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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。",[153,154,155,7,156,157,70,158],"盆景","玉石","兰花","白玉","海棠盆","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fabf090413018a95b1dba91bde65e24.jpg",[],4,{"id":163,"slug":164,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":165,"thumbUrl":166,"material":46,"size":47,"collection":30,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":34},242132,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242132",[7,42,43,144,28,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac41ae93bb17c3b939b764f8daa238c2.jpg",[],3,{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":176,"material":46,"size":47,"collection":30,"collections":177,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":63},229404,"tong-du-jin-lei-si-qian-zhen-zhu-hua-shi-mao-hua-yi-ming-229404","铜镀金累丝嵌珍珠花式帽花","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。",[18,56,57,7,28,175],"花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd375da41430f96b45525e21c24cfcb20.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":18,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":188,"material":46,"size":47,"collection":30,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":34},270491,"tong-du-jin-qian-yu-shi-bo-li-hai-tang-shi-pen-yu-shi-song-shu-pen-jing-yi-ming-270491","铜镀金嵌玉石玻璃海棠式盆玉石松树盆景","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。",[153,184,154,7,185,158,186,187],"松树","珐琅器","海棠式盆","玉石雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F645231127b84e654eaac26b779fcf8eb.jpg",[],2,{"id":192,"slug":193,"title":194,"dynasty":18,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":198,"material":46,"size":47,"collection":30,"collections":199,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":63},270063,"tong-du-jin-pen-hong-shan-hu-pen-jing-yi-ming-270063","铜镀金盆红珊瑚盆景","这盆盆景以深海红珊瑚为主体，朱红莹润的色泽如同凝住的云霞，虬曲舒展的枝桠天然摹写出古木苍劲的姿态，将深海灵韵搬至案头，自带山海间的清奇野趣。\n\n铜镀金盆身錾刻细密卷草纹，开光处珐琅设色晕染雅致，湖石花木意趣悠然，人工巧思贴合天然造物，将精工华贵与清雅意致相融。静立之间尽显旧日案头清供的雍容雅致，是天工与匠心碰撞出的上乘佳器。",[153,197,7,185,158],"红珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961e2393df258ab67a51b315fcd3ff34.jpg",[],{"id":201,"slug":202,"title":203,"dynasty":18,"author":19,"museum":20,"description":204,"tags":205,"thumbUrl":208,"material":46,"size":47,"collection":30,"collections":209,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":34},268923,"tong-du-jin-qian-shi-er-zhui-yi-ming-268923","铜镀金嵌石耳坠","耳坠指耳饰的一种，指带有下垂饰物的耳饰（耳环）。有时耳坠等同于耳环，又称耳坠子，是耳朵饰品的代称。耳坠又指耳垂，是属于耳朵结构的一部分，位于耳朵的下半部，比较肥厚的那部分。在最传统的命理学说法中，耳坠的厚与薄代表一个人的命运。\n古时候，人们讲究“耳大如轮，眼大有神”，注重以貌取人，认为耳垂小了是没有福气的象征。但是人一出世，天生的小耳垂，又有啥办法弥补呢？传说，只有戴上耳坠。才能把耳轮拉长。因此，妇女都喜欢戴一副耳坠。 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。",[28,7,206,207],"嵌石","耳坠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edb2f39ae69ed33de1f2e1e2a4a3cc7.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":18,"author":19,"museum":20,"description":214,"tags":215,"thumbUrl":219,"material":46,"size":47,"collection":30,"collections":220,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":63},274190,"tong-du-jin-fan-she-wang-yuan-jing-yi-ming-274190","铜镀金反射望远镜","在清代，望远镜有“千里镜”、“千里眼”、“窥筒”、“窥远镜”等多种称呼。宫廷中的望远镜多由西方传教士进献。此外，也有各地官员以及皇亲国戚、王公大臣们的进贡。由于其制作奇巧，实用效果极好，多位帝王都对其产生了极大兴趣。\n清宫收藏的望远镜还有配套使用的显微镜。显微镜既可配望远镜之目镜，又可单独使用。有学者认为，望远镜将显微镜作为必备附件，在康熙御制的绘图仪器中也能见到显微镜，说明康熙皇帝十分喜欢这种光学仪器。\n西方人进献望远镜在乾隆朝达到高潮。清宫内务府档案中曾记载一段有关进献望远镜的趣事。乾隆三十七年(1773)，意大利画家潘廷璋和一位法国钟表专家经人引荐，向乾隆皇帝进献了一架新式望远镜，“其长一尺，可抵旧法一二丈余”。皇帝十分喜欢，不但对进献的两人热情赏赐，对于推荐者也大加赞赏，称其“办理西洋人所进之物甚好”。",[23,7,216,217,218],"望远镜","天文仪器","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe741396662d16ade11142b219700543a.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":18,"author":19,"museum":20,"description":225,"tags":226,"thumbUrl":230,"material":46,"size":47,"collection":30,"collections":231,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":232},274164,"tong-du-jin-san-chen-gong-gui-yi-yi-ming-274164","铜镀金三辰公晷仪","这件器物融天文测算与工艺美学于一体，铜镀金环圈莹润光洁，以分毫精度承载星象测算的精密功能，纤细垂线是校准时刻、定位三辰的核心构件。鎏金支架弯转灵动，卷草纹饰点缀其间，华贵雅致。红木底座雕刻极尽巧思，瑞兽纹饰古朴威严，层叠浮雕尽显传统工艺的厚重质感，让冰冷的天文仪器浸染中式雅韵，是清代东西方科技与美学交融的典范，既是实用观星仪器，亦是极具价值的艺术珍品，尽显彼时手工技艺的巅峰水准。",[227,7,228,70,217,229],"仪器","木质","晷仪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c830398b3860b3e2077dc73d8da704.jpg",[],"FFFFFF",{"id":234,"slug":235,"title":236,"dynasty":18,"author":19,"museum":20,"description":237,"tags":238,"thumbUrl":243,"material":46,"size":47,"collection":30,"collections":244,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":245},273230,"jia-dai-mao-bao-tong-du-jin-qiao-dao-yi-ming-273230","假玳瑁包铜镀金鞘刀","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[239,240,241,7,70,242],"兵器","刀具","仿玳瑁","象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5558c9f39dd9e97cd167f924810ec9cd.jpg",[],"F48FB1",{"id":247,"slug":248,"title":249,"dynasty":18,"author":19,"museum":20,"description":237,"tags":250,"thumbUrl":256,"material":46,"size":47,"collection":30,"collections":257,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":90},273194,"xi-jiao-qian-yin-si-bao-tong-du-jin-qian-liao-bao-shi-niu-jiao-bing-qiao-dao-yi-ming-273194","犀角嵌银丝包铜镀金嵌料宝石牛角柄鞘刀",[239,251,252,253,254,255,7,70],"刀","犀角","牛角","嵌宝石","嵌银丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79874c2e53eed1090c1d2a3781490bc.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":18,"author":19,"museum":20,"description":173,"tags":262,"thumbUrl":265,"material":46,"size":47,"collection":30,"collections":266,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":90},268975,"tong-du-jin-dian-cui-qian-zhu-shi-mao-tiao-yi-ming-268975","铜镀金点翠嵌珠石帽条",[28,7,42,263,264,124],"嵌珠石","帽饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F800cfea9f2b8d00f38963db1c806de10.jpg",[],{"id":268,"slug":269,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":270,"thumbUrl":271,"material":46,"size":47,"collection":30,"collections":272,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":34},242135,"tong-du-jin-dian-cui-qian-zhu-bao-shuang-xi-wen-dian-hua-yi-ming-242135",[41,28,23,24,7,42,43,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d5651567e8deb72e4475722b2809cf8.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":18,"author":19,"museum":20,"description":277,"tags":278,"thumbUrl":283,"material":46,"size":47,"collection":30,"collections":284,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},281497,"tong-du-jin-shou-er-san-zu-jia-shi-bei-yi-ming-281497","铜镀金兽耳三足架石杯","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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