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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。",[23,24,25,26,7,27,28,29],"夏代","古玉","玉石","雕刻","礼器","器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f699c6829f280c2ab97dc7558c7998.jpg","未知","Xcm*Xcm","",[],408,1,"795548",{"id":39,"slug":40,"title":41,"dynasty":42,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":48,"material":33,"size":33,"collection":49,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},242604,"shou-mian-wen-ding-yi-ming-242604","兽面纹鼎","商","造型沉稳端方，对称立耳高挑出檐，柱足敦实撑起器身，勾勒出规整肃穆的轮廓。器身四道扉棱将兽面纹饰工整排布，线条狞厉雄健，兽目圆睁、鼻梁高挺，纹理辗转间带着沉浑古拙的气势，尽显上古狞厉之美。深褐间晕着青绿锈色覆裹周身，是岁月浸淫的痕迹，凝缩着往昔庄重的祭祀礼制氛围，静静诉说着青铜时代的庄严厚重，让观者似能触碰到跨越时光的古朴质感。",[45,7,27,46,26,47],"青铜器","饪食器","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ff8cb826f2bed29b5a96902f05ee7d.jpg","青铜器精选",[49],164,"37474F",{"id":54,"slug":55,"title":41,"dynasty":42,"author":19,"museum":20,"description":56,"tags":57,"thumbUrl":59,"material":33,"size":33,"collection":49,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":52},242606,"shou-mian-wen-ding-yi-ming-242606","器身敦实稳重，立耳挺拔、三足粗壮，稳稳托举着古雅器形。器表兽面纹线条刚劲凝练，卷角凌厉、双目圆睁，狞厉威严的气韵扑面而来，将商代崇神尚武的精神刻入青铜肌理。斑驳铜绿是岁月遗落的印记，晕开三千余年的沉郁古意，仿佛能透过这层锈色，窥见殷商宗庙青烟袅袅、祭典肃穆的往昔图景，尽显上古青铜狞厉厚重之美。",[58,45,7,27,46,26,28,47],"商代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdff4a73186e6493f16609995dd8399f.jpg",[49],133,{"id":63,"slug":64,"title":65,"dynasty":42,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":69,"material":31,"size":32,"collection":33,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},223861,"shou-mian-wen-guan-er-hu-yi-ming-223861","兽面纹贯耳壶","壶体截面为圆角方形，有盖，束颈鼓腹平底，腹侧各有一兽面纹贯耳。器身以 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[45,58,7,46,135,26],"铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5234eb3fc2855e793bbdda02755135a7.jpg",[],{"id":139,"slug":140,"title":141,"dynasty":42,"author":19,"museum":20,"description":133,"tags":142,"thumbUrl":144,"material":31,"size":32,"collection":33,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":37},226769,"qian-lv-song-shi-shou-mian-wen-yue-yi-ming-226769","嵌绿松石兽面纹钺",[58,45,143,7,68,26,27],"嵌绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18667a1a74a522806bd61958921b387c.jpg",[],19,{"id":148,"slug":149,"title":150,"dynasty":42,"author":19,"museum":20,"description":133,"tags":151,"thumbUrl":155,"material":31,"size":32,"collection":33,"collections":156,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":37},226743,"shi-zun-yi-ming-226743","史尊",[45,27,135,26,7,152,153,114,154],"夔龙纹","兽首","圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078b3edf0c1b788db95db83adbafbbc2.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":161,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":166,"material":31,"size":32,"collection":33,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":169},250052,"jing-tai-kuan-qia-si-fa-lang-shou-mian-wen-chu-ji-ping-yi-ming-250052","景泰款掐丝珐琅兽面纹出戟瓶","明","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。",[164,165,7,47,28],"掐丝珐琅","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bea0d9943f972babe4b26bf82ce822d.jpg",[],18,"2A56C6",{"id":171,"slug":172,"title":41,"dynasty":161,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":175,"material":33,"size":33,"collection":49,"collections":176,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":37},243149,"shou-mian-wen-ding-yi-ming-243149","此鼎方腹立耳，四柱足撑持，形制端稳厚重。器身遍饰兽面纹，线条棱厉苍劲，兽目圆睁突耸，辅以回纹衬地，狞厉威严间带着上古礼器的神秘肃穆。铜色沉郁古旧，绿锈凝附，晕开岁月摩挲的厚重质感。它追摹商周彝器规制，将上古祭祀重器的庄重威仪复刻于身，狞猛兽面承载着对古礼的追慕，朴拙造型暗合古人尚礼崇古之心韵，尽显青铜礼器的肃穆雅正之风。",[161,45,68,26,7,27,46],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f3d7dfc997eb04bd275a240181c591.jpg",[49],{"id":178,"slug":179,"title":180,"dynasty":42,"author":19,"museum":20,"description":133,"tags":181,"thumbUrl":183,"material":31,"size":32,"collection":33,"collections":184,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":37},226740,"shou-mian-wen-gu-yi-ming-226740","兽面纹觚",[58,45,68,26,7,182,27],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31f3240d9e4ffe6594d28dc23d48594.jpg",[],13,{"id":187,"slug":188,"title":189,"dynasty":122,"author":19,"museum":20,"description":21,"tags":190,"thumbUrl":199,"material":31,"size":32,"collection":33,"collections":200,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":37},224010,"he-tang-bai-lu-yu-ding-xi-shou-mian-zhi-wen-gui-fu-jian-yi-ming-224010","荷塘白鹭玉顶，西兽面直纹簋附件",[191,192,26,193,194,195,196,7,197,198],"周代","玉器","镂空","荷塘","白鹭","荷花","直纹","礼器附件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1bbe9ae5f2de43eb3001b0b4d12a81.jpg",[],{"id":202,"slug":203,"title":204,"dynasty":161,"author":19,"museum":20,"description":205,"tags":206,"thumbUrl":211,"material":33,"size":33,"collection":49,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":52},243135,"shou-mian-wen-yan-yi-ming-243135","兽面纹甗","此器古意盎然，深褐铜身布着翠色锈斑，尽是岁月浸洗的厚重质感。腹身以回纹勾边，内饰缠枝卷草，柔婉纹饰中和了青铜的冷硬。三足塑作兽首，双目嵌金，威严肃穆，将上古狞厉之美凝于足下。\n\n后配红木镂雕缠枝炉盖，顶置白玉瑞兽，莹润玉色与沉郁铜色相映，将文气雅致揉入青铜古拙。古器新饰尽显巧思，让商周礼器的庄重晕染出明清赏玩的雅趣，古韵新生，自成格调。",[45,68,46,27,7,207,208,26,209,210],"兽形足","三足","玉石镶嵌","明代风格","https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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 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[],{"id":1917,"slug":1918,"title":1919,"dynasty":338,"author":19,"museum":20,"description":1920,"tags":1921,"thumbUrl":1924,"material":31,"size":32,"collection":33,"collections":1925,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1207},270053,"xi-jiao-diao-shuang-chi-bing-fang-gu-shou-mian-wen-bei-yi-ming-270053","犀角雕双螭柄仿古兽面纹杯","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。",[1922,182,26,1923,7,445,28],"犀角雕","螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29bd5945f0e825e5d6919158b34bb0ab.jpg",[],{"id":1927,"slug":1928,"title":1929,"dynasty":338,"author":19,"museum":20,"description":162,"tags":1930,"thumbUrl":1933,"material":31,"size":32,"collection":33,"collections":1934,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":231},269878,"zhu-gen-diao-shou-mian-wen-fang-ping-yi-ming-269878","竹根雕兽面纹方瓶",[1931,26,7,1932,1738],"竹雕","方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e59485c4fe095561a98e05d3436dedf.jpg",[],{"id":1936,"slug":1937,"title":1938,"dynasty":338,"author":19,"museum":20,"description":1920,"tags":1939,"thumbUrl":1944,"material":31,"size":32,"collection":33,"collections":1945,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":231},269857,"xi-jiao-diao-shou-mian-wen-ba-jiao-jue-bei-yi-ming-269857","犀角雕兽面纹八角爵杯",[1940,26,182,1941,7,1942,1943],"犀角","爵杯","兽类","八角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30e17e9ac9be330ae2c9afa85346ec5.jpg",[],{"id":1947,"slug":1948,"title":1949,"dynasty":338,"author":19,"museum":20,"description":1920,"tags":1950,"thumbUrl":1952,"material":31,"size":32,"collection":33,"collections":1953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1207},269854,"xi-jiao-diao-shou-mian-wen-jue-bei-yi-ming-269854","犀角雕兽面纹爵杯",[26,182,7,1951,1941],"犀角器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2135059149fbd478e42188de68f24a45.jpg",[],{"id":1955,"slug":1956,"title":1957,"dynasty":338,"author":19,"museum":20,"description":979,"tags":1958,"thumbUrl":1961,"material":31,"size":32,"collection":33,"collections":1962,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},269691,"pao-zhi-shou-mian-wen-yuan-lu-yi-ming-269691","匏制兽面纹圆炉",[26,1959,7,1913,47,1960,28],"匏器","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58435bc8eee72948ecae697813165039.jpg",[],{"id":1964,"slug":1965,"title":1966,"dynasty":161,"author":19,"museum":20,"description":1967,"tags":1968,"thumbUrl":1970,"material":31,"size":32,"collection":33,"collections":1971,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},269553,"xi-jiao-diao-shou-mian-wen-san-zu-lu-yi-ming-269553","犀角雕兽面纹三足炉","此作取古鼎形制，犀角质色莹润，肌理自带细密纹理如凝丝。口沿起对称小耳，腹身浅棱分瓣，浮雕兽面纹样，线条柔婉圆融，褪去青铜原有的刚硬冷肃，将古兽面的威严化作文房清供的雅意。三蹄足修长挺拔，稳稳撑起炉身，比例匀停舒展。整体既有商周礼器的端庄古韵，又借犀角温润质感，晕开文玩隽秀气质，是仿古工艺里的精巧之作，暗合追慕古意又不失清润雅致的审美风尚。",[26,1940,1969,7,28],"三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80f62d503b3f6c7292d425591a14d51.jpg",[],{"id":1973,"slug":1974,"title":1975,"dynasty":338,"author":19,"museum":20,"description":1976,"tags":1977,"thumbUrl":1980,"material":31,"size":32,"collection":33,"collections":1981,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":231},269399,"hua-mu-diao-jiao-ye-shou-mian-wen-yuan-he-yi-ming-269399","桦木雕蕉叶兽面纹圆盒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[1978,1979,26,7,414,1879,28],"木质","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac59003175c1d4c2867457d74a7a331d.jpg",[],{"id":1983,"slug":1984,"title":1985,"dynasty":338,"author":1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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 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