[{"data":1,"prerenderedAt":378},["ShallowReactive",2],{"subject-shui-qin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},984,"shui-qin","水禽","水禽画高清赏析","精选中国历代水禽题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc904872753af96b1a968add470997ec.jpg",0,25,[14,43,65,93,111,135,149,160,179,194,204,220,228,241,252,263,275,286,298,311,322,333,344,357,367],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":12,"manualWeight":11,"mainColor":42},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","元","任仁发","上海博物馆","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,25,26,27,28,7,29,30,31,32,33,34,35],"高清","国画","工笔","设色","花鸟","飞鸟","鸭子","孤石","菊花","树枝","花叶","水波","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg","绢本,设色","","花鸟画精选",[39],1515,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":61,"material":38,"size":38,"collection":39,"collections":62,"showCount":63,"zanCount":64,"manualWeight":11,"mainColor":42},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","宋","佚名","藏地不详","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,52,24,53,54,26,25,55,56,57,58,7,59,28,60],"名画","书画","立轴","宋代","荷花","荷叶","莲","鹭","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[39],334,7,{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":87,"material":88,"size":89,"collection":39,"collections":90,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":42},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","清","沈铨","私人收藏","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,52,24,53,74,25,26,28,27,75,76,56,77,78,79,80,81,82,83,84,85,7,86],"长卷","树木","山石","仙鹤","禽鸟","花卉","柳树","松树","草地","溪流","岩石","孔雀","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","绢本设色","45cm*1600cm",[39,91],"设色画精选",166,{"id":94,"slug":95,"title":96,"dynasty":69,"author":97,"museum":49,"description":98,"tags":99,"thumbUrl":104,"material":105,"size":106,"collection":38,"collections":107,"showCount":108,"zanCount":109,"manualWeight":11,"mainColor":110},239439,"hua-niao-ce-yun-shou-ping-239439","花鸟册","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,52,100,101,26,27,102,103,7],"册","没骨","荷","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e30a442cbdb53613fd8222a1bae4f.jpg","未知","Xcm*Xcm",[],145,1,"BDBDBD",{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":129,"material":37,"size":130,"collection":39,"collections":131,"showCount":133,"zanCount":134,"manualWeight":11,"mainColor":42},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","五代十国","黄筌","大英博物馆","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,24,52,53,25,26,54,120,7,28,121,122,123,124,125,76,126,78,127,128],"枯木","白鹅","水面","岸边","老树","枯枝","水泊","水畔","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[39,132],"山水画精选",123,2,{"id":136,"slug":137,"title":138,"dynasty":18,"author":48,"museum":139,"description":140,"tags":141,"thumbUrl":144,"material":37,"size":145,"collection":39,"collections":146,"showCount":147,"zanCount":148,"manualWeight":11,"mainColor":42},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","台北故宫博物院","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[52,24,53,54,25,88,27,142,29,7,79,143],"芙蓉","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[39],108,3,{"id":150,"slug":151,"title":152,"dynasty":115,"author":153,"museum":49,"description":154,"tags":155,"thumbUrl":157,"material":105,"size":106,"collection":38,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":42},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,24,54,156,26,25,56,7,60,102],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],75,{"id":161,"slug":162,"title":163,"dynasty":164,"author":165,"museum":71,"description":166,"tags":167,"thumbUrl":174,"material":37,"size":175,"collection":39,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":178},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","明","林良","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[24,156,168,169,170,128,125,7,30,171,172,173],"水墨","兼工带写","雪景","竹丛","清寂","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","142.5x55.5cm",[39],73,"37474F",{"id":180,"slug":181,"title":182,"dynasty":164,"author":183,"museum":139,"description":184,"tags":185,"thumbUrl":190,"material":37,"size":191,"collection":39,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":42},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","吕纪","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,52,24,25,26,27,7,186,79,187,188,189],"芦苇","明月","水域","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[39],64,{"id":195,"slug":196,"title":197,"dynasty":47,"author":48,"museum":49,"description":198,"tags":199,"thumbUrl":201,"material":38,"size":38,"collection":38,"collections":202,"showCount":203,"zanCount":109,"manualWeight":11,"mainColor":42},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,52,24,53,54,25,26,102,56,57,7,200],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],63,{"id":205,"slug":206,"title":207,"dynasty":164,"author":48,"museum":49,"description":208,"tags":209,"thumbUrl":215,"material":216,"size":217,"collection":38,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":110},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,53,26,25,27,56,57,210,28,7,75,211,79,78,212,213,214],"天鹅","翎毛","草木","设色花鸟","工笔花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","绢本","80x60cm",[],50,{"id":221,"slug":222,"title":223,"dynasty":115,"author":153,"museum":49,"description":154,"tags":224,"thumbUrl":225,"material":105,"size":106,"collection":38,"collections":226,"showCount":227,"zanCount":109,"manualWeight":11,"mainColor":42},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一",[23,24,27,54,25,26,56,102,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],48,{"id":229,"slug":230,"title":231,"dynasty":47,"author":48,"museum":49,"description":232,"tags":233,"thumbUrl":238,"material":38,"size":38,"collection":38,"collections":239,"showCount":240,"zanCount":109,"manualWeight":11,"mainColor":110},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,52,24,53,234,25,26,27,7,235,236,237],"册页","红蓼","枝叶","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],40,{"id":242,"slug":243,"title":244,"dynasty":164,"author":165,"museum":49,"description":245,"tags":246,"thumbUrl":249,"material":105,"size":106,"collection":38,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":42},287384,"qiu-shui-fu-yi-tu-zhou-lin-liang-287384","秋水凫鹥图轴","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具。\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。",[23,24,52,54,27,168,7,247,248],"芦草","秋水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59dbd576c61cce6c8b19156b821e455.jpg",[],39,{"id":253,"slug":254,"title":255,"dynasty":47,"author":256,"museum":139,"description":257,"tags":258,"thumbUrl":259,"material":37,"size":260,"collection":38,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":42},291008,"lu-hua-xi-ai-zhou-cui-bai-291008","芦花羲爱轴","崔白","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,54,25,26,27,247,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0191d4d8e7bb53ba568fcc7ac04ece8.jpg","141.2x86.3",[],33,{"id":264,"slug":265,"title":266,"dynasty":115,"author":267,"museum":49,"description":268,"tags":269,"thumbUrl":273,"material":105,"size":106,"collection":38,"collections":274,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":42},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,52,24,53,74,25,26,27,270,7,28,103,79,84,271,272,237],"鹌鹑","水草","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":47,"author":279,"museum":49,"description":280,"tags":281,"thumbUrl":283,"material":38,"size":38,"collection":38,"collections":284,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":42},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","赵佶","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,24,53,74,25,26,27,7,271,32,282],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],24,{"id":287,"slug":288,"title":289,"dynasty":47,"author":290,"museum":49,"description":291,"tags":292,"thumbUrl":295,"material":105,"size":106,"collection":38,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":42},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","赵士雷","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,52,24,74,53,26,293,27,28,7,294,30,75,271,237,272],"山水","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],23,{"id":299,"slug":300,"title":301,"dynasty":47,"author":48,"museum":139,"description":302,"tags":303,"thumbUrl":306,"material":37,"size":307,"collection":308,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":42},290373,"qiu-he-ye-fu-tu-zhou-yi-ming-290373","秋荷野凫图轴","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭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边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,53,100,168,26,27,186,7,329,237,364],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4defada3724d2fab19f1ad58d8391680.jpg",[],{"id":368,"slug":369,"title":370,"dynasty":69,"author":48,"museum":49,"description":371,"tags":372,"thumbUrl":376,"material":105,"size":106,"collection":38,"collections":377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":110},229652,"shui-qin-mu-gai-yu-ding-yi-ming-229652","水禽木盖玉顶","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。 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。",[373,374,375,352,353,7],"清代","木质","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F540616ee59fb92ea55a66e5129c15885.jpg",[],1777535717271]