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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,24,25,26,27,28,7,29,30,31,32,33,34,35,36],"壁画","宗教","设色","佛像","人物","装饰图案","花纹边框","传统纹样","连续造像","图案装饰","色彩装饰","宗教形象","造像群","纹样组合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac18271bb005bee4242c71c4670c0b0.jpg","未知","Xcm*Xcm","人物画精选",[40],223,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":19,"museum":20,"description":21,"tags":49,"thumbUrl":52,"material":38,"size":39,"collection":53,"collections":54,"showCount":55,"zanCount":56,"manualWeight":11,"mainColor":57},226402,"ku-zhu-shi-zao-jing-yi-ming-226402","窟主室藻井","唐",[23,24,25,50,51,7],"花卉","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bda2d4520f30335b9744716dc3d4576.jpg","",[],157,2,"37474F",{"id":59,"slug":60,"title":61,"dynasty":48,"author":19,"museum":20,"description":21,"tags":62,"thumbUrl":73,"material":38,"size":39,"collection":53,"collections":74,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":43},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披",[23,24,25,63,64,27,65,66,67,68,69,7,70,28,71,72],"工笔","唐代","飞天","神兽","飞鸟","祥云","建筑","瑞兽","线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],46,1,{"id":78,"slug":79,"title":47,"dynasty":48,"author":19,"museum":20,"description":21,"tags":80,"thumbUrl":85,"material":38,"size":39,"collection":53,"collections":86,"showCount":87,"zanCount":76,"manualWeight":11,"mainColor":43},226318,"ku-zhu-shi-zao-jing-yi-ming-226318",[23,24,25,7,51,64,81,82,83,33,84],"装饰画","同心圆图案","菱形纹样","图案化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb805fcf6723b8907879d368c1b090a0.jpg",[],28,{"id":89,"slug":90,"title":91,"dynasty":48,"author":19,"museum":20,"description":21,"tags":92,"thumbUrl":97,"material":38,"size":39,"collection":53,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":43},226500,"ku-yong-dao-bei-pi-yi-ming-226500","窟甬道北披",[23,25,93,94,7,95,51,96],"装饰纹样","植物纹样","宝相花","条纹装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cb1ca399c4788839de5eb5c3c01546.jpg",[],18,{"id":101,"slug":102,"title":91,"dynasty":48,"author":19,"museum":20,"description":21,"tags":103,"thumbUrl":105,"material":38,"size":39,"collection":53,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":43},226293,"ku-yong-dao-bei-pi-yi-ming-226293",[23,24,25,27,7,104],"花卉纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71c2f6fa0c65d4a03ce1730977ee417.jpg",[],12,{"id":109,"slug":110,"title":47,"dynasty":48,"author":19,"museum":20,"description":21,"tags":111,"thumbUrl":114,"material":38,"size":39,"collection":53,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":43},226364,"ku-zhu-shi-zao-jing-yi-ming-226364",[23,24,112,25,7,51,113,28],"界画","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0660c6f66172b362b912d03388ad3c.jpg",[],10,{"id":118,"slug":119,"title":120,"dynasty":121,"author":19,"museum":122,"description":123,"tags":124,"thumbUrl":128,"material":38,"size":39,"collection":53,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":43},267650,"cai-se-she-pi-wen-jin-yi-ming-267650","彩色蛇皮纹锦","清","藏地不详","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[125,126,127,7,25],"布料","织锦","蛇皮纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057699068588993b579a3ef7e6c2cbb6.jpg",[],9,{"id":132,"slug":133,"title":134,"dynasty":135,"author":19,"museum":122,"description":123,"tags":136,"thumbUrl":139,"material":38,"size":39,"collection":53,"collections":140,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":43},263667,"hong-se-di-fang-qi-duo-hua-si-he-ru-yi-wen-tian-hua-jin-yi-ming-263667","红色地方棋朵花四合如意纹天华锦","明",[125,126,137,138,25,104,7],"四合如意纹","棋朵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d9ee8389f5d9ac4fcc04a0c5ce91ba4.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":48,"author":19,"museum":20,"description":21,"tags":145,"thumbUrl":152,"material":38,"size":39,"collection":53,"collections":153,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":43},226502,"ku-yong-dao-nan-pi-yi-ming-226502","窟甬道南披",[64,23,25,146,147,148,7,149,150,151],"装饰风格","纹样","花卉图案","线条勾勒","对称构图","平涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c1a67a1e2590ac9f420352e5f78125.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":48,"author":19,"museum":20,"description":21,"tags":158,"thumbUrl":161,"material":38,"size":39,"collection":53,"collections":162,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":57},226331,"ku-zhu-shi-ping-qi-ding-ping-qi-ding-yi-ming-226331","窟主室平棋顶平棋顶",[23,25,159,28,7,24,160],"雕刻","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff5c0b66220f1f068679cad4da69f58.jpg",[],{"id":164,"slug":165,"title":144,"dynasty":48,"author":19,"museum":20,"description":21,"tags":166,"thumbUrl":167,"material":38,"size":39,"collection":53,"collections":168,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":43},226295,"ku-yong-dao-nan-pi-yi-ming-226295",[23,25,63,27,24,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf65d8732a35f51cd8addee44a52407d.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":48,"author":19,"museum":20,"description":21,"tags":173,"thumbUrl":175,"material":38,"size":39,"collection":53,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":57},226342,"ku-zhu-shi-ping-qi-ding-bei-mian-yi-ming-226342","窟主室平棋顶北面",[23,64,25,112,24,7,174,28,51],"圆形纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f2fac9683a5bcf3a24328f57d1bd05.jpg",[],7,{"id":179,"slug":180,"title":144,"dynasty":48,"author":19,"museum":20,"description":21,"tags":181,"thumbUrl":183,"material":38,"size":39,"collection":53,"collections":184,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":43},226470,"ku-yong-dao-nan-pi-yi-ming-226470",[23,24,25,27,182,7,104],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45e564ffdfef4ce69aa589a91f8c2e75.jpg",[],5,{"id":187,"slug":188,"title":144,"dynasty":48,"author":19,"museum":20,"description":21,"tags":189,"thumbUrl":191,"material":38,"size":39,"collection":53,"collections":192,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":43},226422,"ku-yong-dao-nan-pi-yi-ming-226422",[23,25,104,7,190,28],"垂幔装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f979fe80615688035289205c19dc8d9.jpg",[],{"id":194,"slug":195,"title":91,"dynasty":48,"author":19,"museum":20,"description":21,"tags":196,"thumbUrl":197,"material":38,"size":39,"collection":53,"collections":198,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":43},226406,"ku-yong-dao-bei-pi-yi-ming-226406",[23,25,28,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4659f4e3860b3df980e889b117498061.jpg",[],{"id":200,"slug":201,"title":91,"dynasty":48,"author":19,"museum":20,"description":21,"tags":202,"thumbUrl":205,"material":38,"size":39,"collection":53,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":43},226420,"ku-yong-dao-bei-pi-yi-ming-226420",[23,25,64,203,50,7,67,204],"帷幕","装饰带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff922e8dd7394a6e52868adf0954eb857.jpg",[],4,{"id":209,"slug":210,"title":211,"dynasty":18,"author":19,"museum":122,"description":212,"tags":213,"thumbUrl":10,"material":38,"size":39,"collection":53,"collections":219,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":220},225377,"fu-shi-hui-134-yi-ming-225377","浮世绘134","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[214,215,25,216,217,218,7,94],"浮世绘","木刻","美人","和服","发饰",[],"BDBDBD",{"id":222,"slug":223,"title":224,"dynasty":225,"author":19,"museum":122,"description":226,"tags":227,"thumbUrl":233,"material":38,"size":39,"collection":53,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":43},244911,"zhi-jiu-gao-tang-jing-yi-ming-244911","置酒高堂镜","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[228,229,230,159,231,232,7],"汉代","青铜器","铜制","铭文","乳钉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6582ced2dc624cf31231edd48b95da.jpg",[],3,{"id":237,"slug":238,"title":239,"dynasty":48,"author":19,"museum":20,"description":21,"tags":240,"thumbUrl":242,"material":38,"size":39,"collection":53,"collections":243,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":57},226450,"ku-qian-shi-ding-bu-yi-ming-226450","窟前室顶部",[23,25,28,7,241,113],"圆形纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1ef36c26c4f11e5210d9341c69314a.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":248,"author":19,"museum":122,"description":249,"tags":250,"thumbUrl":256,"material":38,"size":39,"collection":53,"collections":257,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":43},243819,"si-shan-wen-jing-yi-ming-243819","四山纹镜","周","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。",[229,230,159,251,252,7,253,254,255],"铸造","周代风格","圆形器物","纹饰繁复","古物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e83f6ae7f79b844725ca825a8aaa1f3.jpg",[],{"id":259,"slug":260,"title":144,"dynasty":48,"author":19,"museum":20,"description":21,"tags":261,"thumbUrl":262,"material":38,"size":39,"collection":53,"collections":263,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":43},226312,"ku-yong-dao-nan-pi-yi-ming-226312",[23,24,25,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F229fadecce6a8ad7d862a9cc7c1facf8.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":121,"author":19,"museum":122,"description":268,"tags":269,"thumbUrl":273,"material":38,"size":39,"collection":53,"collections":274,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":275},264249,"huang-se-di-feng-chui-mu-dan-wen-xian-jin-dian-liao-yi-ming-264249","黄色地凤吹牡丹纹线锦垫料","整体色调暖艳明丽，娇黄为底，朱红瑞凤穿梭于牡丹缠枝间循环铺陈。凤羽纤毫毕现，花容雍容温婉，缠枝卷叶灵动舒展，华贵雅致尽数融于寸缕之间。\n中段以浅蓝、素色素绫分隔画面，柔化视觉节奏，又以团花锦面衔接，宝相花团圆满规整，与通幅缠枝的柔婉相映成趣。收尾万字回纹连绵不绝，暗合福寿绵长的吉庆深意。\n整作提花走线匀整细腻，用色主次分明，将富丽宫廷审美与祥瑞意蕴交织，尽显清代织锦工艺的精巧工致。",[126,125,270,271,7,25,272],"凤纹","牡丹纹","垫料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03852273b36c208103ec03a0161daa6d.jpg",[],"FF9800",{"id":277,"slug":278,"title":279,"dynasty":225,"author":19,"museum":122,"description":280,"tags":281,"thumbUrl":284,"material":38,"size":39,"collection":53,"collections":285,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":220},244890,"lou-kong-chang-fang-xing-pei-shi-yi-ming-244890","镂空长方形佩饰","礼仪性的玉器 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