推荐|【精品推荐】玉琮

琮（Cóng）是一种内圆外方的筒形玉器，为我国古代重要礼器之一。最早的玉琮见于安徽潜山薛家岗第三期文化，距今约5100年。
Cong (Cong) is a kind of cylindrical jade round inside and outside, and is one of the important sacrificial vessels in ancient China. The earliest jade cong was found in the third culture of Xuejagang buried Mountain in Anhui, about 5,100 years ago.
玉琮是一种内圆外方的筒型玉器，是古代人们用于祭祀神明的一种礼器，距今约5100年。至新石器中晚期，玉琮在江浙一带的良渚文化、广东石峡文化、山西陶寺文化中大量出现，尤以良渚文化的玉琮最发达，出土与传世的数量很多。
Jade cong is a kind of cylindrical jade vessel with an inside circle and an outside, which was used as a sacrificial vessel for the gods in ancient times, about 5,100 years ago. To the middle and late Neolithic period, jade cong appeared in the Liangzhu culture in Jiangsu and Zhejiang, Shixia culture in Guangdong, pottery temple culture in Shanxi, especially the Liangzhu culture of the most developed jade cong, unearthed and handed down a large number of.
玉琮历史文化久远，从现有考古材料分析，这些“外方、内圆、牙身”的典型玉琮，在新石器时代已开始出现。
The jade cong has a long history and culture. From the analysis of existing archaeological materials, the typical jade cong with "external shape, internal circle and tooth body" began to appear in the Neolithic age.
此后，在新石器时代诸文化中都相继发现，主要有大坟口文化、龙山文化、良诸文化、石峡文化、齐家文化和陕西华县客省庄二期文化等。
Since then, there have been many cultures in the Neolithic age, including The Dadenkou culture, Longshan culture, Liangzhu culture, Shixia culture, Qijia culture and the second phase culture of Kejianzhuang in Huaxi County, Shaanxi Province.

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此件玉琮外分四壁，四痕，有对钻圆孔，中有台痕，做工细致，造型完美，尘封多年，玉琮的表面色泽较均匀。此件玉琮的制作工艺完美，器型规整，厚薄均匀，边角端正，轮廓分明。使用了拉丝、管钻、锯切等多种以砂为介质的开料手段。减地浅浮雕手法，满密的阴线刻，精细的器表打磨，独特的纹饰不仅给人神秘的美感，更为我们研究当时文化和宗教提供了重要依据。
The jade cong is divided into four walls, four marks, with holes drilled, stage marks, meticulous workmanship, perfect shape, dusty for many years, the surface color of the jade cong is uniform. This jade cong production process is perfect, regular shape, uniform thickness, regular corners, clear contours. A variety of material opening means with sand as medium were used, such as wire drawing, pipe drilling and saw cutting. Low relief technique, full of Yin line engraving, fine table polishing, and unique ornamentation not only give people a mysterious sense of beauty, but also provide an important basis for us to study the culture and religion of the time.
其实每一件藏品的背后，都尘封着一段段曾经鲜活动人的历史剪影；正如玉琮虽小，但良渚先民却将社会与信仰的重大议题灌注其中，以之昭示着中华文明那源远流长、亘古不变的文化基因——权力。正因为此，虽然与历史玉琮的相逢跨越了五千年的岁月，我们依然能够在凝视它的瞬间，体味到“古即为今”的亲切与启迪。