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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。",[106,107,71,7,108,43],"清代","玉石","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c8d220a3d88f27c63b19ec56161ac5.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":18,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":123,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":50},245947,"yin-kai-guang-xi-zi-shuang-er-ping-yi-ming-245947","银开光喜字双耳瓶","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。",[106,117,71,118,7,119,120,121,122],"银制","开光","双耳","珐琅","金属工艺","器形装饰",[],{"id":125,"slug":126,"title":127,"dynasty":18,"author":19,"museum":20,"description":128,"tags":129,"thumbUrl":134,"material":31,"size":32,"collection":33,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":50},273277,"lan-se-duan-ping-jin-xi-zi-he-bao-shi-huo-lian-yi-ming-273277","蓝色缎平金喜字荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[43,61,27,130,7,131,132,133],"平金绣","荷包式","金饰","铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485136e8b4da052eacfa0766ed7afab.jpg",[],1,{"id":138,"slug":139,"title":140,"dynasty":18,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":147,"material":31,"size":32,"collection":33,"collections":148,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":36},259419,"chang-chun-tong-qing-kuan-hong-di-fen-cai-miao-jin-xi-zi-kai-guang-long-feng-wen-wan-yi-ming-259419","长春同庆款红地粉彩描金“喜”字开光龙凤纹碗","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。",[57,58,143,72,73,7,144,145,61,146],"描金","开光纹饰","碗","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba87a81c2d4b5241907b87a38a10d4f.jpg",[],{"id":150,"slug":151,"title":152,"dynasty":18,"author":19,"museum":20,"description":104,"tags":153,"thumbUrl":157,"material":31,"size":32,"collection":33,"collections":158,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":36},251333,"qing-yu-xi-zi-fu-wen-shou-er-shui-cheng-yi-ming-251333","青玉喜字蝠纹兽耳水丞",[107,71,154,155,7,87,156],"兽","蝠","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a216a842f70e1f99e6940d37b22d9d4.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":18,"author":19,"museum":20,"description":163,"tags":164,"thumbUrl":169,"material":31,"size":32,"collection":33,"collections":170,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":50},249971,"qia-si-fa-lang-xi-zi-zhu-tai-yi-ming-249971","掐丝珐琅喜字烛台","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 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[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。",[57,61,188,205,7,206],"红地","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f40f5db038cf8cec46dec38108792fe.jpg",[],{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":20,"description":203,"tags":213,"thumbUrl":215,"material":31,"size":32,"collection":33,"collections":216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259401,"tong-zhi-kuan-hong-di-miao-jin-chan-zhi-hua-wen-xi-zi-pan-yi-ming-259401","同治款红地描金缠枝花纹“喜”字盘",[57,87,143,26,7,214,61,146],"缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043b5623764c055c3727fbfb1aaf8e54.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":18,"author":19,"museum":20,"description":141,"tags":221,"thumbUrl":224,"material":31,"size":32,"collection":33,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":226},259399,"yan-xi-tong-he-kuan-fan-hong-di-jin-cai-shuang-xi-zi-wan-yi-ming-259399","燕喜同和款矾红地金彩双喜字碗",[57,187,222,188,223,7],"饮酒器","矾红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6629bdf9309f13e45f54323831c0a4b8.jpg",[],"BDBDBD",{"id":228,"slug":229,"title":230,"dynasty":18,"author":19,"museum":20,"description":141,"tags":231,"thumbUrl":232,"material":31,"size":32,"collection":33,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259398,"tong-zhi-kuan-fan-hong-di-miao-jin-xi-zi-wan-yi-ming-259398","同治款矾红地描金“喜”字碗",[57,61,146,143,7,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77246f1cfa5c92084018f4a4bdb4a1f0.jpg",[],{"id":235,"slug":236,"title":230,"dynasty":18,"author":19,"museum":20,"description":141,"tags":237,"thumbUrl":238,"material":31,"size":32,"collection":33,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259397,"tong-zhi-kuan-fan-hong-di-miao-jin-xi-zi-wan-yi-ming-259397",[57,143,7,61,146,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e374c62a76b87f061be048bbf3f92d7.jpg",[],{"id":241,"slug":242,"title":230,"dynasty":18,"author":19,"museum":20,"description":141,"tags":243,"thumbUrl":244,"material":31,"size":32,"collection":33,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259396,"tong-zhi-kuan-fan-hong-di-miao-jin-xi-zi-wan-yi-ming-259396",[57,143,7,145,187,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fc09e4ae75beca99cb2884aaf5e5eb.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":19,"museum":20,"description":141,"tags":250,"thumbUrl":252,"material":31,"size":32,"collection":33,"collections":253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},259390,"tong-zhi-kuan-huang-di-fan-hong-cai-xi-zi-wan-yi-ming-259390","同治款黄地矾红彩“喜”字碗",[57,61,146,251,59,7],"矾红彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db65e41df67e393bdc2c2230dfdc150.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":20,"description":258,"tags":259,"thumbUrl":260,"material":31,"size":32,"collection":33,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},252680,"bai-yu-xi-zi-ling-guan-yi-ming-252680","白玉喜字翎管","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。",[107,71,7,87,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa54379a5faca6d21ec2d76a37c17c3c.jpg",[],{"id":263,"slug":264,"title":257,"dynasty":18,"author":19,"museu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