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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。",[18,24,43,44,7,45,46],"剔红","锦纹","雕刻","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6ae430d0fc1fe2a65cd0d4bc1592c.jpg",[],1,"795548",{"id":52,"slug":53,"title":54,"dynasty":18,"author":19,"museum":20,"description":21,"tags":55,"thumbUrl":59,"material":31,"size":32,"collection":33,"collections":60,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},248496,"qian-long-kuan-zi-qi-miao-jin-chan-zhi-lian-wen-yun-tou-shi-he-yi-ming-248496","乾隆款紫漆描金缠枝莲纹云头式盒",[23,24,56,57,7,58,29],"描金","缠枝莲纹","紫漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18c19701bc8aed3e9ad1381cd412f39.jpg",[],{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":21,"tags":65,"thumbUrl":67,"material":31,"size":32,"collection":33,"collections":68,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},248298,"ti-hong-chan-zhi-lian-wen-yun-tou-shi-he-yi-ming-248298","剔红缠枝莲纹云头式盒",[18,24,43,45,57,7,66],"盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff38687ca61b7d9703f91fa26036dafd2.jpg",[],{"id":70,"slug":71,"title":64,"dynasty":18,"author":19,"museum":20,"description":21,"tags":72,"thumbUrl":74,"material":31,"size":32,"collection":33,"collections":75,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},248293,"ti-hong-chan-zhi-lian-wen-yun-tou-shi-he-yi-ming-248293",[24,43,45,57,7,29,73],"设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a58576076713ad18657c27d9809a3b.jpg",[],{"id":77,"slug":78,"title":64,"dynasty":18,"author":19,"museum":20,"description":21,"tags":79,"thumbUrl":80,"material":31,"size":32,"collection":33,"collections":81,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},248291,"ti-hong-chan-zhi-lian-wen-yun-tou-shi-he-yi-ming-248291",[23,24,43,57,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff279c1ca0597153eab3d95ad739d2a06.jpg",[],"37474F",{"id":84,"slug":85,"title":86,"dynasty":18,"author":19,"museum":20,"description":21,"tags":87,"thumbUrl":90,"material":31,"size":32,"collection":33,"collections":91,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},248272,"ti-hong-shan-shui-ren-wu-tu-yun-tou-shi-he-yi-ming-248272","剔红山水人物图云头式盒",[18,24,43,45,88,89,7],"山水","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a0f63d1fa55e4bc69cb401f063c936.jpg",[],{"id":93,"slug":94,"title":95,"dynasty":18,"author":19,"museum":20,"description":21,"tags":96,"thumbUrl":98,"material":31,"size":32,"collection":33,"collections":99,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},248227,"ti-hong-ba-bao-wen-yun-tou-shi-he-yi-ming-248227","剔红八宝纹云头式盒",[23,24,43,45,97,7,29],"八宝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007273494d71564bd667a3346dad1d5.jpg",[],{"id":101,"slug":102,"title":95,"dynasty":18,"author":19,"museum":20,"description":21,"tags":103,"thumbUrl":104,"material":31,"size":32,"collection":33,"collections":105,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},248225,"ti-hong-ba-bao-wen-yun-tou-shi-he-yi-ming-248225",[18,24,43,45,97,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0e429088949747aef5cbcd48f643c.jpg",[],{"id":107,"slug":108,"title":95,"dynasty":18,"author":19,"museum":20,"description":21,"tags":109,"thumbUrl":110,"material":31,"size":32,"collection":33,"collections":111,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":112},248222,"ti-hong-ba-bao-wen-yun-tou-shi-he-yi-ming-248222",[23,24,43,45,97,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4bbb4cb332e49606b413cbfaba5810.jpg",[],"F48FB1",{"id":114,"slug":115,"title":116,"dynasty":18,"author":19,"museum":20,"description":117,"tags":118,"thumbUrl":121,"material":31,"size":32,"collection":33,"collections":122,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},247825,"ti-hong-jin-wen-qian-yu-yun-tou-shi-he-yi-ming-247825","剔红锦纹嵌玉云头式盒","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。",[23,24,43,119,45,44,7,120,29],"嵌玉","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce627bf2d1d6defb63ded9073d4e594.jpg",[],{"id":124,"slug":125,"title":126,"dynasty":18,"author":19,"museum":20,"description":41,"tags":127,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":50},246744,"ti-hong-jin-wen-yun-tou-shi-pan-yi-ming-246744","剔红锦纹云头式盘",[23,24,43,45,44,7],[],1777535730922]