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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。",[23,24,25,26,27,28,7],"玉石","雕刻","山水","楼阁","书法","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b35bb78db83f9f3d0d3eff3765c733.jpg","未知","Xcm*Xcm","",[],6,"BDBDBD",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":50,"material":30,"size":31,"collection":32,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},252284,"qing-jin-shi-yu-zhi-shi-shan-zi-yi-ming-252284","青金石御制诗山子","这方山子取料凝实浓郁的宝蓝灵石，如揉碎了深海夜色，澄澈厚重。匠师随形施艺，将山石褶皱化作层叠峰峦，古松虬枝盘绕错落，刀工细腻入微，松针宛然逼真，山峦间暗含山居幽趣，把林泉隐逸之景镂刻于方寸之间。\n\n搭配的白玉座透雕松枝流云，素洁莹润中和了青金的沉邃冷艳，一深一浅、一刚一柔，相映成趣。整器将玉石天然肌理与巧思雕琢相融，静穆雅致间藏着文人寄情山水的悠远意韵，案头陈设，便揽得一山松风清寂。",[23,24,42,7,43,44,45,46,47,48,49],"青金石","古松","山峦","白玉座","文房陈设","隐逸山水","松枝","流云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a2b7b41aa1da288e1df705a945f1b06.jpg",[],2,"795548",{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":64,"material":30,"size":31,"collection":32,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":35},269276,"zhu-diao-he-he-er-xian-tu-shan-zi-yi-ming-269276","竹雕和合二仙图山子","此作以圆雕搭配透雕施艺，随竹材肌理就势造景。上方仙翁笑眼弯垂，俯身探看，衣袂垂坠自然舒展；下方坐者袒腹仰面，抬手呼应，二人神态亲昵尽显友洽之态。匠师将嶙峋岩穴穿插其间，虚实相生，既烘托出山野幽寂氛围，又将二仙巧妙联结为整体。刀工细腻流畅，衣褶纹路灵动自然，人物开脸鲜活传神，将二仙乐天安闲的气韵尽数雕琢而出，暗藏和合美满的意趣，是兼具工巧与意境的竹刻佳构。",[60,24,61,62,7,63],"竹雕","和合二仙","人物","竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069ef63ca4d7c9fa6cf1784e562a9c37.jpg",[],1,{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":74,"material":30,"size":31,"collection":32,"collections":75,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":76},251945,"lv-song-shi-song-xia-lao-ren-tu-shan-zi-yi-ming-251945","绿松石松下老人图山子","依料施艺，随形镂雕林泉高隐图景。苍松虬曲古劲，山石层叠错落，老者幽坐松下，静享林泉雅致，将文人栖隐林下的意趣凝于松石之间。青绿石色澄澈莹润，局部俏色蓝斑点缀，更添灵动古雅。底座透雕缠枝纹，与山子浑然呼应，衬出清逸格调。整体因势造型，工意相融，将世外幽居的隐逸之思定格于一方松石，尽显清代工艺与文人雅趣交融的精巧意韵。",[23,24,73,62,7],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1969a05363ddc306d240b6a0f8de0.jpg",[],"37474F",{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":85,"material":30,"size":31,"collection":32,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},269922,"zhu-ying-kuan-zhu-gen-diao-shan-zi-yi-ming-269922","朱缨款竹根雕山子","这件竹根雕依随原料天然形态施艺，将竹根的粗糙肌理化为巉岩褶皱。主峰挺拔错落，侧峰环拥呼应，宛若截取了一段苍古山野。刀工简括克制，以竹根自带的天然纹路模拟山石皴理，不作过多雕琢，尽显丘壑荒疏古雅的意趣。原配木座弧线温婉，稳稳承托山子，为这件文房清供更添沉静雅致。将文人心中林泉高致缩于方寸案头，闲赏时便可得幽远山林之趣。",[24,83,7,84,63],"竹根雕","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52dbfd2ef2239af98e8b61a026f9e1f3.jpg",[],{"id":88,"slug":89,"title":90,"dynasty":18,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":96,"material":30,"size":31,"collection":32,"collections":97,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},269899,"zhu-diao-lu-yan-tu-shan-zi-yi-ming-269899","竹雕芦雁图山子","这件竹作以透雕技法铺展芦塘秋意，芦苇枝茎交错翻卷，叶脉纹路纤细灵动，将郊野的清寂秋韵凝于刀下。三只芦雁各有意态，一雁垂首啄食，似正衔取浅泽间的草叶，身姿憨态可掬；一雁敛羽静立，颈羽层叠细腻，尽显安闲之态；还有一雁振翅将落，羽翼舒张，纹路分毫毕现。整器布局疏密相宜，依托竹材天然肌理施刀，圆转利落，于竹间方寸勾勒出野趣盎然的水泽图景，把文人向往的林泉闲情藏入刀痕，尽显工艺隽秀雅致。",[60,24,93,94,95,7],"芦雁","芦苇","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f2f47dac8eb5ac6f82676241e633c7.jpg",[],{"id":99,"slug":100,"title":101,"dynasty":18,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":104,"material":30,"size":31,"collection":32,"collections":105,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},269865,"zhu-diao-shan-shi-lao-ren-tu-shan-zi-yi-ming-269865","竹雕山石老人图山子","随形施艺，将竹材天然肌理与匠心雕琢相融。苍松虬曲古劲，瘤节孔洞尽显岁月浸淫的朴拙质感，仿佛饱经风霜的山巅古木。高岩错落通透，宛若自然天成的林泉洞天。\n\n松下三老情态悠然，或拱手作揖，或垂目静立，或踞石而坐，衣袂褶皱婉转灵动，将林下清谈的雅趣刻画入微。布局疏密有致，刀工藏露相宜，既留存竹材原生的山野意趣，又以精细工笔活化人物景致，把文人林泉高致的隐逸意韵凝于方寸之间，尽显材与艺相合、景与情相融的精妙。",[24,60,63,84,73,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9f440f222083fb96eaa6e25a3234ae.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":18,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":115,"material":30,"size":31,"collection":32,"collections":116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},269242,"zhu-gen-diao-hai-shui-long-ma-tu-shan-zi-yi-ming-269242","竹根雕海水龙马图山子","此件以竹根随形施艺，巧借天然肌理布局。龙马身姿劲健昂扬，鬃尾舒展灵动，四蹄踏于翻涌浪涛之上，肌肉线条刻画写实流畅。上方依循竹根枯节雕作虬松古木，孔洞天成，宛若历经风霜的山巅一隅。\n\n刀工细腻入微，浪涛层叠翻卷，将水波奔涌之势凝于方寸。整器朴拙根材与精妙雕工相融，静中藏动，把瑞兽踏浪的磅礴意象悄然铺展，勾勒出祥瑞意韵，尽显苍古雅致的匠心巧思。",[24,63,112,113,114,7],"马","龙","海水","https:\u002F\u002Fo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