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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。",[45,46,47,48,7,49,50,25],"漆器","描金","描银","设色","海棠式","玉石",[],11,"BDBDBD",{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":65,"material":33,"size":34,"collection":35,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":53},263886,"da-hong-se-san-duo-gou-lian-wen-zhuang-hua-duan-yi-ming-263886","大红色三多勾莲纹妆花缎","此作以艳红为地，热烈明艳。缠枝莲蔓萦回交织，将石榴、蟠桃、佛手缀于其间，暗合多子、多寿、多福的吉祥意涵。宝相团花饱满雍容，与瑞果错落排布，构图繁密却丝毫不显拥塞。\n\n妆花织法让彩线晕染柔和自然，绒光莹润鲜亮，纹样层次饱满分明，经纬之间尽显精巧工致，将清代织绣的华贵精巧展现得淋漓尽致，把吉祥寓意融于锦绣之中，是极具代表性的华美织绣佳作。",[60,61,7,62,63,64,26,48],"织绣","妆花缎","勾莲纹","花卉","大红色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0128c3750e7190290dbe29998735bc20.jpg",[],3,{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":77,"material":33,"size":34,"collection":35,"collections":78,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":38},263885,"da-hong-se-chan-zhi-mu-dan-hua-san-duo-wen-zhuang-hua-duan-yi-ming-263885","大红色缠枝牡丹花三多纹妆花缎","此作以朱红为地，如熔霞凝脂，缠枝卷草蜿蜒勾连，将牡丹、石榴、蟠桃、佛手缀连其中，暗合多福、多寿、多子的三多吉意。妆花技法晕染出丰富色域，金线勾边明丽挺括，绒线施色柔润饱满，诸色交织却繁而不乱，妍丽中带着沉静端庄。江南织造的精工底蕴藏在经纬之间，每一处纹样都疏密得当，富丽堂皇里浸着含蓄的中式浪漫，尽显织绣工艺的巅峰水准，将吉祥寓意融于锦绣肌理，是传统织造美学的绝佳诠释。",[26,74,61,75,76,7,63,64],"织锦","牡丹","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803c0332eeca1975f4a1bbf090633f48.jpg",[],{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":83,"tags":84,"thumbUrl":90,"material":33,"size":34,"collection":35,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},268146,"pin-yue-se-san-duo-wen-an-hua-duan-dui-jin-jia-xiao-kan-jian-yi-ming-268146","品月色三多纹暗花缎对襟夹小坎肩","以沉郁玄色为底，紫、亮蓝滚边勾勒衣型，层次分明利落雅致。门襟环绕如意云纹镶边，柔化硬朗线条，暗藏吉祥寓意。下摆拼接品月色暗花缎，三多瑞纹织就其间，走线细腻灵动，暗含多福多寿多子的美好祈愿。黄铜一字盘扣素净温润，与衣身纹饰相映成趣。整体剪裁舒展大气，既有制式服饰的端庄规整，又带着闺阁服饰的温婉精巧，将晚清审美意趣与吉祥文化相融，方寸之间尽显手工匠造的细腻用心，是传统服饰里兼具实用性与装饰性的精巧之作。",[85,26,86,87,7,88,89],"衣帽","暗花缎","对襟坎肩","瑞兽纹样","如意镶边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620aa8e9d2a48af86ba5e7c6a2af3da2.jpg",[],2,"37474F",{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":101,"material":33,"size":34,"collection":35,"collections":102,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":103},267927,"xue-hui-se-duan-di-mu-dan-san-duo-wen-tao-yi-ming-267927","雪灰色缎地牡丹三多纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[26,100,60,75,63,7],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c8ad096d5691257539a8d7ca154fc.jpg",[],"0D904F",{"id":105,"slug":106,"title":107,"dynasty":18,"author":19,"museum":20,"description":98,"tags":108,"thumbUrl":110,"material":33,"size":34,"collection":35,"collections":111,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},267899,"bao-lan-se-duan-di-dan-cai-san-duo-mu-dan-wen-tao-yi-ming-267899","宝蓝色缎地淡彩三多牡丹纹绦",[26,100,75,7,109,60,63],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cda7509b10e3cff9276bd8556c5a11.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":121,"material":33,"size":34,"collection":35,"collections":122,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":38},267703,"cha-se-san-duo-wen-luo-yi-ming-267703","茶色三多纹罗","整体色调温润柔和，细密罗地带着通透肌理，如笼着一层薄纱雾霭，自带朦胧雅致氛围感。提花暗纹循着经纬错落铺陈，饱满的石榴、莹润的寿桃与舒展的佛手次第排布，枝蔓轻曳鲜活灵动。纹样与底色近乎浑然一体，含蓄不张扬，将多子多寿多福的吉庆祈愿，悄然藏进织物经纬之间。没有浓墨重彩的渲染，只凭同色系的明暗层次，织就中式独有的内敛美学，把俗世的美好期许，融在日常使用的方寸织物之中，尽显旧时造物里的温婉意趣。",[26,118,7,119,120],"罗织品","吉祥纹样","果实纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48346e903d4e8affc0a9aaa199d2e2e0.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":18,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":133,"material":33,"size":34,"collection":35,"collections":134,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},266380,"fen-se-san-duo-wen-zhi-jin-duan-dui-jin-jia-xiao-kan-jian-yi-ming-266380","粉色三多纹织金缎对襟夹小坎肩","柔粉缎面为底，以宝蓝撞色镶边，织金纹样错落点缀，明媚雅致又不失华贵。主体三多纹舒展灵动，佛手、仙桃与石榴暗喻多福多寿多子，将俗世祈愿藏进针脚。边缘回纹连绵环绕，锁住融融吉意。对襟鎏金圆扣挺括亮眼，在柔色晕染里跳脱出精致质感。整体剪裁利落舒展，线条婉转带着温婉意趣，将民俗吉庆与匠心织造相融，藏着东方审美的含蓄浪漫与烟火间的诚挚期许。",[85,26,129,130,7,131,132],"织金缎","粉色","对襟","夹坎肩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0fd06fa3248e8e03004465f2a8547.jpg",[],{"id":136,"slug":137,"titl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“短褂” 或 “马墩子”，流行于清代及民国时期\n清代初期，马褂为一般士兵穿着，至康熙时期富贵之家也有穿者。雍正后，马褂已甚为流行 。并发展成单、夹、纱、皮、棉等服装，成为男式便衣，士庶都可穿着。之后更逐渐演变为一种礼仪性的服装，不论身份，都以马褂套在长袍之外，显得文雅大方 。民国年间曾被列为礼服之一。新中国成立后，马褂逐步被摈弃，后经改良又以“唐装”的名称重新回到人们的视野中 。",[85,149,26,86,150,151,7],"马褂","貂皮","琵琶襟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d295af79b8e258dc3fef4af92154d8c.jpg",[],1,{"id":156,"slug":157,"title":158,"dynasty":18,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":163,"material":33,"size":34,"collection":35,"collections":164,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":53},268133,"xue-hui-se-san-duo-wen-jiang-an-hua-chou-chen-yi-chai-pian-yi-ming-268133","雪灰色三多纹江暗花绸衬衣拆片","雪灰江绸为底，暗纹隐现其间，自带沉静雅致的质感。满身以金彩织就三多纹样，排布齐整匀净，暗合多福多寿多子的美好祈愿，将吉祥意趣藏入衣料经纬。\n衣身镶边层次丰富，青绿织纹包边与底色柔和撞色，领部湖蓝色衬饰提亮整体色调，于温婉中透出华贵精巧。虽为拆片，依旧能窥见原成衣的端庄秀雅，针线藏着旧时闺阁服饰的审美意趣，是传统织绣工艺与吉祥美学融合的缩影，晕开旧朝服饰的温婉雍容。",[85,26,161,7,162],"暗花绸","服饰拆片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcfb00f2fe9a640c074350bdda9881a.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":98,"tags":169,"thumbUrl":172,"material":33,"size":34,"collection":35,"collections":173,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":103},267900,"pin-lan-se-duan-di-dan-cai-san-duo-mu-dan-wen-tao-yi-ming-267900","品蓝色缎地淡彩三多牡丹纹绦",[26,170,100,75,171,60,109,63,7],"绦带","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bef4a80f22c643adf7ac5b367a6fce.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":18,"author":19,"museum":20,"description":178,"tags":179,"thumbUrl":182,"material":33,"size":34,"collection":35,"collections":183,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":38},267653,"xiang-se-di-qu-shui-san-duo-wen-jin-yi-ming-267653","香色地曲水三多纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[26,74,48,180,181,7],"花卉纹","曲水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e9c93ae6c2cbaa62d0c8325f75b465.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":20,"description":188,"tags":189,"thumbUrl":193,"material":33,"size":34,"collection":35,"collections":194,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":38},264509,"mo-lv-se-san-duo-gou-lian-wen-zhuang-hua-duan-yi-ming-264509","墨绿色三多勾莲纹妆花缎","墨绿底色沉敛雅致，缠枝勾莲婉转蔓延，将石榴、蟠桃、佛手缀于其间，暗合多子、多福、多寿的吉庆意涵。朱红、酱褐、银白鎏金错落交织，妆花技法让绒彩饱满莹润，花头饱满立体，枝蔓缠连间尽显繁复精巧。\n\n织边落款带着江南织造的规制底蕴，整幅织物将匠心工法与吉祥意趣相融，尽显清代织绣工艺的细腻考究，把中式传统的审美意趣藏在经纬之间，是颇具代表性的织绣佳品。",[190,26,61,7,62,63,191,48,192],"织物","果实","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c697e11e80e3051a0e1e21de8a090d8.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":204,"material":33,"size":34,"collection":35,"collections":205,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":38},264051,"qing-se-xie-wan-zi-san-duo-hua-lan-wen-zhi-jin-duan-yi-ming-264051","青色斜万字三多花篮纹织金缎","以明黄为地，斜向回字纹连绵铺展，暗喻福寿无休。织金妆点的三多与花篮纹样交替排布，石榴、蟠桃、佛手承载多子多福多寿的祈愿，花篮秀雅灵动，让规整的布局生出柔婉意趣。内敛的金线在暖黄底色晕出华贵光泽，配色明丽和谐，纹样排布齐整对称，将装饰美感与吉祥寓意融于一体，尽显精巧匠心，含蓄传递着中式传统的美好期许。",[26,129,201,7,202,203],"万字纹","花篮纹","织绣工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914dc77bd694c99d01ba825615a4558c.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":18,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":214,"material":33,"size":34,"collection":35,"collections":215,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":53},263930,"mei-gui-hong-se-san-duo-wen-zhuang-hua-duan-yi-ming-263930","玫瑰红色三多纹妆花缎","柔润的玫瑰红为底，浅金妆花织就三多吉纹。石榴孕千子、蟠桃贺长寿、佛手纳多福，纹样循环铺陈，疏密相宜。金彩在朱红之上晕出雅致光泽，妆花工艺让花果肌理鲜活灵动，将祥瑞寓意藏入寸锦寸绣之间，尽显精巧工致，把俗世吉庆意趣与传统织造美学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