[{"data":1,"prerenderedAt":490},["ShallowReactive",2],{"subject-shou-shou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4316,"shou-shou","兽首","兽首画高清赏析","精选中国历代兽首题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F544927557ded9758bb1db0769c916f15.jpg",0,45,[14,38,52,66,79,88,97,113,124,132,141,155,163,171,191,201,209,223,235,242,251,262,271,279,289,300,308,321,332,346,356,366,375,382,390,397,405,412,420,430,440,450,464,471,481],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},226743,"shi-zun-yi-ming-226743","史尊","商","佚名","藏地不详","青铜器（Bronze 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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。",[18,72,26,7,73,74],"玉石","神话","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f05dd27de0c05b4b9a9538c4641955.jpg",[],9,"37474F",{"id":80,"slug":81,"title":82,"dynasty":18,"author":19,"museum":20,"description":21,"tags":83,"thumbUrl":85,"material":32,"size":33,"collection":34,"collections":86,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":37},243781,"lu-shou-bing-dao-yi-ming-243781","鹿首柄刀",[23,84,45,26,7,59],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ead925451f2723410ce909a930462ec.jpg",[],5,{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":20,"description":21,"tags":92,"thumbUrl":95,"material":32,"size":33,"collection":34,"collections":96,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":37},226775,"xi-zhou-shi-you-yi-ming-226775","西周 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Including","这六格装饰线稿满溢古典巧思，上方三幅是变体柱头，巴洛克涡纹与卷草缠绕柱身，线条疏密张弛有序，虚实晕染衬出浮雕般的立体感，在古典形制里揉入华丽的动感张力。\n\n下方兽首獠牙贲张，卷叶纹饰顺着轮廓延展，将野性威仪藏进柔美的曲线里。花环圆盘纹章以缠枝纹环绕中心团花，雅致精巧。末格矮柱头延续复古装饰逻辑，纹样繁而不乱。\n\n利落的钢笔线条搭配淡墨晕染，明暗层次清晰，将装饰艺术的庄重华丽尽数铺展，是兼具设计实用性与审美性的复古装饰手稿。",[179,215,216,217,182,218,219,7,220],"白描","线稿","装饰纹样","雕刻设计","古典纹样","花饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1e3adaf3a0b142aabf592c361d9d56.jpg",[],{"id":224,"slug":225,"title":226,"dynasty":227,"author":19,"museum":20,"description":228,"tags":229,"thumbUrl":233,"material":32,"size":33,"collection":34,"collections":234,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":78},261570,"qing-you-shou-shou-xing-shao-yi-ming-261570","青釉兽首形哨","唐","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[230,231,7,232,74],"陶瓷","乐器","哨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504d4aa84f926bf5dbdce383c8fb88f5.jpg",[],{"id":236,"slug":237,"title":238,"dynasty":18,"author":19,"museum":20,"description":21,"tags":239,"thumbUrl":240,"material":32,"size":33,"collection":34,"collections":241,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":37},244684,"bei-bai-yi-gui-yi-ming-244684","北白邑簋",[59,23,24,120,45,26,61,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e0fc07a8f75a11970387b8093fa4ef.jpg",[],{"id":243,"slug":244,"title":245,"dynasty":195,"author":19,"museum":20,"description":246,"tags":247,"thumbUrl":249,"material":32,"size":33,"collection":34,"collections":250,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},243918,"shou-shou-san-zu-deng-yi-ming-243918","兽首三足灯","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[23,45,7,129,26,248,197],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4097ac408e832e1b75a0940e08f172.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":255,"author":19,"museum":20,"description":256,"tags":257,"thumbUrl":260,"material":32,"size":33,"collection":34,"collections":261,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},243193,"feng-shou-he-yi-ming-243193","凤首盉","明","以凤为流首，尖喙昂然，颈间鳞羽宛然灵动，圆鼓器身饱满朴拙，下承三足沉稳端庄。盖顶禽钮俏立，提梁隐刻螭纹古雅遒劲。铜色沉敛苍润，包浆厚重自然，将瑞禽灵兽之形融于礼器形制，既存青铜古器的肃穆典雅，又具文玩清供的精巧雅致，匠心独运，把复古意趣与审美巧思相融，尽显古雅沉静的韵致。",[258,23,45,26,259,129,7,57],"明代","凤首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5d2562af8815745dcc35a7113e9deb.jpg",[],{"id":263,"slug":264,"title":265,"dynasty":255,"author":19,"museum":20,"description":266,"tags":267,"thumbUrl":269,"material":32,"size":33,"collection":34,"collections":270,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},243093,"fang-hu-yi-ming-243093","方壶","此器取法上古青铜方壶制式，小器蕴大雅。方口束颈，鼓腹下收接方足，腹部饰兽首铺首，虽衔环已佚，兽面轮廓威严依旧，线条古拙厚重，带着庄重的复古意趣。\n\n铜身凝叠红绿锈色，苍古斑驳，是岁月摩挲浸淫的痕迹，晕开旧时光的沉敛质感。搭配弯腿红木小座，更衬出古雅沉静的气质，当属文房案头清供雅玩，可插细花、盛清水，将三代青铜的庙堂厚重，敛为书斋案上的一抹静穆雅致，尽显复古尚古的审美意趣。",[258,23,45,26,7,268],"方器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e0183c98b8c3b952bab703b461d915.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":42,"author":19,"museum":20,"description":21,"tags":275,"thumbUrl":277,"material":32,"size":33,"collection":34,"collections":278,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":78},242825,"leng-wen-gui-yi-ming-242825","棱纹簋",[23,45,276,7,129,24,206,26],"棱纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5b8b15b1ab6452accc372cca1b2d2b.jpg",[],{"id":280,"slug":281,"title":282,"dynasty":283,"author":19,"museum":20,"description":284,"tags":285,"thumbUrl":287,"material":32,"size":33,"collection":34,"collections":288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},281496,"tong-du-jin-san-zu-jia-shi-bei-yi-ming-281496","铜镀金三足架石杯","清","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。",[74,72,286,57,45,26,7],"金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4554d66089364e678760bbf730ee5ee0.jpg",[],{"id":290,"slug":291,"title":292,"dynasty":283,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":298,"material":32,"size":33,"collection":34,"collections":299,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274794,"tong-du-jin-san-huan-san-xiang-zu-yuan-lu-yi-ming-274794","铜镀金三环三象足圆炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[45,286,26,295,7,296,120,297],"象","炉","衔环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F970aaa3371bdd0ccf74458a4b21af19f.jpg",[],{"id":301,"slug":302,"title":292,"dynasty":283,"author":19,"museum":20,"description":293,"tags":303,"thumbUrl":306,"material":32,"size":33,"collection":34,"collections":307,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274793,"tong-du-jin-san-huan-san-xiang-zu-yuan-lu-yi-ming-274793",[45,304,26,295,296,23,7,305],"镀金","环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be09b25817b474a9d1631e605011347.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":283,"author":19,"museum":20,"description":312,"tags":313,"thumbUrl":319,"material":32,"size":33,"collection":34,"collections":320,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},272782,"tian-qi-xiao-duo-bao-ge-yi-ming-272782","填漆小多宝格","此作以朱红为底，遍饰描金雕纹，三兽足敦实威严，瑞兽怒目圆睁，鬃毛卷曲灵动，仿佛能镇护一方。两端翘头弧线柔婉中和了厚重感，牙板之上缠枝纹连绵往复，雕工细腻入微，每一处纹路都尽显手作温度。朱色漆底沉稳庄重，描金纹饰华贵鲜亮，二者相映，勾勒出雍容格调，将礼制威严与审美意趣融合一体，尽显古典匠造的不俗功力。",[314,315,26,316,317,318,7],"漆器","木质","家具","描金","填漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814989748a2651191d05705a6c6f7f3e.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":227,"author":19,"museum":20,"description":325,"tags":326,"thumbUrl":330,"material":32,"size":33,"collection":34,"collections":331,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255588,"shi-shou-tou-yi-ming-255588","石兽头","这尊石雕以洗练刀法勾勒瑞兽轮廓，圆睁的双目带着沉静威仪，口鼻线条柔和憨朴，消解了神兽的凶戾，尽显温驯敦厚。通体以鳞片状卷毛排布，饱满圆融的块面带着装饰意趣，古朴刀法将毛发的蓬松质感凝练而出。\n\n石材历经岁月浸润，包浆厚重温润，将盛唐雄浑大气的审美意趣藏于细节。写实的神态刻画与写意的造型手法相融，把瑞兽的神性与生灵的柔态巧妙结合，尽显旧时工匠的匠心巧思，静静晕开千年前雍容浑厚的时代气韵。",[327,328,26,62,7,329],"唐代","石质","石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19aa93516431a242c2a76c3b0586a433.jpg",[],{"id":333,"slug":334,"title":335,"dynasty":255,"author":19,"museum":20,"description":336,"tags":337,"thumbUrl":344,"material":32,"size":33,"collection":34,"collections":345,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},255379,"mu-diao-cai-hui-ren-shen-shou-shou-li-xiang-yi-ming-255379","木雕彩绘人身兽首立像","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。",[258,338,339,26,315,340,341,7,342,343],"木雕","彩绘","人身兽首","立像","翅膀","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de97b11e602d8b67a063adf383fbbe.jpg",[],{"id":347,"slug":348,"title":349,"dynasty":283,"author":19,"museum":20,"description":350,"tags":351,"thumbUrl":354,"material":32,"size":33,"collection":34,"collections":355,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},250489,"bai-yu-xiang-shou-gong-yi-ming-250489","白玉象首觥","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[352,72,26,57,7,74,353],"清代","白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84a9aa094f257ff5bdb2fbb8c3b5a6.jpg",[],{"id":357,"slug":358,"title":359,"dynasty":283,"author":19,"museum":20,"description":360,"tags":361,"thumbUrl":364,"material":32,"size":33,"collection":34,"collections":365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},249743,"qia-si-fa-lang-shou-mian-wen-shou-shou-yi-yi-ming-249743","掐丝珐琅兽面纹兽首匜","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[352,362,363,27,7,62,74,45],"掐丝珐琅","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb979f7d26a4d3e8ad6d731b8de709436.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":255,"author":19,"museum":20,"description":370,"tags":371,"thumbUrl":373,"material":32,"size":33,"collection":34,"collections":374,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},245078,"lian-wen-shou-shou-zu-chang-fang-pan-yi-ming-245078","莲纹兽首足长方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[258,45,26,372,7,186],"莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c290784a1265443a9263412589d51fd.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":42,"author":19,"museum":20,"description":21,"tags":379,"thumbUrl":380,"material":32,"size":33,"collection":34,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},245033,"shou-shou-liu-san-zu-yi-yi-ming-245033","兽首流三足匜",[23,62,74,45,26,129,46,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32b752418552f6aeff20a4e97e1e812.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":195,"author":19,"museum":20,"description":246,"tags":386,"thumbUrl":388,"material":32,"size":33,"collection":34,"collections":389,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},244896,"pu-shou-xian-huan-yi-yi-ming-244896","铺首衔环匜",[23,45,26,7,297,387,197],"水器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1efb9b76ac179b2405218cc37005365d.jpg",[],{"id":391,"slug":392,"title":393,"dynasty":195,"author":19,"museum":20,"description":246,"tags":394,"thumbUrl":395,"material":32,"size":33,"collection":34,"collections":396,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},244768,"shou-shou-xian-huan-bing-shao-yi-ming-244768","兽首衔环柄勺",[23,45,74,7,297,26,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb3850f02c5c1c32ca72efc87db465a.jpg",[],{"id":398,"slug":399,"title":400,"dynasty":42,"author":19,"museum":20,"description":21,"tags":401,"thumbUrl":403,"material":32,"size":33,"collection":34,"collections":404,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},244620,"wei-dui-gui-yi-ming-244620","囗兑簋",[23,24,26,7,129,61,137,48,402],"盛食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435ebe34e4962c17683b8e76bb9fb13f.jpg",[],{"id":406,"slug":407,"title":408,"dynasty":42,"author":19,"museum":20,"description":21,"tags":409,"thumbUrl":410,"material":32,"size":33,"collection":34,"collections":411,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},244542,"leng-wen-xu-yi-ming-244542","棱纹盨",[23,120,26,276,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461bad2a799de31b1bce691e048e1794.jpg",[],{"id":413,"slug":414,"title":415,"dynasty":255,"author":19,"museum":20,"description":102,"tags":416,"thumbUrl":418,"material":32,"size":33,"collection":34,"collections":419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},244177,"cuo-yin-ping-yi-ming-244177","错银瓶",[258,45,417,26,7,74],"错银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f250cb10e1883d7e93d97e1bf415428.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":195,"author":19,"museum":20,"description":424,"tags":425,"thumbUrl":428,"material":32,"size":33,"collection":34,"collections":429,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},243995,"xing-wen-jing-yi-ming-243995","星纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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