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北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39],"高清","国画","书画","设色","工笔","人物","松","石","梅","器物","庭院","孩童","文人","桌案","古玩","平台","花木","绢本,设色","","宋画精选",[42,44],"人物画精选",164,3,"795548",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":61,"material":62,"size":63,"collection":41,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":67},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古","明","仇英","北京故宫博物院","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,25,27,26,28,57,58,34,59,33,7,60],"竹","器","侍女","品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[],152,1,"BDBDBD",{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":73,"description":74,"tags":75,"thumbUrl":86,"material":41,"size":41,"collection":87,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":47},243491,"hui-wen-duo-yi-ming-243491","虺纹铎","周","藏地不详","它身姿挺括修长，旋部鼓凸带着古朴的张力，钟体乳钉齐整如列阵，间以虺纹盘虬萦绕，细密纹路缠绕出上古的诡谲神秘。苍绿铜锈如时光滋长出的苔痕，晕染在器身，将千年摩挲的痕迹凝于一身。\n\n合瓦形腔体藏着古早乐律的精巧构思，昔年清越的金石之声，曾伴着庙堂雅乐震颤，将礼制的庄重融在鸣响中。如今缄默立于此，把上古礼乐文明的余韵，封存在斑驳铜色里。",[76,77,78,79,80,81,82,83,84,85,7],"周代","青铜器","乐器","礼器","铜制","铸造","雕刻","纹饰","虺纹","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164856fc3d3047109cbcf362f6ba7180.jpg","青铜器精选",[87],11,{"id":91,"slug":92,"title":93,"dynasty":94,"author":19,"museum":73,"description":95,"tags":96,"thumbUrl":101,"material":41,"size":41,"collection":87,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":47},242990,"ge-he-yi-ming-242990","戈盉","商","袋足分裆饱满，四足高挑撑举器身，长流斜出挺括，兽首鋬手勾连器身与盖，浑朴厚重又兼具灵动之势。盖面与颈腹的兽面纹饰线条古拙狞厉，带着独有的威严肃穆之气。青绿色锈迹覆裹周身，凝萃着千年岁月痕迹，将祭祀重器的庄重质感拉满，既是用以挹酒注酒的实用礼器，又尽显上古青铜铸造的精湛匠心，承载着狞厉古朴的殷商青铜美学底蕴。",[77,82,83,97,98,79,99,32,7,100],"商代","酒器","青铜","青铜纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141f46c50016f4f941a275401a17b51b.jpg",[87],10,{"id":105,"slug":106,"title":107,"dynasty":94,"author":19,"museum":73,"description":108,"tags":109,"thumbUrl":113,"material":114,"size":115,"collection":41,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":118},226749,"ya-qin-fu-yi-zun-yi-ming-226749","亚禽父乙尊","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[77,80,82,79,110,111,97,7,112,83],"饮酒器","兽纹","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83aa96daff8ea8c60dadb4adaca1a3e.jpg","未知","Xcm*Xcm",[],5,"37474F",{"id":120,"slug":121,"title":122,"dynasty":72,"author":19,"museum":73,"description":108,"tags":123,"thumbUrl":129,"material":114,"size":115,"collection":41,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":47},244074,"yun-lei-wen-jing-yi-ming-244074","云雷纹镜",[77,80,82,124,76,83,125,7,126,127,128],"云雷纹","青铜镜","传统工艺","雷纹","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde74e318f6fb804f4959485c0257b5f2.jpg",[],4,{"id":133,"slug":134,"title":135,"dynasty":94,"author":19,"museum":73,"description":108,"tags":136,"thumbUrl":139,"material":114,"size":115,"collection":41,"collections":140,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},243308,"shou-mian-wen-yi-yi-ming-243308","兽面纹彝",[77,97,80,82,137,138,79,111,7],"兽面纹","乳钉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b949e9b4254e40095053d202e97253.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":94,"author":19,"museum":73,"description":108,"tags":145,"thumbUrl":151,"material":114,"size":115,"collection":41,"collections":152,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},242726,"wei-ding-yi-ming-242726","囗鼎",[77,97,146,79,82,58,137,83,80,7,147,148,149,150],"饪食器","商代风格","青铜铸造","三足器","双耳器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5486f7b0018b8764a0f4bf89ba24dccf.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":94,"author":19,"museum":73,"description":108,"tags":157,"thumbUrl":159,"material":114,"size":115,"collection":41,"collections":160,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":118},242719,"tian-ding-yi-ming-242719","天鼎",[77,80,82,79,158,83,97,7],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafba649c4d962220cf2e9c8babd1e7d.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":165,"author":19,"museum":73,"description":166,"tags":167,"thumbUrl":174,"material":114,"size":115,"collection":41,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":118},252763,"tao-luo-tuo-yi-ming-252763","陶骆驼","唐","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[165,168,169,158,170,171,172,173,7],"陶瓷","俑","陶塑","唐代风格","动物造型","陶制器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb625188f8c3d01de96a5a7246dd52ec3.jpg",[],2,{"id":178,"slug":179,"title":180,"dynasty":94,"author":19,"museum":73,"description":181,"tags":182,"thumbUrl":186,"material":114,"size":115,"collection":41,"collections":187,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":118},250475,"yu-niao-yi-ming-250475","玉鸟","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。",[183,82,184,58,185,7],"玉石","鸟","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bf0911286fddf44bef8dc357663061.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":94,"author":19,"museum":73,"description":108,"tags":192,"thumbUrl":198,"material":114,"size":115,"collection":41,"collections":199,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":118},244940,"kui-wen-jue-yi-ming-244940","夔纹爵",[77,80,82,193,110,97,194,195,196,197,83,7,112],"夔纹","三足","两柱","流口","鋬手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63747fd25404f8e8799302f703b282e.jpg",[],{"id":201,"slug":202,"title":203,"dynasty":72,"author":19,"museum":73,"description":108,"tags":204,"thumbUrl":209,"material":114,"size":115,"collection":41,"collections":210,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":47},243819,"si-shan-wen-jing-yi-ming-243819","四山纹镜",[77,80,82,81,205,206,207,208,7],"周代风格","几何纹样","圆形器物","纹饰繁复","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e83f6ae7f79b844725ca825a8aaa1f3.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":18,"author":19,"museum":73,"description":215,"tags":216,"thumbUrl":223,"material":114,"size":115,"collection":41,"collections":224,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":67},231448,"ding-xing-wan-yi-ming-231448","鼎形碗","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。",[217,168,58,218,219,220,7,126,221,222],"宋代","单色釉","瓷器","釉色","宋瓷","釉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0960f0d3efc1545063f71bdcd53834e8.jpg",[],{"id":226,"slug":227,"title":228,"dynasty":229,"author":19,"museum":73,"description":230,"tags":231,"thumbUrl":242,"material":114,"size":115,"collection":41,"collections":243,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":47},226944,"xian-wen-xi-yi-ming-226944","弦纹洗","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[77,80,232,194,233,234,235,236,149,7,237,85,238,239,240,241],"弦纹","日用器","汉代","装饰纹","盥洗用具","汉代器物","铜器","弦纹装饰","三足结构","实用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527e3f0b93c0d510ed3ec55daf34f1d.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":94,"author":19,"museum":73,"description":108,"tags":248,"thumbUrl":249,"material":114,"size":115,"collection":41,"collections":250,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":47},226773,"wan-ya-xing-wen-gu-yi-ming-226773","晚亚形文觚",[77,97,80,82,79,110,83,137,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512891357ff7c596f64808a884bc1a72.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":229,"author":19,"museum":73,"description":181,"tags":255,"thumbUrl":259,"material":114,"size":115,"collection":41,"collections":260,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":118},252525,"yu-chan-yi-ming-252525","玉蝉",[234,183,82,256,257,258,7,112],"蝉","玉器","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc996bc91b9a0ce616b7a96b761f2a5fd.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":94,"author":19,"museum":73,"description":108,"tags":265,"thumbUrl":266,"material":114,"size":115,"collection":41,"collections":267,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":118},244864,"wei-gu-yi-ming-244864","囗觚",[77,79,110,80,82,83,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc833e03ccc8ce5d6da4ef26c2faf88be.jpg",[],{"id":269,"slug":270,"tit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