":30,"size":31,"collection":32,"collections":311,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},257717,"wu-cai-pan-chi-hua-die-tu-ping-yi-ming-257717","五彩蟠螭花蝶图瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[103,307,298,7,27,308,309,104],"五彩","花","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d45b27c8344c37bfe9613dc2be0ba8.jpg",[],{"id":313,"slug":314,"title":315,"dynasty":69,"author":19,"museum":20,"description":305,"tags":316,"thumbUrl":320,"material":30,"size":31,"collection":32,"collections":321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},256669,"fen-cai-lou-kong-pan-chi-wen-xiang-er-zhuan-xin-ping-yi-ming-256669","粉彩镂空蟠螭纹象耳转心瓶",[103,317,318,298,42,7,319,27,26,104],"粉彩","镂空","象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda026dc1c8c90ac800a9b247409c6eb4.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":207,"author":19,"museum":20,"description":326,"tags":327,"thumbUrl":333,"material":30,"size":31,"collection":134,"collections":334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":47},256323,"ding-yao-bai-you-yin-hua-pan-chi-chan-zhi-hua-hui-wen-xi-yi-ming-256323","定窑白釉印花蟠螭缠枝花卉纹洗","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为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