从而解决了一大批散存在国内外传世的红山文化玉器的年代问题。
So as to solve a large number of existing domestic and international bulk of the Hongshan Culture Jade handed down the age issue.
因此我们说，由于这一特殊原因，散失民间的红山文化玉器已远远超过考古所发现数量。
Thus exact quantity of Hongshan Culture jade existing is significant for both collection and research.
红山文化玉器中动物造型风格质朴而豪放，表现手法中的圆雕、浮雕、透雕、两面雕、线刻等以日臻成孰。
Hongshan Culture Jade in the simple and bold animal styling, performance techniques in full relief, relief, openwork, two eagles, line engravings by becoming more and more into what.
第三阶段(1971年- 1977年)通过发掘确立了小河沿文化，通过红山文化玉龙的发现和墓葬发掘，辨识出红山文化玉器。
In the third stage (1971-1977), Xiaoheyan culture was confirmed by excavation and jades of Hongshan culture was recognized by finding jade dragon and excavating tombs.
要知道，在如此广阔的红山文化分布区域，在每天都接触土地的无数农民人群中，您不可能准确推算出红山文化玉器的真实存世数量。
Their Hongshan-Culture jade collection is not more than dozens too. It's impossible to calculate the exact existing because jade objects picked up by local farms are beyond the number.
红山文化涌现出的玉器群，多数以鸟兽形为主体。
Hongshan culture jade groups have emerged, most with birds and beasts as the main body.
一些龙、鹰、鸮、蝉和云形珮等是红山文化主体玉器的表现内容，也是泛红山文化黑皮玉雕的重要表现内容。
Dragon, eagle, owl, cicada, and cloud-shaped Pei are subject matters of jade wares of Hongshan culture, and they are also the major subject matter of black-shell jade.
一些龙、鹰、鸮、蝉和云形珮等是红山文化主体玉器的表现内容，也是泛红山文化黑皮玉雕的重要表现内容。
Dragon, eagle, owl, cicada, and cloud-shaped Pei are subject matters of jade wares of Hongshan culture, and they are also the major subject matter of black-shell jade.
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