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顾永骏和田玉籽摆件《鸣琴鹤舞》 
顾永骏和田玉籽料《满堂和气》山籽 作品获2009年中国玉石雕“百花奖”金奖。作品以花鸟题材来表现主题，改变了传统山子雕多以“山水人物、文学故事”为题材的状况，开辟了一种全新的表现样式。作品大胆选取局部场景营造满堂的和气，画面主体为一扇圆形的窗户，透过窗户，则是室内的花瓶和盛开的花朵，香气四溢，安静和谐，左边半掩的窗户和随风飘动的帘幕则起到了很好的装饰效果，既保持了玉料的重量，又增加了作品的层次，展示了玉质的美，设计可谓别出心裁。主体四周装饰荷花、香草、翠竹、仙鹤、灵芝云，为最作品增添了灵动的元素，也体现了静室主人的高雅、静谧，奠定了作品风格的高致。 
顾永骏和田玉籽《兰亭雅集》山籽 中国工艺美术大师顾永骏这件《兰亭雅集》玉雕山子作品反映的是东晋王羲之兰亭会文的雅事。作品构图巧妙，富有诗情画意，作品中人物众多，神态各异，又彼此呼应，随着酒杯在水中行走，文人们则诗酒唱和，意境优雅。作品中人物衣纹线条流畅、树木刻画苍劲挺拔，花草滕曼妖娆婉转，在疏密、块面的对比中体现出作者高超的布局能力和娴熟的工艺手法，给人以可观、可游、可玩的审美体验。
顾永骏和田玉籽《兰亭雅集》山籽 中国工艺美术大师顾永骏这件《兰亭雅集》玉雕山子作品反映的是东晋王羲之兰亭会文的雅事。作品构图巧妙，富有诗情画意，作品中人物众多，神态各异，又彼此呼应，随着酒杯在水中行走，文人们则诗酒唱和，意境优雅。作品中人物衣纹线条流畅、树木刻画苍劲挺拔，花草滕曼妖娆婉转，在疏密、块面的对比中体现出作者高超的布局能力和娴熟的工艺手法，给人以可观、可游、可玩的审美体验。
顾永骏和田玉籽摆件《貂蝉拜月》
顾永骏和田玉籽《仙人饮鹤》摆件
顾永骏和田玉籽《瑶台步月》
顾永骏翡翠《仙舟琴韵》摆件
顾永骏和田玉籽《醉翁亭记》摆件
顾永骏和田玉籽《放鹤图》摆件
顾永骏和田玉籽《瑶台步月》摆件
顾永骏和田玉籽《赏菊图》
顾永骏和田玉籽料《寿酒》山子 和田玉籽《寿酒》以花鸟来表现祝寿题材，主体画面为一张高浮雕的圆桌，上面摆放了寿桃、葡萄、不倒翁寿翁、酒壶、酒杯，虽不见寿星，却洋溢着喜庆想和的气氛。 画面上方点缀翠竹，左侧上方则以芭蕉叶装饰，寓意祝寿。芭蕉叶的处理则吸取玉牌的处理手法，整片的芭蕉叶被撕成条状，随风卷起，令作品活泼起来。
顾永骏青海白玉摆件《仕女》
顾永骏和田玉《仕女图》
顾永骏，我国著名玉坛泰斗，原故宫博物院副院长杨伯达先生曾对扬州玉器赞不绝口，他说，“扬州山籽雕冠绝天下。”也正是山籽雕，为扬州玉器赢得了最广泛的声誉。然而，自从晚清以来，由于历史剧变，曾经鼎盛于康乾时代的山籽雕不幸失传，时间跨越两百年，直到上世纪七十年代末，扬州玉器界才开始着手恢复这项技艺。
当时，顾永骏大师便是攻关组主要成员之一，并在此后的几年内，成为玉器界公认的“山籽雕第一人”顾永骏出身艺术世家。父亲顾伯奎是1950年江苏省首批誉聘的扬州三位画师之一，早年号“九举（峰）居士”，晚年用“片石斋老人”，其作品俊逸洒脱。受父亲影响，顾永骏在玉器创作中，借鉴中国画的表现手法，在玉雕创作杂糅中国画的构图、线条，自成一体。其作品也被外界评价为“书卷之气，大家之气”。1986年由他设计创作的大型碧玉山籽雕《聚珍图》，由已故中国佛教协会会长赵朴初欣然为之题字“妙聚他山”，该作品气魄雄伟而宏大，首次展出便在北京、香港等地引起轰动，香港报纸更称这件碧玉山“是继中国清代乾隆年间制成的大型玉器《大禹治水图》之后二百年来仅见的玉器珍品，它充分反映了中国玉石雕刻技艺的新水平”。目前《聚珍图》并被中国工艺美术博物馆作为国家珍品收藏。1993年顾永骏被中国轻工总会授予“中国工艺美术大师”称号，此后多次担任中国工艺美术大师评审评委。1999年，建国50周年前夕设计雕刻完成《文成公主入藏图》。2000年以后，其设计创作完成大型白玉山子雕《潮音洞》、《汉柏图》、翡翠山子雕《竹林七贤》，在前人的基础上，顾永骏经过不断创新，终于让失传200年的山籽雕重现当世，被誉为中国“山籽雕”第一人。2006年，顾永骏被文化部授予“国家非物质文化遗产玉雕传承人”称号。不仅如此，其子顾铭子承父业，从事玉器创作近20年，不仅作品频获大奖，自己还经营一家玉器厂，并获得扬州市工艺美术大师称号，成为扬州玉器界少壮派代表性人物。另外，在顾永骏众多的弟子中，薛春梅已经同师傅一样，成为中国工艺美术大师， “师徒父子皆大师”，也成为扬州玉雕历史上的一段佳话。
Gu Yongjun, a famous jade champion in China, and Mr. Yang Boda, the former vice president of the Palace Museum, once praised Yangzhou jade. He said, "Yangzhou mountain has the best seed carving crown in the world." It is Shanzi carving that has won the most extensive reputation for Yangzhou jade. However, since the late Qing Dynasty, due to historical upheaval, the Shanzi carving, which once flourished in the KangQian era, has been lost unfortunately. It took more than 200 years until the end of the 1970s, when Yangzhou jade industry began to recover this technique.At that time, master Gu Yongjun was one of the main members of the research team, and in the next few years, he became the recognized "first person of mountain seed carving" in the jade industryGu Yongjun was born into an art family. Gu bokui, his father, was one of the first three famous painters in Yangzhou in 1950. In his early years, Gu bokui was named as "nine Jue (peak) resident" and in his later years, he used "pianshizhai old man". His works are elegant and free.Influenced by his father, Gu Yongjun used the expression techniques of Chinese painting for reference in the creation of jade ware, and created a mixture of composition and lines of Chinese painting in jade carving. His works are also evaluated by the outside world as "the spirit of volume, the spirit of everyone".In 1986, he designed and created a large-scale jade Hill seed sculpture, the collection of treasures. Zhao Puchu, the late chairman of the Chinese Buddhist Association, wrote the inscription "wonderful collection of other mountains". The work is magnificent and grand. It was first exhibited in Beijing, Hong Kong and other places, causing a sensation. Hong Kong newspapers also called the jade hill "after the large-scale jade vessel" Dayu water control map "made in the Qianlong period of the Qing Dynasty The only precious jade in 200 years fully reflects the new level of Chinese jade carving skills.At present, juzhentu has been collected as a national treasure by China Arts and Crafts Museum.Gu Yongjun was awarded the title of "master of Chinese arts and crafts" by China Light Industry Association in 1993, and has been the judge of master of Chinese arts and crafts for many times since then.In 1999, before the 50th anniversary of the founding of the people's Republic of China, Princess Wencheng entered Tibet.After 2000, his design and creation completed large-scale white jade mountain sculpture chaoyindong, Han Baitu and emerald mountain sculpture Zhulin Qixian. On the basis of his predecessors, Gu Yongjun, through continuous innovation, finally made the lost 200 year mountain seed sculpture reappear in the world, which is known as the first person of "mountain seed sculpture" in China.In 2006, Gu Yongjun was awarded the title of "inheritor of national intangible cultural heritage jade carving" by the Ministry of culture.Not only that, his son Gu Mingzi inherited his father's career and engaged in jade creation for nearly 20 years. He not only won awards frequently, but also ran a jade factory and won the title of Yangzhou arts and Crafts Master, becoming a representative figure of young people in Yangzhou jade industry.In addition, among Gu Yongjun's many disciples, Xue Chunmei, like his master, has become a master of Chinese arts and crafts, "master, apprentice, fa
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