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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。",[23,88,26,89,207,7,208,92,91,32,209],"荷叶","耳坠","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ea37094d4d049e7f0b7f15a142378f.jpg",[],12,{"id":214,"slug":215,"title":216,"dynasty":18,"author":19,"museum":20,"description":217,"tags":218,"thumbUrl":223,"material":79,"size":80,"collection":36,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":65},229965,"yin-du-jin-qian-cui-yu-zhu-bao-qing-ting-zan-yi-ming-229965","银镀金嵌翠玉珠宝蜻蜓簪","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。",[23,89,219,7,24,220,221,32,222],"翠玉","蜻蜓","昆虫","簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40787ad31774c8f309e307d1c4f9a43f.jpg",[],10,{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":20,"description":230,"tags":231,"thumbUrl":234,"material":79,"size":80,"collection":36,"collections":235,"showCount":236,"zanCount":40,"manualWeight":11,"mainColor":53},241985,"yin-du-jin-dian-cui-qian-zhu-bao-tiao-yi-ming-241985","银镀金点翠嵌珠宝条","点翠蓝釉明丽澄澈，似将晴空裁入钗间，银镀金底托晕出柔润光泽。珊瑚米珠攒作饱满花团，莹白珍珠为蕊，凝着温润珠光，深红碧玺点缀旁侧，撞出灵动鲜亮的色彩层次。\n\n花饰排布错落舒展，两侧点翠纹饰呼应成趣，每一处细节都藏着匠人的精工巧思，将花丝细作与点翠绝技融于一身，尽显华贵雅致，晕开旧时东方首饰独有的温婉绮丽气韵。",[23,88,26,89,32,92,91,7,232,24,233],"翠","工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b81e844cf3d603fbdff3f0d39d168b.jpg",[],9,{"id":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":247,"material":79,"size":80,"collection":36,"collections":248,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":250},241940,"dian-cui-chuan-zhu-hua-yi-ming-241940","点翠穿珠花","此件饰品以点翠晕染出澄澈莹润的碧色，鎏金底托衬着鲜活色泽，华贵雅致。累丝工艺勾勒出花鸟纤巧肌理，细密纹路尽显娴熟功底。再配镶玛瑙、翡翠、珊瑚等各色宝饰，冷暖光泽交织碰撞，更添珠光绮丽。整体造型蜿蜒舒展，取缠枝花鸟之态，翎羽轻俏柔婉，花叶层层叠叠，将旧时闺阁的精致审美藏于毫厘之间，是鬓边一抹灵动风雅的绮丽珍饰，凝着旧朝独有的温婉华贵意趣。",[23,243,244,245,32,246,7,33,104,34],"点翠工艺","穿珠工艺","镶嵌工艺","金质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bac8af6f63275f61bb8ef66f425c667.jpg",[],7,"FFFFFF",{"id":252,"slug":253,"title":254,"dynasty":18,"author":19,"museum":20,"description":70,"tags":255,"thumbUrl":256,"material":79,"size":80,"collection":36,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":250},242013,"yin-du-jin-qian-zhu-bao-zan-yi-ming-242013","银镀金嵌珠宝簪",[18,92,91,7,24,32,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8668aa2d036e108eed064c3dcd93fb4f.jpg",[],6,{"id":260,"slug":261,"title":262,"dynasty":18,"author":19,"museum":20,"description":70,"tags":263,"thumbUrl":265,"material":79,"size":80,"collection":36,"collections":266,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":65},241996,"yin-du-jin-qian-zhu-bao-bian-dou-hu-die-wen-zan-yi-ming-241996","银镀金嵌珠宝扁豆蝴蝶纹簪",[23,89,26,31,32,264,128,7],"扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbd329420876fc25419d9fb4563988.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":18,"author":19,"museum":20,"description":271,"tags":272,"thumbUrl":275,"material":79,"size":80,"collection":36,"collections":276,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":53},241992,"yin-du-jin-qian-zhu-bao-ping-hua-yi-ming-241992","银镀金嵌珠宝瓶花","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。",[23,32,89,24,7,273,274,30,29],"瓶","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbba46250947db69429a4c3931491380b.jpg",[],5,{"id":279,"slug":280,"title":281,"dynasty":18,"author":19,"museum":20,"description":282,"tags":283,"thumbUrl":287,"material":79,"size":80,"collection":36,"collections":288,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":53},241973,"jin-qian-zhu-bao-dian-cui-pan-zhang-shi-er-huan-yi-ming-241973","金嵌珠宝点翠盘长式耳环","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清代妇女也有戴耳坠的风尚。考究者还注意耳坠与服装色彩的搭配。富贵之家的妇女,往往拥有几十付甚至数百付耳坠,根据季节的不同和场合的不同,选择使用。替换方法十分简便,一般不用更换耳环,只要将耳坠连系在耳环上即可。近代妇女曾因反对旧的封建礼教而废止过穿耳。为了使不穿耳的妇女也能用上耳饰,人们发明了一种新的耳坠。这种耳坠的上部,不再做成圆环,而是用金属加工成一种弓型轧头,轧头上制有螺纹,佩戴时只要松开轧头,套入耳垂,然后再将轧头旋紧即可。这种耳坠实物有大量传世。",[23,88,24,91,7,30,284,285,32,104,286],"传统纹样","盘长纹","珠宝工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8fa56b4d9cd472a1c36b9e00ae4227.jpg",[],{"id":290,"slug":291,"title":292,"dynasty":293,"author":294,"museum":20,"description":295,"tags":296,"thumbUrl":314,"material":79,"size":80,"collection":36,"collections":315,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":41},232510,"he-er-bai-yin-169-he-er-bai-yin-232510","荷尔拜因169","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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