[{"data":1,"prerenderedAt":73},["ShallowReactive",2],{"subject-li-er":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5529,"li-er","立耳","立耳画高清赏析","精选中国历代立耳题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2abef9bb3da7beb52b1841b8daf87ff8.jpg",0,4,[14,39,49,60],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},226732,"yuan-wo-si-ban-hua-wen-ding-yi-ming-226732","圆涡四瓣花纹鼎","商","佚名","藏地不详","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。",[23,24,25,26,27,28,29,30,7,31],"青铜器","铜制","雕刻","圆涡纹","四瓣花纹","饪食器","商代","三足","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3fca6d5ff2eda6ba58a3a96fcc11710.jpg","未知","Xcm*Xcm","",[],22,"37474F",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":20,"description":21,"tags":43,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":38},242771,"ya-wei-ding-yi-ming-242771","亚囗鼎",[23,29,24,25,31,44,28,30,7,45,46],"礼器","兽面纹","器形",[],3,{"id":50,"slug":51,"title":52,"dynasty":53,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":58,"material":33,"size":34,"collection":35,"collections":59,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},243165,"shou-mian-wen-ding-yi-ming-243165","兽面纹鼎","清","立耳挺拔敛口，鼎腹圆浑饱满，三足沉稳敦实，复刻上古礼器的庄重规制。腹部满饰兽面纹，回云纹衬底铺陈，兽面双目圆睁、鼻梁高挺，线条刚柔并济，鎏金走线勾勒出狞厉威仪，带着殷商古拙肃穆的气韵，铜色温润又尽显复刻的精工细腻。\n\n整器端庄厚重，既承袭上古祭祀重器的庄严气度，又以巧思重现商周青铜美学，将古雅礼制与当世工艺相融，静穆间自有沉浑厚重的庙堂雅韵。",[23,24,44,28,56,25,57,45,30,7],"浅浮雕","仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5860145622aeb763c3fe721d282247e1.jpg",[],{"id":61,"slug":62,"title":63,"dynasty":64,"author":19,"museum":20,"description":65,"tags":66,"thumbUrl":71,"material":33,"size":34,"collection":35,"collections":72,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},243139,"kui-wen-ding-yi-ming-243139","夔纹鼎","宋","立耳敞口，器型周正端方。腹间夔纹回环盘绕，线条狞厉古雅，勾勒出上古神兽的灵动剪影，带着礼器特有的肃穆威仪。兽首三足沉稳撑托，兽面纹饰狞拙苍劲，撑起器物庄重气场。苍绿铜色晕着陈旧包浆，内壁铭文古拙朴茂，似在低诉往昔礼制风华。\n\n它以古为范，复刻先秦鼎彝的厚重形制，又揉进复古审美意趣，将上古礼器的庄严精神与雅致匠心融于一体，静静沉淀着中式古典造物的极致美学，尽显仿古铜器的精妙韵味。",[23,24,25,67,68,28,44,69,30,7,70],"夔纹","兽纹","宋代风格","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816822006137485ab80ff1a2225e9870.jpg",[],1777535760320]