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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。",[141,26,142,7,25,143,81],"木质","玉石","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7b3af6374f7ed31b30c1b11c613170.jpg",[],2,{"id":148,"slug":149,"title":150,"dynasty":18,"author":19,"museum":20,"description":121,"tags":151,"thumbUrl":154,"material":83,"size":84,"collection":31,"collections":155,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":87},245565,"jin-lei-si-qian-song-shi-zhai-jie-pai-yi-ming-245565","金累丝嵌松石斋戒牌",[23,24,95,152,153,7,26],"累丝工艺","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff131c327a139be45e1131ce31789e8.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":20,"description":75,"tags":160,"thumbUrl":163,"material":83,"size":84,"collection":31,"collections":164,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":87},245498,"jin-qian-song-shi-mei-hua-shi-he-yi-ming-245498","金嵌松石梅花式盒",[23,24,25,7,161,162,29,26,41],"梅花","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f344e7664010ad7aa39da2ec1824c15.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":18,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":173,"material":83,"size":84,"collection":31,"collections":174,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":35},241811,"tong-du-jin-xiang-hong-bao-shi-song-shi-dai-huan-yi-ming-241811","铜镀金镶红宝石松石带环","此饰以花为扣首，淡松石作瓣，簇拥正中艳红主石，冷暖撞色鲜明灵动。铜镀金底托晕出柔润光泽，将宝石牢牢嵌合，花型饱满舒展。下接的带环錾刻纹饰细腻古雅，线条辗转间尽显金工精妙。整体融珠宝镶嵌与錾刻工艺于一体，既有宝石自带的华贵质感，又承载着重工华丽的审美意趣，将异域珠宝的明艳与宫廷金工的精致相融，尽显庄重雅致的华贵气韵。",[171,109,24,25,26,172,7,95],"清代风格","红宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a7dc4ea2a386befdcfb993a65780099.jpg",[],{"id":176,"slug":177,"title":178,"dynasty":18,"author":19,"museum":20,"description":121,"tags":179,"thumbUrl":182,"material":83,"size":84,"collection":31,"collections":183,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":101},224015,"du-jin-xiang-song-shi-zhai-jie-pai-fu-mu-zuo-yi-ming-224015","镀金镶松石斋戒牌（附木座）",[24,25,180,27,95,81,7,181],"篆书","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F587a2163dfd3ea3bff70dcaaa2bcc849.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":18,"author":19,"museum":20,"description":188,"tags":189,"thumbUrl":190,"material":83,"size":84,"collection":31,"collections":191,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":101},223995,"yin-xiang-shan-hu-song-shi-jie-zhi-yi-ming-223995","银镶珊瑚松石戒指","是一种戴套在手指上做纪念或装饰用的小环，用金属、玉石等制成。\n戒指在中国古代多称为“指环”，而“戒指”之名的出现，则是元代的事情。",[18,94,25,96,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd84fb40f94c2dc420b845297f0ca50.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":18,"author":19,"museum":20,"description":196,"tags":197,"thumbUrl":198,"material":83,"size":84,"collection":31,"collections":199,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":101},223994,"yin-xiang-shan-hu-song-shi-guan-ding-yi-ming-223994","银镶珊瑚松石冠顶","古时男子和女子的一种发饰，簪是由笄发展而来的，用来绾定发髻或冠的长针。汉武帝过李夫人，就取玉簪搔头，自此后宫人搔头皆用玉簪。《后汉书·舆服志》有：“黄金龙首衔白珠，鱼须擿，长一尺，为簪珥。”的记载。簪是中国古代发型中最基础的固定和装饰工具。",[23,94,96,7,25,95,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db3ac0d1401fdb8c53bb0ca0512183f.jpg",[],{"id":201,"slug":202,"title":203,"dynasty":18,"author":19,"museum":20,"description":204,"tags":205,"thumbUrl":212,"material":83,"size":84,"collection":31,"collections":213,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":87},261843,"wu-cai-song-shi-shou-lu-ren-wu-tu-tong-shi-ping-yi-ming-261843","五彩松石寿禄人物图筒式瓶","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。",[206,207,59,7,208,209,210,211],"陶瓷","五彩","牡丹","瓶","寿禄","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee40b49f7385f3dfaeb283c6dd4d1a1e.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":18,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":222,"material":83,"size":84,"collection":31,"collections":223,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":87},245566,"jin-lou-hua-qian-song-shi-cui-pian-xiang-nang-yi-ming-245566","金镂花嵌松石翠片香囊","以累丝技法织就金地，柔金丝缕缠出细密温婉的肌理，如意形轮廓圆润雅致。囊面錾刻折枝花卉，松石与翠片错落镶嵌晕染花叶层次，莹润珊瑚珠点缀串绳，金辉与石色冷暖相映，贵而不奢。\n它既是贮香随身的雅器，又是腰间点缀的饰物，将金细工艺的灵秀与雅致审美相融，静静诉说着旧时精巧的随身意趣，尽显传统细金工艺的匠心造诣。",[23,24,77,25,7,220,221,95],"翠片","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38313b5653ef28f5d42aacd53064fa.jpg",[],{"id":225,"slug":226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西汉以后，佩戴臂环之风盛行，臂环的样式很多，有自由伸缩型的，这种臂环可以根据手臂的粗细调节环的大小。",[23,94,25,96,7,292,95,293],"臂钏","嵌饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c1eb14b28cf152aab1584ebed07891.jpg",[],{"id":297,"slug":298,"title":299,"dynasty":18,"author":19,"museum":20,"description":300,"tags":301,"thumbUrl":307,"material":83,"size":84,"collection":31,"collections":308,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},224023,"jin-gang-zi-shu-zhu-1-yi-ming-224023","金刚子数珠-1","是指佛教徒诵经时用来计数的成串的珠子",[23,27,95,302,303,96,7,304,305,306],"数珠","金刚子","金属","织物","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e6cedbb100138ae146c76105f146c48.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":18,"author":313,"museum":54,"description":314,"tags":315,"thumbUrl":322,"material":31,"size":31,"collection":31,"collections":323,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":324},202430,"fang-shu-ming-shan-shui-zhou-wang-jian-202430","仿叔明山水轴","王鑑","此作笔墨苍润沉厚，师法王叔明而自有韵致。层叠山峦间，皴法细密交织，解索皴与牛毛皴互用，山石纹理毕现，草木葱茏间见生机。近景松石挺秀，枝干虬曲；中景山势蜿蜒，路径隐现；远景云雾轻笼，意境悠远。整体章法严谨，气韵浑朴，尽显清初仿古山水之雅致格调，于传统笔墨中藏匠心。",[57,60,58,316,317,318,319,320,321,7,65],"水墨","皴法","仿古","山石","树木","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67651b92cf9f4a94a1761a1fa5d907c0.jpg",[],"977b59",{"id":326,"slug":327,"title":328,"dynasty":18,"author":329,"museum":54,"description":330,"tags":331,"thumbUrl":334,"material":31,"size":31,"collection":31,"collections":335,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":336},202289,"ba-jun-tu-zhou-ren-yu-202289","八骏图轴","任预","数匹骏马聚于绿茵之上，或相互嬉戏，前蹄扬起似亲昵打闹；或静立侧望，神态悠然；或低头啃食青草，姿态闲适。马的造型丰腴矫健，线条勾勒细腻流畅，皮毛晕染层次丰富，尽显柔软质感与肌肉张力。背景松石苍劲，松针以蓝绿设色清新雅致，山石用淡墨皴擦，与青绿草地相映，营造出静谧安逸的自然氛围。整体画风工细灵动，既展现对马的细致观察，又以淡雅设色传递出悠然生机，给人和谐舒畅之感。",[57,61,43,332,333,7,58,65],"马","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b7e579eb3d78786852337f9a1f49c.jpg",[],"beb3a2",{"id":338,"slug":339,"title":340,"dynasty":18,"author":19,"museum":20,"description":341,"tags":342,"thumbUrl":345,"material":83,"size":84,"collection":31,"collections":346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275261,"mu-xiang-yin-zan-hua-wen-qian-song-shi-shan-hu-ma-an-yi-ming-275261","木镶银錾花纹嵌松石珊瑚马鞍","此件马鞍以木为骨，银饰錾刻缠枝细纹，走线灵动婉转，松石与珊瑚错落镶嵌，冷色石质与暖调银饰相映，点亮整器华贵气质。鞍面红绒厚实挺括，贴合马背弧度，兼顾骑乘的舒适度与视觉上的热烈明艳。配套皮条、马镫一应俱全，皮革凝着经年摩挲的温润包浆，带着游牧生活的烟火温度。\n\n它将骑乘的实用性与装饰美学精妙融合，既有游牧器物的利落筋骨，又带着精细繁复的工艺巧思，静静承载着往昔塞上驰骋的岁月余温，是马背文明里兼具日常与审美的匠心之作。",[343,344,94,141,131,26,7,96,81],"马鞍","马具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc1705aca3cb5ae3f58b89b45747adb.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":18,"author":19,"museum":20,"description":351,"tags":352,"thumbUrl":355,"material":83,"size":84,"collection":31,"collections":356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},275078,"tong-qian-song-shi-shan-hu-fa-luo-yi-ming-275078","铜嵌松石珊瑚法螺","温润莹白的法螺为身，凝润如羊脂，是连通天地的神圣法器。铜质包鞘錾刻工艺极尽精巧，盘虬游龙蜿蜒穿梭于祥云之间，瑞兽纹饰错落铺陈，刀锋起落间线条苍劲灵动，勾勒出威严磅礴的气韵。\n\n珊瑚丹朱似火、松石碧翠如茵，嵌缀于铜鞘之上，冷硬金属与明艳宝色相映，撞生出雅致醒目的美感。它将礼器的肃穆神性与手工装饰的柔美匠心相融，静静承载着彼时的信仰温度与藏地匠人的独到巧思。",[27,353,109,26,25,354,7,96,81],"法器","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e2b35935b7eabaa85ced9dbebf57f1.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":18,"author":19,"museum":20,"description":361,"tags":362,"thumbUrl":365,"material":83,"size":84,"collection":31,"collections":366,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},274839,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-chang-yi-ming-274839","铜镀金嵌松石云顶八宝-肠","此器以铜镀金为骨镶嵌松石，华贵里兼具清润灵气。顶部金佛首下，鎏金圆环环绕松石盘肠，回环往复的纹样寓意福寿连绵无尽。莲台承托主体，鎏金勾勒莲瓣棱线，松石莹润色泽与金彩明丽交相辉映，层次分明舒展。下部卷草纹与莲座呼应藏地造像制式，和整体庄严气质相融。整器将松石的澄澈隽秀与金饰的华贵辉煌完美结合，藏式佛供制式与清代造办工艺相融，尽显祈福器物的典雅大气，暗藏福寿绵长的美好祈愿。",[27,24,109,25,7,363,364,81],"八宝","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa901b569eb440db028f86c9b1ebdff.jpg",[],{"id":368,"slug":369,"title":370,"dynasty":18,"author":19,"museum":20,"description":371,"tags":372,"thumbUrl":375,"material":83,"size":84,"collection":31,"collections":376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},274838,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-yu-yi-ming-274838","铜镀金嵌松石云顶八宝-鱼","这件供器以铜镀金为骨，嵌松石为饰，色调清贵交融。双鱼造型饱满灵动，偎依于莲台之上，暗含吉庆有余的美好祈愿。环周饰钉仿若星子缀绕，将双鱼衬得愈发醒目。器身分层雕饰层层递进，莲瓣舒展柔润，鎏金缠枝线条婉转华丽，松石的澄澈冷润中和了金饰的雍容灼目，尽显细作的华贵精巧，在庄严的器物形制里，融着极致的匠人巧思，静穆中透着祥瑞之气，是神性与匠心交织的精美之作。",[27,363,24,109,25,26,373,374,7,95],"鱼","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7dbf1f6501162594309ca78639b75f.jpg",[],{"id":378,"slug":379,"title":380,"dynasty":18,"author":19,"museum":20,"description":381,"tags":382,"thumbUrl":385,"material":83,"size":84,"collection":31,"collections":386,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},274084,"tong-du-jin-qian-song-shi-la-qian-yi-ming-274084","铜镀金嵌松石蜡扦","整体造型层叠有致，端庄华贵。通体铜镀金为地，满錾细密鳞纹烘托装饰主题，嵌松石搭配珐琅彩饰，冷暖色调相映成趣。\n\n自上而下，回纹、缠枝莲、兽面纹样次第铺陈，纹饰繁而不乱，錾刻细腻入微，将庄重的礼制意趣与柔美的装饰美感相融。器物兼具实用陈设双重价值，尽显工艺巅峰时期的极致考究，华丽张扬又不失沉稳大气，把民族装饰美学与精工凝练于一身，是金属细作的典范之作。",[109,24,383,81,384,364,26,25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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[26,427,428,7,429],"竹质","仕女","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d821280abe69d14581a71f4a2ae93.jpg",[],{"id":433,"slug":434,"title":435,"dynasty":18,"author":19,"museum":20,"description":436,"tags":437,"thumbUrl":440,"material":83,"size":84,"collection":31,"collections":441,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},269797,"xi-jiao-diao-song-shi-tu-bei-yi-ming-269797","犀角雕松石图杯","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。",[26,438,439,7,81],"饮酒器","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06908a6d7470f59ff634658bf95ac5a9.jpg",[],{"id":443,"slug":444,"title":445,"dynasty":18,"author":19,"museum":20,"description":446,"tags":447,"thumbUrl":453,"material":83,"size":84,"collection":31,"collections":454,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},260887,"fen-cai-song-shi-lao-ren-tu-wan-yi-ming-260887","粉彩松石老人图碗","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。",[206,448,384,59,7,449,450,451,452],"粉彩","祥云","寿星","童子","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3dd750725d0587a4849ca898aa055a9.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":18,"author":19,"museum":20,"description":459,"tags":460,"thumbUrl":462,"material":83,"size":84,"collection":31,"collections":463,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},245523,"jin-lei-si-qian-song-shi-tan-cheng-yi-ming-245523","金累丝嵌松石坛城","累丝工艺织就层叠梵宇，鎏金光泽晕开华贵庄重的气韵。楼宇重檐错落，如同将须弥净土凝缩于方寸之间，每一缕金丝都细密勾勒出佛刹的森严法度。周身嵌缀松石，幽碧冷色撞破金辉暖芒，晕开雪域灵韵。底座缠枝纹蜿蜒盘绕，稳稳承托这一方佛国天地。\n\n它将藏地信仰融于细金神技，把缥缈极乐化作可触的供奉重器，以登峰造极的工艺，藏着信徒对圣域的极致向往，尽显清时金工巅峰水准。",[27,24,81,461,25,7],"金累丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8c3f9ae69ffaf9f0efa55bcf278171.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":18,"author":19,"museum":20,"description":402,"tags":468,"thumbUrl":469,"material":83,"size":84,"collection":31,"collections":470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},245489,"jin-qian-song-shi-qiao-niu-jiao-bing-xiao-dao-yi-ming-245489","金嵌松石鞘牛角柄小刀",[24,7,407,25,81,384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c953e9c4db1642ce3d01a664f2630ad.jpg",[],{"id":472,"slug":473,"title":474,"dynasty":18,"author":19,"museum":20,"description":475,"tags":476,"thumbUrl":477,"material":83,"size":84,"collection":31,"collections":478,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},245362,"jin-qian-song-shi-man-da-yi-ming-245362","金嵌松石满达","此器以黄金为骨，攒花錾刻工艺尽显精湛。盖面中心法轮高耸，环镶珊瑚、松石与青金石，撞色明丽和谐。缠枝宝相花萦绕周身，柔婉枝蔓将各色珍宝玉石托举，疏密相宜层次分明。\n\n器身通身錾刻缠枝莲纹，藏文梵字点缀其间，线条婉转灵动，繁而不紊。将雪域密宗的祈福意涵与宫廷金作的极致工巧相融，严丝合缝的镶嵌、饱满细腻的錾刻，处处流露庄重典雅的宗教器物美学，亦是清代多族工艺融会的绝佳缩影。",[23,27,81,24,25,7,97,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da7a661672ab195dfd4cc306ddf71d9.jpg",[],{"id":480,"slug":481,"title":237,"dynasty":18,"author":19,"museum":20,"description":482,"tags":483,"thumbUrl":484,"material":83,"size":84,"collection":31,"collections":485,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},241708,"song-shi-chao-zhu-yi-ming-241708","主链由绿松石串制而成，颗颗饱满匀净，色泽澄澈如深谷幽潭，自带清润灵秀之气。朱红玛瑙作为佛头与隔珠，冷暖色调交织碰撞，让整体视觉层次分明，沉稳中透出明艳张力。\n\n珊瑚串就的小坠角搭配翠玉、青金石小饰，雅致精巧。鎏金錾花背云纹样规整华丽，下悬的青金石坠饰沉稳古朴，呼应整体气韵。\n\n整组器物制式严整，将礼制规制与工艺巧思相融，既有松石自带的清雅文气，又尽显仪典所需的端方华贵，藏着旧时手工艺人的极致匠心。",[23,95,364,142,7,96,26,25,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2371597fc912b648fd52b56d9e2ddb92.jpg",[],{"id":487,"slug":488,"title":7,"dynasty":250,"author":19,"museum":20,"description":489,"tags":490,"thumbUrl":491,"material":83,"size":84,"collection":31,"collections":492,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},230717,"song-shi-yi-ming-230717","凝腻苍绿的石体间，墨色铁线如蛛网交错，晕开岁月浸蚀的痕迹。随形取意雕琢为蛰伏的灵蛙，轮廓憨朴圆润，仅以细微钻孔点睛，便将蛙的灵动憨态尽数勾勒，不见刻意斧凿的痕迹，尽显天工与巧思的相融。\n\n石表晕出几处乳白石色，如同被时光摩挲出的温润包浆，带着沉静古朴的气韵，仿佛携带着山野间的清润灵气，虽不事繁复修饰，却自有浑然天成的拙趣，静静诉说着自然造物与匠心的温柔契合。",[26,142,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a76e588e02b504390812c40e8d68d9.jpg",[],{"id":494,"s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问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 从此，戴耳坠也就传到了民间。",[23,94,96,7,25,95,80,520,241,521],"宝石镶嵌","耳饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb339a9f40ab022ca0991ed968fce3bda.jpg",[],{"id":525,"slug":526,"title":527,"dynasty":18,"author":19,"museum":20,"description":528,"tags":529,"thumbUrl":532,"material":83,"size":84,"collection":31,"collections":533,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},229936,"jin-xiang-song-shi-lun-yi-ming-229936","金镶松石轮","此件法器以纯金打制而成，通体錾刻缠枝卷草纹，灵动舒展环绕法轮主体。法轮内饰排布规整有序，中心与外缘镶嵌松石与玛瑙，宝光内敛，明暗相映，尽显华贵庄严。\n\n基座为铁铸莲台，斑驳古拙的冷硬质感，恰好衬出金轮的明丽温润，藏地工艺的雄浑与精巧在此相融。法轮作为佛法传承的象征，在贵金属与宝饰的加持下，更具静穆神圣的宗教张力，是雪域精工与精神信仰的绝佳载体，尽显造器工艺的审美意趣与精神内核。",[23,24,153,7,27,29,97,520,530,531],"佛教元素","清代工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488b54320201ceca889d97d0619e0761.jpg",[],{"id":535,"slug":536,"title":537,"dynasty":18,"author":19,"museum":20,"description":538,"tags":539,"thumbUrl":541,"material":83,"size":84,"collection":31,"collections":542,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},229583,"qing-qian-song-shi-zhen-zhu-mao-yi-ming-229583","清嵌松石珍珠帽","清代男子的官帽，有礼帽、便帽之别。礼帽俗称“大帽子”，其制有二式：一为冬天所戴，名为暖帽；一为夏天所戴，名为凉帽。便帽，也称“小帽子”以六瓣合缝，缀檐如筒；俗称瓜皮帽。创自明太祖洪武年间，取其六合一统之意。这种小帽形式很多，有平顶、尖顶、硬胎软胎之别。平顶大多为硬胎，内衬棉花；尖顶大多为软胎，取其便利。等级不同，帽子不同。",[23,540,25,7,500,95,81],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8dac6c8b0417fa188748710d433b91.jpg",[],{"id":544,"slug":545,"title":546,"dynasty":18,"author":19,"museum":20,"description":92,"tags":547,"thumbUrl":548,"material":83,"size":84,"collection":31,"collections":549,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},229410,"yin-xiang-shan-hu-song-shi-zhuo-1-yi-ming-229410","银镶珊瑚松石镯-1",[94,95,25,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc10d694d039e7aec92007059456b52e.jpg",[],{"id":551,"slug":552,"title":553,"dynasty":18,"author":19,"museum":20,"description":554,"tags":555,"thumbUrl":559,"material":83,"size":84,"collection":31,"collections":560,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},229408,"yin-du-jin-xiang-song-shi-man-da-yi-ming-229408","银镀金镶松石满达","通体鎏金明丽华贵，松石苍润点缀其间，二者相映成趣。盖面仿坛城形制，层层松石垒起肃穆法界，环绕宝相花饰，方寸间尽显精巧构思。器身以缠枝莲纹托举八吉祥，累丝工艺勾勒柔婉线条，饱满灵动的纹样藏着吉庆祈愿。\n\n整体圆浑端庄，金工细腻精湛，冷调松石中和鎏金的张扬，更添圣洁静雅。将藏地工艺巧思与佛教美学相融，把虔诚信仰凝于器物之中，尽显匠心底色。",[23,24,94,153,7,27,29,556,557,558],"镀金","金属镶嵌","镶石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526f023e9e22a53232c54efb90c6ced.jpg",[],{"id":562,"slug":563,"title":564,"dynasty":18,"author":19,"museum":20,"description":565,"tags":566,"thumbUrl":567,"material":83,"size":84,"collection":31,"collections":568,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},229407,"yin-du-shan-hu-song-shi-nie-zi-yi-ming-229407","银镀珊瑚松石镊子","这一件随身妆具以银镀为底，素净沉稳的基底之上，以明艳珊瑚与苍润松石撞色点缀，让日常器用染上华贵质感。镊子身形简约挺括，开合转轴处嵌一颗浑圆珊瑚，色泽暖亮；头部錾刻缠枝纹为托，承起一颗松石圆珠，周遭环绕片片珊瑚饰片，藏地审美意韵浓厚。\n\n搭配绦绳悬系珊瑚坠珠，旧绢系带留存题字，晕开旧时光的温润质感。它将实用性与装饰性揉为一体，把寻常妆具化作精巧佩饰，质朴银材与明丽珠玉相映，尽显别致匠心，藏着旧时使用者的雅致日常。",[94,95,384,81,96,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc075e2f8703f30e07788a8dd2e17a4.jpg",[],{"id":570,"slug":571,"title":572,"dynasty":18,"author":19,"museum":20,"description":573,"tags":574,"thumbUrl":576,"material":83,"size":84,"collection":31,"collections":577,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},229309,"qian-song-lv-shi-shan-hu-mi-zhu-chui-gua-yi-ming-229309","嵌松绿石珊瑚米珠垂挂","这件垂挂以细密米珠铺就主体，层叠垂坠间漾出柔婉韵律。朱红珊瑚珠成簇排布，似焰色跃动，松绿石条温润沉静，二者撞色鲜明，是对天地自然之色的撷取偏爱。\n\n编缀工艺精巧入微，满铺米珠尽显手工堆叠的细腻质感，珊瑚与松石规整点缀，让整体疏密得当，繁而不杂。将天然珠石的朴拙质感与匠心工艺相融，带着民族配饰独有的热烈华贵，藏着旧时手工造物里的温柔心意。",[23,95,231,96,7,510,25,575],"垂挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808083695252d13c8a804186c01cd313.jpg",[],{"id":579,"slug":580,"title":581,"dynasty":18,"author":19,"museum":20,"description":188,"tags":582,"thumbUrl":583,"material":83,"size":84,"collection":31,"collections":584,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},229300,"qian-long-yin-qian-shan-hu-song-shi-jie-zhi-8-yi-ming-229300","乾隆 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