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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。",[82,85,26,25,7],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c279dc52bb285c25f0c97495a7675f.jpg",[],1,{"id":90,"slug":91,"title":92,"dynasty":82,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":97,"material":29,"size":30,"collection":31,"collections":98,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":34},252470,"bai-yu-wo-jiu-yi-ming-252470","白玉卧鸠","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。",[82,85,25,95,7,96],"鸟","白玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10680e3102c4b06b4ee59fe3bd9d6ed4.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":20,"description":83,"tags":104,"thumbUrl":110,"material":29,"size":30,"collection":31,"collections":111,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":34},251675,"qing-yu-qi-lin-xian-rui-wo-niu-yi-ming-251675","青玉麒麟献瑞卧牛","清",[105,85,106,25,26,107,108,109,7],"清代","青玉","牛","麒麟","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff232a8a86319db2f11ee9acbf58b7a7e.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":116,"author":19,"museum":20,"description":83,"tags":117,"thumbUrl":130,"material":29,"size":30,"collection":31,"collections":131,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":34},228157,"yu-ma-yi-ming-228157","玉马","元",[85,25,118,26,119,120,121,7,122,123,124,125,126,127,128,72,129],"马","元代","圆雕","玉质","动物题材","元代风格","玉雕工艺","神兽","畜兽","玉器","立体雕刻","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8b30f4118cf8864253c06a5eb9ab94.jpg",[],{"id":133,"slug":134,"title":135,"dynasty":136,"author":19,"museum":20,"description":137,"tags":138,"thumbUrl":141,"material":29,"size":30,"collection":31,"collections":142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},255872,"shi-wo-shi-yi-ming-255872","石卧狮","唐","蹙眉阔口，鬃毛垂拂，虽作伏卧之姿，却筋骨棱嶒，锐气暗涌。匠师以简率古拙的刀工，借由朴石材理，将瑞兽威严凝于粗粝石面。静穆姿态下暗藏凛然气势，褪去繁饰，以极简刻痕勾勒出雄狮悍勇庄重的神采，尽显大唐雄浑厚重的审美意趣，把瑞兽的威仪与沉静完美糅合，粗粝石痕里沉淀着岁月厚重，静默间自带着慑人气魄。",[139,24,25,26,140,7],"唐代","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb992f29bb3f6437291a24ff617650db1.jpg",[],{"id":144,"slug":145,"title":146,"dynasty":39,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":151,"material":29,"size":30,"collection":31,"collections":152,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255773,"bai-you-ci-wo-ying-yi-ming-255773","白釉瓷卧婴","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[39,43,149,46,150,7],"白釉","婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4f9bfbd69584d709c7567910d5c004.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":39,"author":19,"museum":20,"description":40,"tags":157,"thumbUrl":159,"material":29,"size":30,"collection":48,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255628,"shi-wan-yao-qing-you-wo-ren-xiang-yi-ming-255628","石湾窑青釉卧人像",[39,43,158,46,7,44],"青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69276badf0166d9435228e02be15ac7b.jpg",[48],{"id":162,"slug":163,"title":164,"dynasty":136,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":168,"material":29,"size":30,"collection":31,"collections":169,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},253519,"qing-you-wo-gou-yi-ming-253519","青釉卧狗","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。”",[136,43,158,26,167,7],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407a09282a2e8c82be6336a558e370e.jpg",[],{"id":171,"slug":172,"title":38,"dynasty":39,"author":19,"museum":20,"description":40,"tags":173,"thumbUrl":174,"material":29,"size":30,"collection":48,"collections":175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},253380,"shi-wan-yao-huang-you-wo-ren-xiang-yi-ming-253380",[42,43,45,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435814b735bf9515d5832bd7e6bdb015.jpg",[48],{"id":177,"slug":178,"title":179,"dynasty":103,"author":19,"museum":20,"description":93,"tags":180,"thumbUrl":182,"material":29,"size":30,"collection":31,"collections":183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},251797,"bai-yu-wo-zi-xi-niu-yi-ming-251797","白玉卧姿犀牛",[103,85,25,26,181,7],"犀牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227ed4850c893f671253c571fb13d1db.jpg",[],{"id":185,"slug":186,"title":187,"dynasty":188,"author":19,"museum":20,"description":83,"tags":189,"thumbUrl":192,"material":29,"size":30,"collection":31,"collections":193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},251259,"qing-yu-wo-yi-shou-yi-ming-251259","青玉卧异兽","明",[190,85,25,26,191,7],"明代","异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f844a977d1aaced6e96e060fe6f012e.jpg",[],{"id":195,"slug":196,"title":197,"dynasty":103,"author":19,"museum":20,"description":198,"tags":199,"thumbUrl":205,"material":29,"size":30,"collection":31,"collections":206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},243334,"wo-nv-chang-fang-xing-si-zu-zuo-yi-ming-243334","卧女长方形四足座","木底座是属于园艺工艺品一种，就是红木、檀木、花梨木制成的底座，通称为木底座。随着现在人们生活水平的提高和艺术审美的加强，各种工艺品收藏的火爆也让木底座这种搜藏渐渐走入我们的生活中，让我们的生活中每个角落里都有了美丽和艺术的氛围。木底座主要用来摆放工艺品和奇石等。",[59,25,46,200,7,201,202,203,204],"美人","长方形","四足座","云纹","月牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce55394233c3f3b1c379a2403d3b214f.jpg",[],1777535724427]