玉墜是可垂掛在服飾上，也可作為單體佩戴的玉飾。玉墜的體積較小，雕琢精美，小巧可愛。唐代詩人元稹曾有詩云：“金埋無土色，玉墜無瓦聲。”玉墜的造型多利用體積較小的子玉圓雕而成，其形式簡練集中、琢工簡潔明快、風格簡約粗獷。
Jade pendants can be hung on clothes, and can also be used as single jade ornaments. The jade pendant is small in size, exquisitely carved, small and lovely. Yuan Zhen, a poet of Tang Dynasty, once wrote, "there is no earth color in gold burial, and no sound in jade falling." The shape of the jade pendant is mostly made of the smaller sub jade round carving, which is concise and concentrated in form, simple and bright in carving, simple and rough in style.
【藏品名稱】：明代玉墜
[collection name]: Ming Dynasty Jade Pendant
【規格】：重：168g 尺寸以實物為準
[Specification]: weight: 168g size subject to the actual object
交易方式：拍賣
Transaction mode: Auction
價格詳情咨詢我部
Consult our department for price details
明代中晚期的萬歷年間出現了資本主義萌芽，對當時的經濟發展尤其是商品經濟的發展起到了推動作用，豐富了人民的市場選擇，活躍了市場，推動了生產力，還在一定程度上推動了玉器行業的發展。
In the middle and late Ming Dynasty, capitalism sprouted in Wanli period, which promoted the economic development, especially the development of commodity economy, enriched the market choice of the people, activated the market, promoted the productivity, and also promoted the development of jade industry to a certain extent.
明代玉雕的繁榮超過宋、遼、金元，無論在造型、種類和工藝上都有進步，這些進步為中國玉器發展的另一個高峰——清代玉器的繁榮作了充分的準備。
The prosperity of jade carving in Ming Dynasty is more than that in song, Liao, Jin and Yuan Dynasties. No matter in shape, type and craft, there are progress. These progress make full preparation for the prosperity of jade carving in Qing Dynasty, another peak of the development of Chinese jade.
明代玉器的玉材主要使用質地細膩溫潤的和田玉，宋應星《天工開物》記載了當時運玉材的盛況“凡玉由彼纏頭面，或溯河舟，或駕駝，經浪入嘉峪，而至甘州與肅州，至則互市得興，車入中華，卸萃燕京。玉工辨璞，高下定價，而后琢之”。
The jade materials of Ming Dynasty mainly used Hetian jade with fine and warm texture. Song Yingxing's "Tiangong Kaiwu" recorded the grand occasion of transporting jade materials at that time. "Every jade is bound by its head, or traced to a river or a boat, or driven by a camel, through the waves into Jiayu, to Ganzhou and Suzhou, to exchange markets, to enter China, and to unload Yanjing. Jade works are divided into two parts, one is fixed price, the other is cut.
明代玉器繼承了宋代和元代的藝術/工藝特點，造型粗獷，多以日常生活為題材，胎體較厚，鏤雕用法廣泛，平面雕兩層花，俗稱“花上壓花”。裝飾線條剛勁利落，棱角分明，不拘小節。明代社會的特點是國家始終處在內亂頻頻，內憂外患之中。但是承襲兩宋特別是南宋以來商業貿易的飛速發展，明代的商業非常發達，民間也因此變得富裕。明代玉器的發展變化也是與社會的變化相關聯的，從總體上看，明代玉器漸趨脫離五代兩宋玉器形神兼備的藝術傳統，形成了追求精雕細琢裝飾美的藝術風格。明代的皇家用玉都由御用監監制，而民間觀玉、賞玉之風盛行，在經濟、文化發達的大城市中都開有玉肆，最著名的碾玉中心是蘇州。同時，古玩商界為適應收藏、玩賞古玉器的社會風氣，還大量制造了古色古香的偽贗古玉器。我們現今還能見到大量這一時期仿制的“古玉”，甚至連清代的乾隆皇帝也曾經被明代仿古玉欺騙。在現存古代玉器中，明代玉器占有重要地位，但其作品多為傳世品，與唐至元代作品、清代作品混行于世，不易區別。本文據明代玉器的考古發掘、傳世玉器的排比及明代工藝品的相互影響進行分析，對明代玉器的分期、同材及制造工藝、品種、類別、紋飾、仿古情況及特點得出明確認識、總結出規律，對了解時代玉器的源起、制造和使用、識別傳世作品是非常有益的。
Ming Jade inherits the artistic / technological features of song and Yuan Dynasties. It has a rough shape and is mainly based on daily life. It has a thick carcass and is widely used in carving. It has two-layer flat carving, commonly known as "embossing on flowers". The decorative lines are vigorous and sharp, with clear edges and corners, and not limited to small sections. The social characteristic of Ming Dynasty is that the country is always in the situation of frequent internal strife and internal and external troubles. However, following the rapid development of commercial trade since the Song Dynasty, especially since the Southern Song Dynasty, the commerce of Ming Dynasty was very developed, and the people became rich. The development and change of jade in Ming Dynasty is also related to the change of society. Generally speaking, the jade in Ming Dynasty gradually deviated from the artistic tradition of both shapes and spirits of jade in Five Dynasties and two Song Dynasties, and formed the artistic style of pursuing exquisite decoration beauty. In Ming Dynasty, the imperial jade capital was supervised by the imperial supervisor, while the folk custom of watching and appreciating jade prevailed. There were jade shops in big cities with developed economy and culture. Suzhou was the most famous jade grinding center. At the same time, in order to adapt to the social atmosphere of collecting and appreciating ancient jades, antique business has also made a large number of fake and antique jades. We can still see a lot of imitated "ancient jade" in this period. Even the Emperor Qianlong of Qing Dynasty was cheated by the imitated jade of Ming Dynasty. Among the existing ancient jades, the jade of Ming Dynasty plays an important role, but most of their works are handed down, which are not easy to distinguish from those of Tang, yuan and Qing Dynasties. Based on the analysis of the archaeological excavation of jade in Ming Dynasty, the arrangement of handed down jade and the mutual influence of Ming Dynasty crafts, this paper makes a clear understanding of the stages, the same materials, the manufacturing process, varieties, categories, patterns, archaize conditions and characteristics of Ming Dynasty jade and sums up the rules, which is very useful to understand the origin, manufacture and use of the jade and identify handed down works.
收藏是一種文化，收藏是一種閱讀，收藏是一種財富，收藏是一種幸福。明朝張岱曾說：人無癖不可與交，以其無深情也；人無疵不可與交，以其無真氣也。愛古玩者皆是有癖之人，對器物和器物背后的文化一往情深。藝術收藏品是華夏文明的縮影，是中華民族歷史文化的栽體，它以數量廣泛和自身獨具的魅力詮釋著特定的歷史文化。對古玩文物藝術品的收藏和鑒賞不僅可以使人漫步于悠久燦爛的歷史文明之中，而且還能使人在陶冶情操、增長知識的同時，取得可觀的經濟效益。
Collection is a kind of culture, reading, wealth and happiness. Zhang Dai of the Ming Dynasty once said: people can't make friends without addiction, because they have no deep feelings; people can't make friends without faults, because they have no real Qi. Those who love antiques are all addicts, who have deep love for the artifacts and the culture behind them. Art collection is the epitome of Chinese civilization and the plant of Chinese history and culture. It interprets specific history and culture with a wide range of quantities and its own unique charm. The collection and appreciation of antiques, cultural relics and works of art can not only make people walk in a long and splendid historical civilization, but also make people cultivate their sentiment and increase their knowledge, and obtain considerable economic benefits.
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