[{"data":1,"prerenderedAt":78},["ShallowReactive",2],{"subject-lin-wen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8342,"lin-wen","鳞纹","鳞纹画高清赏析","精选中国历代鳞纹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7754e2a4dc94917fc018ef5341d0690.jpg",0,5,[14,36,44,59,70],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},242646,"lin-wen-ding-yi-ming-242646","鳞纹鼎","周","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。",[23,24,25,26,27,7,28,29],"青铜器","铜制","雕刻","礼器","饪食器","三足","双耳","未知","Xcm*Xcm","",[],3,"37474F",{"id":37,"slug":38,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":39,"thumbUrl":40,"material":30,"size":31,"collection":32,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},242648,"lin-wen-ding-yi-ming-242648",[23,27,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b03afbc4d439cc4d68937540b6e718.jpg",[],1,"BDBDBD",{"id":45,"slug":46,"title":47,"dynasty":48,"author":19,"museum":20,"description":49,"tags":50,"thumbUrl":56,"material":30,"size":31,"collection":32,"collections":57,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},249736,"qia-si-fa-lang-lin-wen-chu-ji-ti-liang-you-yi-ming-249736","掐丝珐琅鳞纹出戟提梁卣","清","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[51,52,53,7,54,55],"掐丝珐琅","琺瑯器","器","出戟","提梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577fffeddad357aa07ecdd6c7cbbb8c.jpg",[],"795548",{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":20,"description":21,"tags":63,"thumbUrl":68,"material":30,"size":31,"collection":32,"collections":69,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244884,"lin-wen-ma-shi-yi-ming-244884","鳞纹马饰",[23,24,25,7,64,65,66,67],"马饰","周代","饰品","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaec07f34e0ec66979c9dd6398d9c289.jpg",[],{"id":71,"slug":72,"title":73,"dynasty":18,"author":19,"museum":20,"description":21,"tags":74,"thumbUrl":76,"material":30,"size":31,"collection":32,"collections":77,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},244020,"lin-wen-zhi-yi-ming-244020","鳞纹卮",[23,65,7,75,24,25],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033e0c37805cd8bfe7a175a48138133a.jpg",[],1777535755139]