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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。",[63,32,64,65,66,67,68,69,70,71,72,73,74,75,76,77,78,79,7],"玉石","龙","梅","饮酒器","明代","青料","纹饰","杯形","龙耳","梅花纹","玉器","传统工艺","明代器物","浮雕","装饰纹","植物纹","瑞兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138cb255448765766da257cb423ade9.jpg",[],3,1,{"id":85,"slug":86,"title":87,"dynasty":88,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":98,"material":52,"size":53,"collection":35,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":39},229961,"yin-du-jin-qian-shan-hu-zhu-wan-shou-er-wa-zan-yi-ming-229961","银镀金嵌珊瑚珠「万寿」耳挖簪","清","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。",[91,92,93,94,95,96,97,7],"清代","银器","金器","饰品","镶嵌","珊瑚珠","文字装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf965a95ba4786cf4cfdb10bbca179d.jpg",[],2,{"id":102,"slug":103,"title":104,"dynasty":44,"author":19,"museum":20,"description":45,"tags":105,"thumbUrl":115,"material":52,"size":53,"collection":35,"collections":116,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":55},226944,"xian-wen-xi-yi-ming-226944","弦纹洗",[23,33,106,26,107,47,77,108,109,110,111,31,112,113,114,7],"弦纹","日用器","盥洗用具","三足器","古物","汉代器物","铜器","弦纹装饰","三足结构","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527e3f0b93c0d510ed3ec55daf34f1d.jpg",[],{"id":118,"slug":119,"title":120,"dynasty":88,"author":19,"museum":20,"description":121,"tags":122,"thumbUrl":127,"material":52,"size":53,"collection":128,"collections":129,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":130},261747,"yi-xing-yao-zi-sha-lian-hua-shi-cha-hu-yi-ming-261747","宜兴窑紫砂莲花式茶壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[123,124,125,126,7],"陶瓷","紫砂茶壶","莲花造型","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c77512d72013810d5dc64b41a998261.jpg","瓷器精选",[128],"37474F",{"id":132,"slug":133,"title":134,"dynasty":88,"author":19,"museum":20,"description":135,"tags":136,"thumbUrl":142,"material":52,"size":53,"collection":35,"collections":143,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":144},245512,"jin-yin-xia-yin-chi-yi-ming-245512","金印匣印池","通体鎏金，四方器身搭配切角盖顶，刚直轮廓糅合柔润过渡，形制沉稳大气。金面素净无饰，哑光肌理晕开岁月沉淀的斑驳包浆，自带华贵沉凝的质感。面页、合叶构件俱全，钣金工艺利落规整，暗合收纳重器的肃穆用途。它摒弃繁饰，以极简形制凸显金材本身的厚重矜贵，将宫廷仪制的庄重与金器的奢华融于一体，沉静内敛间尽显威仪，是清代实用器里极简美学的绝佳诠释。",[93,137,50,7,138,139,140,141],"印匣","钣金工艺","极简美学","包浆","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c3a1cd54362227328c59f22c487292.jpg",[],"F48FB1",{"id":146,"slug":147,"title":148,"dynasty":149,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":158,"material":52,"size":53,"collection":35,"collections":159,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":39},227483,"qing-bai-ci-hu-yi-ming-227483","青白瓷壶","宋","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[152,123,153,154,155,156,157,7],"宋代","青白釉","瓜棱纹","执壶","刻划工艺","单色釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc7f34820afc4450d4424a3d491af9f.jpg",[],{"id":161,"slug":162,"title":163,"dynasty":164,"author":19,"museum":20,"description":150,"tags":165,"thumbUrl":10,"material":52,"size":53,"collection":35,"collections":172,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":39},227275,"cu-ci-he-yi-ming-227275","粗瓷盒","五代十国",[164,123,166,167,168,169,7,170,157,171],"粗瓷","日常用器","圆形","素面","无纹饰","民间工艺",[],{"id":174,"slug":175,"title":176,"dynasty":88,"author":19,"museum":20,"description":177,"tags":178,"thumbUrl":181,"material":52,"size":53,"collection":35,"collections":182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},245939,"yin-xi-guan-zui-bei-hu-yi-ming-245939","银细管嘴背壶","扁圆壶身贴合背负身形，是旧时远游的随身佳物。哑光银面覆着经年摩挲的包浆，暗沉肌理晕开时光的印记，壶身浅淡痕迹似藏着过往旅人的细碎日常。挺括细管壶嘴巧控水流，难有倾洒，藏着朴实的实用心思。整体无繁复装饰，素朴沉敛的质感将游牧行旅的日常融于器物之中，带着粗粝又温暖的烟火气，静静诉说旧时光里逐路而行的生活图景，把实用性与质朴美学悄然相融。",[91,92,179,180,7],"细管","背壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa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[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。",[91,92,212,7,192],"金属器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ce5b922283e5e18026cf91f5ff6f4d.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":88,"author":19,"museum":20,"description":219,"tags":220,"thumbUrl":221,"material":52,"size":53,"collection":35,"collections":222,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},245528,"jin-guang-su-pen-yi-ming-245528","金光素盆","它通体素净无饰，弃绝了繁复雕缛，将金质本身的矜贵作为唯一的注脚。敞口浅腹搭配利落圈足，器型饱满圆润，线条舒展柔和，流露着内敛沉静的气度。沉实的金色凝于器身，岁月晕开温润的包浆，每一寸弧度都晕着暖调柔光，简约却尽显华贵雍容，以极简形制勾勒出沉静雅致的东方意韵，将材质本味的美感发挥到了极致。",[91,93,169,30,48,191,170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff543e8e1e08862c1d9e3d2eee914f447.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":44,"author":19,"museum":20,"description":45,"tags":227,"thumbUrl":228,"material":52,"size":53,"collection":35,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},245144,"fang-bing-gou-yi-ming-245144","方柄钩",[47,23,50,33,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792034146dd16b0ed634113b621cc5f5.jpg",[],1777535725644]