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沧桑质感，沉淀着时光赋予的沉静力量。整体比例匀停，细节克制内敛，既承袭南北朝造像遗风，又暗合唐代造像丰腴大气的先兆，是早期佛教造像中兼具艺术与历史价值的上乘之作。",[42,26,7,27,90],"人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712478e6ffb46eae95b6bae1df83c80b.jpg","未知","Xcm*Xcm",[],{"id":96,"slug":97,"title":98,"dynasty":39,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":104,"material":29,"size":29,"collection":30,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":34},253623,"tong-liu-jin-guan-shi-yin-pu-sa-li-xiang-yi-ming-253623","铜鎏金观世音菩萨立像","鎏金虽有斑驳剥蚀，却晕开独属时光的古雅韵味。菩萨宝冠高耸，垂目含睇，面容温婉慈悲，将东方造像的柔美圆融尽致展现。贴体长裙勾勒出秀雅身形，璎珞环身，衣袂轻盈垂落，线条舒展灵动，尽显典雅气韵。右手轻抬施印，左手持握净瓶，身姿挺拔秀逸，立台之上静穆安然。造像铸工凝练考究，细节暗合审美意趣，残金间沉淀岁月厚重，静静彰显着造像艺术的极高水准，清净庄严之态扑面而来。",[39,26,7,27,42,90,44,101,102,103],"佛教","唐代风格","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8e9cf2391b3c4634148c355065bbbd8.jpg",[30],26,{"id":108,"slug":109,"title":110,"dynasty":111,"author":19,"museum":20,"description":112,"tags":113,"thumbUrl":114,"material":92,"size":93,"collection":29,"collections":115,"showCount":116,"zanCount":33,"manualWeight":11,"mainColor":34},252876,"tong-liu-jin-meng-hui-zhou-zao-shi-jia-duo-bao-fo-xiang-yi-ming-252876","铜鎏金孟回周造释迦多宝佛像","南北朝","此作为释迦多宝并坐样式，对称排布尽显规制之美。双佛面容圆和沉静，身披通肩袈裟，手印严整，安然端坐于莲瓣背屏之下，两侧胁侍分立屏侧，静穆间漫出禅定安然的气韵。\n\n岁月鎏金斑驳，铜胎青锈裹身，古雅厚重的质感呼之欲出。台座錾刻古朴几何纹样，朴拙凝练承托诸佛法相，将南北朝的对称美学与宗教意涵相融，凝住千年前的虔敬匠心，尽显六朝造像特有的空灵静雅。",[111,42,26,7,27,90,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724602a39b86c9c148259b32e50dbb3e.jpg",[],23,{"id":118,"slug":119,"title":74,"dynasty":39,"author":19,"museum":20,"description":120,"tags":121,"thumbUrl":122,"material":29,"size":29,"collection":30,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":82},253599,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253599","身形颀秀挺拔，菩萨头戴宝冠，面容清隽柔和，衣袂垂坠舒展，尽显典雅灵动。鎏金历经岁月斑驳，青绿铜锈晕染其间，晕开时光沉淀的古拙厚重。背光造型精巧，顶端饰有化佛，衬得主体愈发庄严圣洁，方寸间尽显法度与美感。方形台座简洁沉稳，稳稳承托造像风骨，线条流畅和谐，将圆润饱满与飘逸秀雅融为一体，尽显佛造像的神性之美与工艺匠心，静静诉说着千年前的信仰意趣与审美风尚。",[77,26,7,27,42,90,44,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cb7cb5807c7d44044a2dbd3bdfd514.jpg",[30],21,{"id":126,"slug":127,"title":128,"dynasty":39,"author":19,"museum":20,"description":129,"tags":130,"thumbUrl":132,"material":92,"size":93,"collection":29,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":82},253998,"tong-liu-jin-dao-jiao-zuo-xiang-yi-ming-253998","铜鎏金道教坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[77,65,7,27,42,131,90,103],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76746ce230daa117d47827118035e711.jpg",[],19,{"id":136,"slug":137,"title":138,"dynasty":39,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":142,"material":29,"size":29,"collection":30,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":82},253652,"tong-liu-jin-shuo-fa-fu-zuo-xiang-yi-ming-253652","铜鎏金说法佛坐像","面容圆和柔婉，眉如弯月轻敛，眼睑低垂，唇角噙着静谧笑意，悲悯之中带着温和亲近。右手结无畏印，似在抚平众生惶惑，左手垂抚膝头，结跏趺坐，宽博的僧衣随着身形垂落，衣褶流转自然，垂覆而下的衣摆如春水涟漪层叠铺展，尽显舒展丰腴的盛唐气韵。\n\n古铜凝着岁月包浆，鎏金虽已褪去，却更添沉静厚重的古韵，将佛陀圆融慈悲的气韵凝练于一身，简约之间尽显传神精妙，静静晕开千年前的信仰温度。",[42,27,90,26,7,141],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade20b1ff5da3500ecdba21a0819e5e9.jpg",[30],18,{"id":146,"slug":147,"title":138,"dynasty":39,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":150,"material":29,"size":29,"collection":30,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":82},253632,"tong-liu-jin-shuo-fa-fu-zuo-xiang-yi-ming-253632","这尊造像自带沉静古雅的气韵，面庞丰腴柔和，眼睑低垂，笑意内敛，尽显慈悲圆融的气度，是盛唐审美下的典型风貌。结说法印的右手舒展洒脱，左手垂搭膝头，自在安坐，衣褶流转自然如微风拂过，线条柔润又不失挺劲。\n\n鎏金虽历经岁月斑驳脱落，露胎处与残金交织晕染，凝住时光的印记，反而更添岁月浸淫的厚重质感。将佛陀的庄严神圣与亲和淡然平衡得恰到好处，每一处细节都暗含古朴匠心，静静诉说着千年前的造像美学，让观者在凝视间，便能触摸到跨越时空的沉静与安宁。",[39,42,90,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9546c0ec71b42fe2fb9fa53ab0467470.jpg",[30],17,{"id":154,"slug":155,"title":156,"dynasty":39,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":161,"material":29,"size":29,"collection":30,"collections":162,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":82},253605,"tong-liu-jin-fu-zuo-xiang-yi-ming-253605","铜鎏金佛坐像","此像面容丰润柔和，垂目含笑间尽显沉静慈悲。右手轻扬施无畏印，安稳跏趺于莲台，衣褶流转舒展，带着独属的雍容舒展气度。\n\n莲台上下层叠呼应，六角底座端庄沉稳，镂空设计消解了铜铸的厚重，添了几分灵动精巧。鎏金虽覆斑驳铜锈，却更衬出岁月沉淀的厚重质感，将神性庄严与手工精妙相融，静静流淌着沉静悲悯的佛性，是宗教美学与手工技艺凝练的绝佳缩影。",[77,26,7,42,159,160,27],"佛像","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa908d2fd9d065d9611d3992a3c85e099.jpg",[30],{"id":164,"slug":165,"title":166,"dynasty":167,"author":19,"museum":20,"description":168,"tags":169,"thumbUrl":170,"material":29,"size":29,"collection":67,"collections":171,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":34},244926,"wu-yue-guo-wang-liu-jin-ta-yi-ming-244926","吴越国王鎏金塔","五代十国","此塔以青铜为质，局部鎏金犹存暖光。方座满镌佛传造像，龛中圣众神态宛然，浅浮雕纹饰细密层叠，尽显匠造之工。四角弧檐高挑，承托七级鎏金相轮塔刹，宝顶亭亭，形制庄重古雅。\n\n它糅合吴越造像的柔婉工细与佛塔的严整规制，铜身虽覆青锈，鎏金处仍晕着旧时华贵，将五代佛教艺术的审美意趣凝缩其中，是东南佛国虔敬信仰的精巧缩影，静静沉淀着乱世中赓续的佛造像工艺水准。",[167,42,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d239a87b1804fcc97d523c9bd5e34.jpg",[67],{"id":173,"slug":174,"title":138,"dynasty":39,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":178,"material":29,"size":29,"collection":30,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":82},253578,"tong-liu-jin-shuo-fa-fu-zuo-xiang-yi-ming-253578","此像体量虽小，却凝盛唐造像之典雅气韵。斑驳鎏金晕染出岁月痕迹，桃形背光古朴沉静，衬得佛像法相温婉端方，面含浅笑，神色恬然自若。衣褶婉转柔和，贴合身形，抬手说法的姿态沉静安然，似正宣演妙谛。束腰方台古拙稳重，承托出造像的端庄格局。鎏金虽已斑驳脱落，却更添古拙厚重的历史质感，将大唐佛教造像的圆融大气浓缩于方寸，携千年梵音余韵，静静诉说往昔佛风盛景。",[77,26,7,27,42,90,159,160,177],"说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a41995cc00f6ecf491d2a34345f924.jpg",[30],15,{"id":182,"slug":183,"title":184,"dynasty":185,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":10,"material":92,"size":93,"collection":29,"collections":191,"showCount":192,"zanCount":33,"manualWeight":11,"mainColor":193},223989,"liu-jin-hu-lu-dian-cui-hua-zhen-yi-ming-223989","鎏金葫芦点翠花针","清","古时男子和女子的一种发饰，簪是由笄发展而来的，用来绾定发髻或冠的长针。汉武帝过李夫人，就取玉簪搔头，自此后宫人搔头皆用玉簪。《后汉书·舆服志》有：“黄金龙首衔白珠，鱼须擿，长一尺，为簪珥。”的记载。簪是中国古代发型中最基础的固定和装饰工具。",[185,7,188,189,190],"点翠","饰品","葫芦",[],14,"BDBDBD",{"id":195,"slug":196,"title":197,"dynasty":57,"author":19,"museum":20,"description":198,"tags":199,"thumbUrl":202,"material":92,"size":93,"collection":29,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":34},255843,"tong-liu-jin-qian-shou-qian-yan-guan-yin-xiang-yi-ming-255843","铜鎏金千手千眼观音像","鎏金虽有斑驳褪散，仍难掩宝相庄严。主尊垂眸含笑，神情悲悯柔慈，主掌合十，尽显恭谨肃穆。身后千手层叠舒展，各执法器，排布错落有致，既有慑服寰宇的威严，又不失普济众生的温和。\n\n躯体比例匀停合度，衣褶垂坠自然流畅，周身纹饰细密精巧。鎏金残损处露出沉实铜胎，凝着岁月的厚重痕迹，尽显写实与神性兼具的造像特质，将观音慈悲圆融的神性诠释得淋漓尽致，是造像工艺与佛教美学相融的精妙之作。",[26,7,27,42,90,200,60,201],"千手千眼","佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbce962042c0309409eaa879936159f6.jpg",[],13,{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":209,"tags":210,"thumbUrl":211,"material":29,"size":29,"collection":67,"collections":212,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":82},243758,"liu-jin-shuang-shou-wen-pai-shi-yi-ming-243758","鎏金双兽纹牌饰","鎏金虽已斑驳残褪，却依旧晕着华贵余温，双兽扭结缠绕，躯体贲张如蓄势待发的惊雷。古拙粗犷的线条勾勒出饱满肌肉轮廓，兽首狰狞、利爪遒劲，带着草原游牧文化的雄悍野性，又糅合中原铸造工艺的精致凝练。\n\n铜绿与残金交叠，是两千年岁月浸蚀的印记，将饰件的实用属性与狞厉美学融为一体，仿佛能窥见当年它悬于腰间时，主人策马扬鞭的意气风发，沉凝着汉时刚健浪漫的游牧风情。",[18,65,7,27,24,189,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a0f5a3dacf75ced941eedefde42bf7.jpg",[67],{"id":214,"slug":215,"title":216,"dynasty":217,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":222,"material":92,"size":93,"collection":29,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":82},274661,"tong-liu-jin-qian-lv-song-shi-jin-gang-pu-sa-yi-ming-274661","铜鎏金嵌绿松石金刚菩萨","明","此造像宝冠层叠华美，绿松石星罗点缀于璎珞、宝冠之间，似将雪域灵光凝于一身。菩萨面容沉静慈悲，双目垂敛，自带祥和气韵，双手结印，跏趺安坐于仰覆莲台之上，衣褶流转柔和，鎏金包浆温润厚重，带着时光浸养的古朴质感。\n\n整体造型端庄饱满，工艺精湛考究，松石的幽蓝与金箔的暖光相映，既显宝相庄严，又藏灵动雅致，将神性的肃穆与工艺的巧思相融，静穆间自有震慑人心的神圣力量。",[42,101,220,26,7,221,27,103],"金刚菩萨","嵌绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1f3fa28a167ac69c9e2579f5ddb59.jpg",[],12,{"id":226,"slug":227,"title":86,"dynasty":111,"author":19,"museum":20,"description":228,"tags":229,"thumbUrl":230,"material":92,"size":93,"collection":29,"collections":231,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":82},253779,"tong-liu-jin-fu-li-xiang-yi-ming-253779","身姿舒展灵动，衣袂翩跹若携魏晋长风而来。温婉浅笑的面庞褪去了早期造像的肃穆疏离，尽显柔和雅致。右手轻抬托举，左臂垂展舒展，宽袍大袖线条流畅写意，将秀骨清像的时代审美藏进衣褶起伏之中。\n\n鎏金虽斑驳脱落，却为周身晕染出岁月沉淀的厚重质感。简约的底座稳稳承托身形，匠师以凝练的工艺，将佛教仪轨与东方气韵相融，让造像既有神性的静穆，亦有人间的温婉。静静伫立间，千年前的禅意雅致跨越时光扑面而来。",[111,42,90,44,26,7,27,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27441f673a3a454c863964a895705c4b.jpg",[],{"id":233,"slug":234,"title":86,"dynasty":87,"author":19,"museum":20,"description":235,"tags":236,"thumbUrl":237,"material":29,"size":29,"collection":30,"collections":238,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":34},253614,"tong-liu-jin-fu-li-xiang-yi-ming-253614","此像身形秀挺，结跏趺坐于高足方座之上，双手合十虔敬肃穆，面容清婉柔和，尽显沉静慈悲的气韵。身后莲瓣状背光錾刻细密纹饰，似佛光缓缓漫溢，衬得造像愈发空灵圣洁。\n\n整体铜色沉敛古雅，虽鎏金随岁月褪去，却更添朴拙厚重的古韵。造像比例匀停，线条洗练流畅，将佛教造像的神性与含蓄温婉的世俗美感相融，简约之中饱含沉静安宁的禅意，尽显隽秀雅致的造像风貌。",[42,26,27,90,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4777d188d4dbc5a5efd9a4c3c750c6.jpg",[30],{"id":240,"slug":241,"title":242,"dynasty":217,"author":19,"museum":20,"description":129,"tags":243,"thumbUrl":247,"material":92,"size":93,"collection":29,"collections":248,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":34},253942,"tong-liu-jin-wen-shu-pu-sa-zuo-xiang-yi-ming-253942","铜鎏金文殊菩萨坐像",[244,26,7,27,42,90,160,245,246,103],"明代","宝冠","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6edfeb0ed876852ecb3f7b3609198026.jpg",[],11,{"id":251,"slug":252,"title":253,"dynasty":111,"author":19,"museum":20,"description":254,"tags":255,"thumbUrl":256,"material":92,"size":93,"collection":29,"collections":257,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":34},252760,"tong-liu-jin-yi-pu-sa-er-di-zi-li-xiang-yi-ming-252760","铜鎏金一菩萨二弟子立像","主尊身形秀挺，衣袂贴附身形，线条婉转柔和，尽显秀骨清像的典型风韵，右手前伸似在宣示法义，神情沉静悲悯，自带出尘空灵的气质。两侧胁侍恭谨伫立，身姿微微向主尊倾靠，形成呼应，整体章法和谐统一。\n\n莲瓣背屏浅刻火焰纹，晕染出神圣肃穆的氛围，鎏金虽已斑驳脱落，却晕开岁月沉淀的厚重质感。四足方座简洁沉稳，稳稳托举起造像的庄严气场，将这一时期佛教造像的典雅与宗教意涵融于一身，是乱世之中精神慰藉的具象载体，尽显中古造像的含蓄之美。",[111,42,90,65,26,7,27,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05f21834c64845c24e4ae09170bb67f.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":39,"author":19,"museum":20,"description":262,"tags":263,"thumbUrl":264,"material":29,"size":29,"collection":67,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":193},244735,"liu-jin-ling-yi-ming-244735","鎏金铃","它鎏金几近褪尽，只余下沉实的铜色底胎，深浅铜绿似苔痕攀附，晕开时光镌刻的痕迹。圆浑铃身线条饱满柔和，开口利落爽利，曾在千年前随车马摇曳、伴衣袂轻扬，振出脆亮清鸣。\n\n如今静立于此，锈迹是岁月晕染的肌理，铜色沉淀着旧日光影，仿佛还能听见晚风里它撞碎的暮色，把当年鲜活的烟火气凝在这寸许铃身之间。",[39,7,26,141,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3526e4c8cd5e9a7c3ddc98311806db83.jpg",[67],9,{"id":268,"slug":269,"title":270,"dynasty":18,"author":19,"museum":20,"description":271,"tags":272,"thumbUrl":275,"material":92,"size":93,"collection":29,"collections":276,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":193},243360,"liu-jin-luo-tuo-wen-ma-shi-yi-ming-243360","鎏金骆驼纹马饰","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。",[18,65,7,27,273,274,189],"骆驼","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137370d9d03a1cf8d222eda876894b7c.jpg",[],8,{"id":279,"slug":280,"title":156,"dynasty":87,"author":19,"museum":20,"description":129,"tags":281,"thumbUrl":282,"material":92,"size":93,"collection":29,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":82},253501,"tong-liu-jin-fu-zuo-xiang-yi-ming-253501",[42,90,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64374889918ec954d6f6442915cec7c4.jpg",[],7,{"id":286,"slug":287,"title":288,"dynasty":87,"author":19,"museum":20,"description":289,"tags":290,"thumbUrl":292,"material":92,"size":93,"collection":29,"collections":293,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":82},253371,"tong-liu-jin-di-zang-pu-sa-xiang-yi-ming-253371","铜鎏金地藏菩萨像","此像身姿舒展自在，半跏趺坐于莲台之上，眉目柔和沉静，宝相慈悲端严。透雕火焰纹头光翻卷灵动，烘托出神圣肃穆的法相，将菩萨飘然出尘的气韵尽数彰显。下方枝茎形底座缠绕卷曲，宛如盛放莲枝，让整尊造像更显轻盈空灵。\n\n鎏金历经岁月斑驳脱落，反而晕染出古朴厚重的历史质感，隋代造像的简约雅致与佛教造像的沉静慈悲融为一体，尽显当时造像工艺的纯熟造诣，在沉静中诉说着往昔的宗教美学意趣。",[291,26,7,27,42,78,103],"隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea41b4651ba2e3f0de141da5b9701c89.jpg",[],{"id":295,"slug":296,"title":297,"dynasty":185,"author":19,"museum":20,"description":298,"tags":299,"thumbUrl":300,"material":92,"size":93,"collection":29,"collections":301,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":34},252809,"tong-liu-jin-shi-yi-mian-guan-yin-li-xiang-yi-ming-252809","铜鎏金十一面观音立像","此像分层累塑十一宝相，顶巅化佛收束法相，自上至下，由忿怒渐归恬和，尽显观照世间的圆融慈悲。主尊双目垂敛，神态宁和，主臂合十尽显恭谨，其余六臂舒展分持法器，法轮、长弓、净枝各拥妙用，姿态沉稳舒展。\n\n衣袂垂落如流波漫泻，周身宝饰錾刻细密华贵，莲瓣台座周正雅致，处处见精工巧思。通体鎏金匀净厚重，金辉粲然，将观音的清净庄严与造作匠心融为一体，静静伫立间，便晕染出肃穆清净的宗教气韵，是兼具神性辉光与匠造极致的上乘之作。",[42,90,26,7,27,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c9673dcbbdfa7326d88ebe494152d5.jpg",[],{"id":303,"slug":304,"title":156,"dynasty":57,"author":19,"museum":20,"description":129,"tags":305,"thumbUrl":306,"material":92,"size":93,"collection":29,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":34},253666,"tong-liu-jin-fu-zuo-xiang-yi-ming-253666",[60,26,7,27,42,90,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad785e3f5f4c999ef8f27777bbd6f59.jpg",[],6,{"id":310,"slug":311,"title":38,"dynasty":87,"author":19,"museum":20,"description":312,"tags":313,"thumbUrl":314,"material":92,"size":93,"collection":29,"collections":315,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":34},253500,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253500","此像古雅朴拙，桃形背光带着早期造像典型规制，鎏金虽已斑驳脱落，却更添岁月厚重质感。菩萨仪容端严沉静，右手持杨柳枝，衣饰线条简练劲挺，尽显端庄凝练的气韵。板凳式底座小巧稳固，整体形制精巧雅致，细节间可见当时冶铸鎏金的不俗工艺，沉静肃穆间，缓缓晕开佛家造像特有的静谧庄严，携着古拙虔诚的宗教意趣，尽显早期造像的质朴美感。",[26,7,27,42,90,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcb45e049ca1ede9bd3a3354c8058c7.jpg",[],{"id":317,"slug":318,"title":288,"dynasty":39,"author":19,"museum":20,"description":319,"tags":320,"thumbUrl":321,"material":92,"size":93,"collection":29,"collections":322,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":82},253400,"tong-liu-jin-di-zang-pu-sa-xiang-yi-ming-253400","此像半跏趺坐，右臂抬起施无畏印，左手垂搭膝头，姿态舒展松弛。僧衣纹理流畅贴体，将丝织物垂坠柔软的质感尽显，把盛唐造像的写实风韵诠释尽致。鎏金虽历经岁月侵蚀，斑驳间仍能见往昔华贵。菩萨面容沉静肃穆，带着悲悯柔和的神情，将地藏的慈悲气度凝练其间，古朴厚重的质感晕开跨越时空的宗教肃穆，整体造型端庄雍容尽显唐代造像的典型风骨，让观者于古旧痕迹中触摸到彼时的虔敬匠心。",[42,26,7,27,90,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb808a2a1a548b66158f996c851c5cc0b.jpg",[],{"id":324,"slug":325,"title":326,"dynasty":39,"author":19,"museum":20,"description":129,"tags":327,"thumbUrl":328,"material":92,"size":93,"collection":29,"collections":329,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":34},252900,"tong-liu-jin-guan-yin-pu-sa-zuo-xiang-yi-ming-252900","铜鎏金观音菩萨坐像",[77,65,7,42,90,27,26,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb24f27549ae5049196a6e77d9455ac2.jpg",[],{"id":331,"slug":332,"title":333,"dynasty":185,"author":19,"museum":20,"description":334,"tags":335,"thumbUrl":340,"material":92,"size":93,"collection":29,"collections":341,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":342},245446,"yin-zan-ke-liu-jin-dai-tuo-long-er-bei-yi-ming-245446","银錾刻鎏金带托龙耳杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[336,337,25,338,7,27,339,64,141],"清代","银器","錾刻","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4f39cae37866e906a57d2bc06430e1.jpg",[],"F48FB1",{"id":344,"slug":345,"title":346,"dynasty":185,"author":19,"museum":20,"description":129,"tags":347,"thumbUrl":356,"material":92,"size":93,"collection":29,"collections":357,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":193},254829,"tong-liu-jin-wu-liang-shou-fu-zuo-xiang-yi-ming-254829","铜鎏金无量寿佛坐像",[185,26,7,27,42,348,349,350,246,160,351,352,353,354,355],"人物造像","镶嵌","绿松石","无量寿佛","金属工艺","传统工艺","造像艺术","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde2b57df97c5cac2e048294d8acf701.jpg",[],5,{"id":360,"slug":361,"title":74,"dynasty":87,"author":19,"museum":20,"description":362,"tags":363,"thumbUrl":365,"material":92,"size":93,"collection":29,"collections":366,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":82},254335,"tong-liu-jin-pu-sa-li-xiang-yi-ming-254335","此像身形修长挺拔，宝冠束发，面容沉静温婉，垂目含怜尽显慈悲心怀。右手抬手施无畏印予人慰藉，左手轻握衣袂，通肩袈裟层叠垂坠如缓浪，勾勒出雅致身形。历经岁月鎏金斑驳脱落，反倒晕染出厚重的时光质感。尖叶形背光舒展贴合身形，莲台底座搭配卷草支脚，线条柔和舒展，浑然一体。整尊造像带着特有的简约凝练，气韵祥和静谧，将菩萨端雅慈悲的气度尽显无遗，残存的鎏金光晕依稀可见当年的华贵精美，静静诉说着古时佛教造像的质朴庄严。",[87,26,7,27,42,90,364],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7dd0ac99bae7fe24334b2e5bee661e.jpg",[],{"id":368,"slug":369,"title":370,"dynasty":217,"author":19,"museum":20,"description":129,"tags":371,"thumbUrl":373,"material":92,"size":93,"collection":29,"collections":374,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":34},254246,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-254246","铜鎏金菩萨坐像",[244,42,26,7,27,78,160,372,352,103],"莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a9712b9a15b4878ce7ac2f6a3ae277.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":167,"author":19,"museum":20,"description":379,"tags":380,"thumbUrl":382,"material":92,"size":93,"collection":29,"collections":383,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":34},253952,"tong-liu-jin-shui-yue-guan-yin-pu-sa-xiang-yi-ming-253952","铜鎏金水月观音菩萨像","此像自在安坐，水月坐姿尽显松弛禅意，衣纹褶皱古拙写意，鎏金虽已斑驳，却沉淀出岁月厚重质感。宝冠高束，面容沉静温婉，眉眼低垂流露慈悲安然，发髻装饰精巧，垂落的璎珞勾勒曼妙身形，随性搭放的手臂衬出超然出尘的灵动神韵。\n\n造像糅合了时代审美意趣，将观音的清寂禅心与世俗柔婉细腻相融，残褪的金箔似在诉说辗转时光，古朴铜色晕开沉静肃穆的氛围感，尽显中古造像内敛含蓄的东方禅意之美。",[167,26,7,27,42,90,78,381],"水月题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434beb4336550b5848adf07646d0eabc.jpg",[],{"id":385,"slug":386,"title":156,"dynasty":87,"author":19,"museum":20,"description":129,"tags":387,"thumbUrl":388,"material":92,"size":93,"collection":29,"collections":389,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":34},253597,"tong-liu-jin-fu-zuo-xiang-yi-ming-253597",[42,90,26,7,27,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8ae67b30327f5f81a7b763c6d20a1f.jpg",[],{"id":391,"slug":392,"title":393,"dynasty":185,"author":19,"museum":20,"description":394,"tags":395,"thumbUrl":403,"material":92,"size":93,"collection":29,"collections":404,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":34},249524,"hua-fa-lang-jin-di-hua-hui-wen-hua-lan-yi-ming-249524","画珐琅锦地花卉纹花篮","提梁饰鎏金缠枝纹，宝蓝釉地填色匀净，勾勒出灵动雅致的卷草轮廓。花篮口沿作舒展花瓣形，内壁浅蓝珐琅澄澈明净，外壁缠枝小花细腻精巧。\n\n器身以蓝地菱形锦纹为底，粉艳牡丹居于中央，花瓣饱满晕染自然，衬以莹白小花，主次分明。整器釉色鲜亮明净，鎏金光泽温润莹润，将繁复装饰与秀逸器型相融，尽显华贵雅致的宫廷气韵，是清代珐琅工艺的精巧之作。",[396,397,398,7,399,400,401,402],"珐琅器","花篮","画珐琅","牡丹","缠枝纹","花卉纹","锦地纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c29e69a2ed4066ff40fd2038e6ad5e.jpg",[],{"id":406,"slug":407,"title":408,"dynasty":18,"author":19,"museum":20,"description":271,"tags":409,"thumbUrl":411,"material":92,"size":93,"collection":29,"collections":412,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":82},244594,"liu-jin-niao-shou-wen-shi-jian-yi-ming-244594","鎏金鸟兽纹饰件",[18,65,7,26,27,24,410,189,141],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f0498818c884b5fa1b7f728a1548dc.jpg",[],{"id":414,"slug":415,"title":416,"dynasty":18,"author":19,"museum":20,"description":271,"tags":417,"thumbUrl":420,"material":92,"size":93,"collection":29,"collections":421,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":342},243755,"liu-jin-zhu-wen-pai-shi-yi-ming-243755","鎏金猪纹牌饰",[418,26,27,7,24,419,189],"汉代","猪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32aed1728d2ad6847a48bb1579ee8ec.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":18,"author":19,"museum":20,"description":271,"tags":426,"thumbUrl":427,"material":92,"size":93,"collection":29,"collections":428,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":34},242909,"liu-jin-bu-yi-ming-242909","鎏金瓿",[18,7,65,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67d59b998420dc1b7624a3f5203c46e.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":217,"author":19,"museum":20,"description":433,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涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[337,25,338,7,937,64,436,27,339,473],"杯盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818a4ce687e6e320fbbd71e01f3f5fcd.jpg",[],{"id":941,"slug":942,"title":943,"dynasty":39,"author":19,"museum":20,"description":944,"tags":945,"thumbUrl":947,"material":92,"size":93,"collection":29,"collections":948,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":193},245022,"liu-jin-dai-bing-ling-yi-ming-245022","鎏金带柄铃","铃身塑为半绽莲苞，錾刻瓣棱饱满舒展，将塘间夏意凝于铜身。鎏金随年月大半销蚀，苍绿铜锈裹着残存金箔晕出沉郁光泽，晕染出时光浸蚀的厚重质感。素净细柄呼应铃身柔丽纹饰，张弛尽显舒展雅致。遥想当年，它曾在佛堂檐下轻摇，清越梵音穿堂而过，将禅意揉入盛唐烟尘。如今锈色满身，仍藏着旧时雍容风骨。",[39,7,26,27,141,946],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bc7f2bc2256972900c409205c85271.jpg",[],{"id":950,"slug":951,"title":952,"dynasty":18,"author":19,"museum":20,"description":271,"tags":953,"thumbUrl":954,"material":92,"size":93,"collection":29,"collections":955,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":82},243970,"liu-jin-ma-wen-pai-shi-yi-ming-243970","鎏金马纹牌饰",[18,7,27,274,189,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932bba27e2822cea38563fa4ba901d51.jpg",[],{"id":957,"slug":958,"title":959,"dynasty":57,"author":19,"museum":20,"description":960,"tags":961,"thumbUrl":963,"material":92,"size":93,"collection":29,"collections":964,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":193},243953,"liu-jin-wo-yang-yi-ming-243953","鎏金卧羊","这只卧羊取休憩将起之姿，前左蹄微抬弯拱，其余三蹄伏地，静中藏动，打破卧姿的沉闷感。羊角盘卷饱满，线条圆融古朴，将公羊的雄健美态凝缩其中。\n\n鎏金虽已斑驳脱落，古铜胎色与残余金辉交错晕染，晕开时光沉淀的温润质感。整体形制敦厚朴拙，无繁复修饰，却把羊的温顺憨态藏在简约轮廓里，带着清隽雅致的审美意趣，既是案头实用的镇纸，又可作赏玩小物，沉凝着古拙内敛的东方韵味。",[57,7,26,27,24,962],"卧姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19093490a2562cb00b3fb50780cff9.jpg",[],{"id":966,"slug":967,"title":968,"dynasty":18,"author":19,"museum":20,"description":271,"tags":969,"thumbUrl":971,"material":92,"size":93,"collection":29,"collections":972,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":193},243827,"liu-jin-shou-mian-yi-ming-243827","鎏金兽面",[418,7,27,970,26,189],"兽面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa00d3501836ea9e916114cc37590eaf.jpg",[],{"id":974,"slug":975,"title":976,"dynasty":39,"author":19,"museum":20,"description":977,"tags":978,"thumbUrl":980,"material":92,"size":93,"collection":29,"collections":981,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":34},243529,"liu-jin-niao-shou-wen-pai-pian-yi-ming-243529","鎏金鸟兽纹牌片","此器作花瓣圭形，鎏金虽已斑驳锈蚀，却依旧难掩华贵底色。纹饰分层排布，主体兽面威严狞厉，眉目虬张，气势雄浑，辅以神人、瑞兽点缀周身，灵动精巧。边缘錾刻细密纹饰，勾勒出饱满层次，让整器更具立体感。\n它凝萃大唐工艺精髓，将游牧审美与中原錾鎏技艺相融，庄重中带着神秘野性，残损鎏金下依旧能窥见当年的极致匠心，尽显盛唐器物的雄浑华美气度。",[39,7,979,26,27,189,24,410],"鸟兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56a88869d885cb9b6df79ca20fe1e9.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":185,"author":19,"museum":20,"description":986,"tags":987,"thumbUrl":988,"material":92,"size":93,"collection":29,"collections":989,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":34},243111,"liu-jin-hu-yi-ming-243111","鎏金壶","此器仿商周方壶形制，方口束颈，双龙衔活环耳古雅端庄。苍绿铜色间鎏金残斑错落，凝住岁月摩挲的厚重痕迹。颈腹以错金技法铺陈饕餮与回纹，古纹样规整肃穆，即便金箔斑驳，依旧能窥见昔年富丽质感，复古工艺暗藏匠心。朴拙的铜锈与残金相映，既保留古器的庄严形制，又因时光剥蚀生出沧桑余韵，摹古之中尽显沉静雅致的古韵风华。",[336,26,7,27,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F077ebcac3ee55ef484a546d6769024a8.jpg",[],{"id":991,"slug":992,"title":993,"dynasty":18,"author":19,"museum":20,"description":271,"tags":994,"thumbUrl":995,"material":92,"size":93,"collection":29,"collections":996,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":82},243013,"liu-jin-tuo-yu-yi-ming-243013","鎏金唾盂",[18,7,65,26,436,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29c2b66db97b7b19f243dd5c4176bdc.jpg",[],{"id":998,"slug":999,"title":993,"dynasty":18,"author":19,"museum":20,"description":271,"tags":1000,"thumbUrl":1002,"material":92,"size":93,"collection":29,"collections":1003,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":82},243012,"liu-jin-tuo-yu-yi-ming-243012",[18,7,26,1001,141],"日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85329e8c2893de3ab26a04f88ec55b6a.jpg",[],{"id":1005,"slug":1006,"title":1007,"dynasty":185,"author":19,"museum":20,"description":1008,"tags":1009,"thumbUrl":1010,"material":92,"size":93,"collection":29,"collections":1011,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":193},229365,"su-di-liu-jin-yin-zhi-jia-tao-yi-ming-229365","素地鎏金银指甲套","整体修长贴合甲形，素净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鎏金雷纹鼎","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。",[65,26,7,27,1019,141,1020,1021,24,1022,1023],"雷纹","鼎","饪食器","三足","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff456d2dfcda52a72cca6b42569db8ea5.jpg",[],{"id":1027,"slug":1028,"title":1029,"dynasty":111,"author":19,"museum":20,"description":756,"tags":1030,"thumbUrl":1032,"material":92,"size":93,"collection":29,"collections":1033,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},281403,"lin-yi-xian-kai-guo-gong-zhang-gui-niu-tong-liu-jin-yin-yi-ming-281403","“临邑县开国公章”龟钮铜鎏金印",[758,26,65,759,27,1031,7],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0873e177da3db74130e004c741369aee.jpg",[],{"id":1035,"slug":1036,"title":1037,"dynasty":111,"author":19,"museum":20,"description":756,"tags":1038,"thumbUrl":1039,"material":92,"size":93,"collection":29,"collections":1040,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},281400,"an-chang-xian-kai-guo-gong-zhang-gui-niu-tong-liu-jin-yin-yi-ming-281400","“安昌县开国公章”龟钮铜鎏金印",[758,26,7,1031,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91c9f20162a82db9b97f260d179c4dc.jpg",[],{"id":1042,"slug":1043,"title":1044,"dynasty":18,"author":19,"museum":20,"description":756,"tags":1045,"thumbUrl":1046,"material":92,"size":93,"collection":29,"collections":1047,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},281174,"wang-xian-si-yin-bi-xie-niu-tong-liu-jin-yin-yi-ming-281174","“王宪私印”辟邪钮铜鎏金印",[758,759,26,7,27,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d4b7c2dd491f2c021688b33c486383.jpg",[],{"id":1049,"slug":1050,"title":1051,"dynasty":755,"author":19,"museum":20,"description":756,"tags":1052,"thumbUrl":1053,"material":92,"size":93,"collection":29,"collections":1054,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":82},279447,"yang-wei-jiang-jun-zhang-gui-niu-tong-liu-jin-yin-yi-ming-279447","“扬威将军章”龟钮铜鎏金印",[758,759,26,1031,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce9fe5c43ee69415c3ebced6295c37e.jpg",[],{"id":1056,"slug":1057,"title":1058,"dynasty":755,"author":19,"museum":20,"description":756,"tags":1059,"thumbUrl":1061,"material":92,"size":93,"collection":29,"collections":1062,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":193},278748,"qin-jin-wang-yin-tuo-niu-tong-liu-jin-yin-yi-ming-278748","“亲晋王印”驼钮铜鎏金印",[758,759,26,7,1060,24,65],"驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f411ffc500388de676b280b49cd0b2.jpg",[],{"id":1064,"slug":1065,"title":1066,"dynasty":185,"author":19,"museum":20,"description":756,"tags":1067,"thumbUrl":1068,"material":92,"size":93,"collection":29,"collections":1069,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":82},278162,"tong-du-jin-pan-long-niu-wei-ke-fang-yin-yi-ming-278162","铜镀金盘龙纽未刻方印",[758,26,27,339,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff76899d12fee4c8ed32c1e5e8af836.jpg",[],{"id":1071,"slug":1072,"title":1073,"dynasty":217,"author":19,"museum":20,"description":1074,"tags":1075,"thumbUrl":1077,"material":92,"size":93,"collection":29,"collections":1078,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},274662,"tong-liu-jin-shi-jia-mu-ni-fu-yi-ming-274662","铜鎏金释迦牟尼佛","佛陀结跏趺坐于仰莲台之上，左手托钵，右手结触地印，面容温婉慈悲，双目垂敛，神态安和沉静。躯体比例匀停舒展，鎏金层厚重莹润，尽显超脱肃穆的神性威仪。\n\n背光雕刻繁缛精巧，缠枝卷草间错落排布胁侍与护法造像，正中央饰摩羯宝焰纹，层次分明，华丽堂皇，将神性的庄严与工艺的华美相融。多层台座浮雕纹饰规整细致，层级错落间尽显匠心。整尊造像糅合藏地造像的雄浑与汉地审美秀雅，工艺精湛卓绝，静静散发着静谧祥和的宗教感染力。",[26,7,27,25,42,201,1076],"释迦牟尼佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11aa368cc116c4c9f981aee7ccc63275.jpg",[],{"id":1080,"slug":1081,"title":1082,"dynasty":185,"author":19,"museum":20,"description":1083,"tags":1084,"thumbUrl":1088,"material":92,"si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，板凳底座简约稳重，主尊身姿端严沉静，两侧胁侍呼应环绕，头光尖顶饰化佛，层次分明。\n\n历经岁月鎏金虽斑驳残褪，却晕开厚重古意，将舒展典雅的气韵凝于寸厘之间。线条利落洗练，无冗余修饰，尽显佛造像的沉静内敛，仿佛携带着千年前的梵音清寂，把释家的平和安宁藏在每一处凝练细节中，静静诉说时光沉淀下的信仰之美。",[39,26,7,27,42,90,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5f0067c817ee7fa00930ea8fddccc4.jpg",[],{"id":2377,"slug":2378,"title":2198,"dynasty":39,"author":19,"museum":20,"description":2379,"tags":2380,"thumbUrl":2383,"material":92,"size":93,"collection":29,"collections":2384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},253372,"tong-liu-jin-gong-yang-pu-sa-gui-xiang-yi-ming-253372","鎏金虽已斑驳剥蚀，却依旧残留着旧时华贵余韵。菩萨恭跪莲台之上，眉眼柔和低垂，面容沉静温婉，带着全然的虔敬。双手捧奉供物，身姿恭顺内敛，衣袂贴服垂落，线条简练却流畅动人，将供养者的柔婉与礼佛的至诚尽数铺展。\n\n岁月晕染出铜色与残金交织的厚重质感，仿佛仍能窥见千年前佛前祈愿的静谧瞬间，将典雅气韵凝于寸尺之间，尽显古朴虔诚的东方造像之美。",[39,26,7,27,42,90,2381,2382],"供养菩萨","跪像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ff002d36352aa900fc0562fa17d3f3.jpg",[],{"id":2386,"slug":2387,"title":74,"dynasty":39,"author":19,"museum":20,"description":2388,"tags":2389,"thumbUrl":2390,"material":92,"size":93,"collection":29,"collections":2391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},253370,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253370","身姿修长挺拔，宝冠覆顶，面容沉静柔和，璎珞环身，天衣垂坠舒展，尽显出尘曼妙的气度。背光造型繁丽，化佛与化生环绕，烘托出神圣庄严的氛围。\n\n鎏金虽因岁月斑驳，铜绿晕染，却更添古朴厚重的古韵。将丰腴典雅、灵动飘逸的风韵凝于一身，尽显彼时造像的高超工艺与审美意趣，静默间自有慈悲圆融的沉静气场。",[77,42,78,90,44,26,7,27,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6dbc8729b8bdfee5ab1bb75b8ee1f1b.jpg",[],{"id":2393,"slug":2394,"title":138,"dynasty":39,"author":19,"museum":20,"description":129,"tags":2395,"thumbUrl":2396,"material":92,"size":93,"collection":29,"collections":2397,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},253369,"tong-liu-jin-shuo-fa-fu-zuo-xiang-yi-ming-253369",[77,42,26,7,65,27,90,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4ce774931ee8808459bc5e71bd1b1db.jpg",[],{"id":2399,"slug":2400,"title":74,"dynasty":39,"author":19,"museum":20,"description":2401,"tags":2402,"thumbUrl":2403,"material":92,"size":93,"collection":29,"collections":2404,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},253368,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253368","铜绿斑驳间鎏金依稀残存，菩萨身姿修长挺秀，面相温婉沉静，薄衣贴体，尽显灵动风韵。背光以镂雕缠枝纹饰出，空灵雅致，衬得整尊造像愈发端凝出尘。\n\n历经岁月淘洗，金痕隐没在苍绿锈蚀之中，晕染出古拙厚重的沧桑质感。菩萨静立不语，眉目间仍流淌着慈悲柔婉的气韵，将旧时的审美意趣与宗教虔诚，凝缩在这方寸造像之内，静默诉说着千年前的信仰与风华。",[77,65,26,7,27,42,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d100b67a191e381a3cd6b871759ed0.jpg",[],{"id":2406,"slug":2407,"title":2408,"dynasty":39,"author":19,"museum":20,"description":129,"tags":2409,"thumbUrl":2410,"material":92,"size":93,"collection":29,"collections":2411,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},253271,"tong-liu-jin-si-bi-pu-sa-zuo-xiang-yi-ming-253271","铜鎏金四臂菩萨坐像",[77,42,65,26,7,27,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207ea1dfdae1458ead925d1b806b1b45.jpg",[],{"id":2413,"slug":2414,"title":606,"dynasty":185,"author":19,"museum":20,"description":2415,"tags":2416,"thumbUrl":2417,"material":92,"size":93,"collection":29,"collections":2418,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},253232,"tong-liu-jin-duo-wen-tian-wang-xiang-yi-ming-253232","此造像怒目圆睁，高冠展帔，神态凶悍威严，将护法天王的慑人气魄尽显无余。天王左手托举吐宝鼠，虽右手原持宝幢已佚，却依旧气场逼人，踞坐昂首张口的瑞狮之上，狮身鬃毛翻卷，犷悍野性呼之欲出。\n衣甲纹饰錾刻细腻入微，飘举的帔帛灵动舒展，于威严静穆中藏流动生机。鎏金虽经岁月消磨略有斑驳，却更添厚重古韵，狞厉的护法面相与精湛的铸造工艺相融，糅合神性威仪与匠心巧思，尽显独特的宗教造像审美意趣。",[336,26,7,27,42,90,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2713d78f23f7c44c94d4a83267cf3868.jpg",[],{"id":2420,"slug":2421,"title":74,"dynasty":39,"author":19,"museum":20,"description":2422,"tags":2423,"thumbUrl":2424,"material":92,"size":93,"collection":29,"collections":2425,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},253052,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253052","此像身姿舒展柔婉，头戴宝冠，面容沉静慈悲，自带温婉气韵。右手施无畏印予众生安抚，左手轻拈莲苞暗合清净法相，垂落衣袂线条流畅灵动，如微风拂过。背身透雕花饰层叠回转，卷草纹缠环绕出空灵橄榄形背光，顶端尖刹挺拔庄严，烘托出菩萨的超然神性。\n\n鎏金随年岁斑驳脱落，青铜底色衬着残存金箔晕开古拙质感，暗合时光洗礼后的厚重底蕴。四足方台沉稳庄重，稳稳承托宝相，尽显华贵典雅与宗教静穆之美。",[77,26,7,42,90,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c24af138a8c0b715b9d359366f20706.jpg",[],{"id":2427,"slug":2428,"title":2429,"dynasty":470,"author":19,"museum":20,"description":1889,"tags":2430,"thumbUrl":2431,"material":92,"size":93,"collection":29,"collections":2432,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},253046,"tong-liu-jin-song-shui-sheng-zao-fu-li-xiang-yi-ming-253046","铜鎏金宋水生造佛立像",[42,65,7,27,44,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e15837dc8281ccd3005046134ad56.jpg",[],{"id":2434,"slug":2435,"title":2156,"dynasty":217,"author":19,"museum":20,"description":129,"tags":2436,"thumbUrl":2437,"material":92,"size":93,"collection":29,"collections":2438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},252886,"tong-liu-jin-luo-han-zuo-xiang-yi-ming-252886",[244,42,90,26,7,27,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a919e9538c5f6bb9639cee12019ecb.jpg",[],{"id":2440,"slug":2441,"t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