[{"data":1,"prerenderedAt":177},["ShallowReactive",2],{"subject-ming-ke":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5469,"ming-ke","铭刻","铭刻画高清赏析","精选中国历代铭刻题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb9edf3f057ca2df55cb1ebf792fad78.jpg",0,16,[14,40,55,66,73,83,95,106,115,121,130,139,147,156,163,171],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},226532,"da-yu-ding-ming-wen-bei-ta-quan-pian-yi-ming-226532","大盂鼎铭文碑拓全片","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。",[23,24,25,26,27,28,29,30,31,32,7],"高清","拓本","书法","篆书","金文","铭文","碑拓","西周风格","篆体","金石文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4648fe470a2c89e4438f34ddff6337a.jpg","未知","Xcm*Xcm","",[],55,"795548",{"id":41,"slug":42,"title":43,"dynasty":44,"author":19,"museum":20,"description":45,"tags":46,"thumbUrl":51,"material":34,"size":35,"collection":36,"collections":52,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":54},271682,"yu-ming-she-shi-fang-tang-ba-leng-yan-yi-ming-271682","御铭歙石仿唐八棱砚","清","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[47,48,49,50,7],"砚","文房器具","歙石","八棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb6a2cc5f729e190f44f86a5cd2a421.jpg",[],2,"37474F",{"id":56,"slug":57,"title":58,"dynasty":44,"author":19,"museum":20,"description":45,"tags":59,"thumbUrl":63,"material":34,"size":35,"collection":36,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":39},272293,"wang-yuan-shu-ming-duan-shi-chang-fang-yan-yi-ming-272293","王元枢铭端石长方砚",[47,60,61,62,7],"端石","长方砚","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a0127a0175eb6ae4febc8cb7aac034.jpg",[],1,{"id":67,"slug":68,"title":43,"dynasty":44,"author":19,"museum":20,"description":45,"tags":69,"thumbUrl":71,"material":34,"size":35,"collection":36,"collections":72,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":54},271692,"yu-ming-she-shi-fang-tang-ba-leng-yan-yi-ming-271692",[47,49,50,7,62,70],"雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648db60e137d588809825d13e3d52b72.jpg",[],{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":20,"description":78,"tags":79,"thumbUrl":81,"material":34,"size":35,"collection":36,"collections":82,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":54},271543,"jiang-yun-lou-zhu-ren-ming-duan-shi-chao-shou-yan-yi-ming-271543","绛云楼主人铭端石抄手砚","明","此砚石色沉厚乌润，包浆古穆莹润，器型浑朴稳重。砚池内立柱错落排布，匠心独具：既分隔出数处墨堂，可同时研储不同墨色，又能减缓墨汁挥发干涸，将文房实用巧思融于古朴造型中。旧藏题铭的痕迹晕开晚明文人书房的雅致余韵，静静诉说着旧时文翰雅事，是兼具审美意趣与日常功用的文房佳器。",[47,62,60,80,7],"抄手砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71070f54ebd4e500c33d218156d990c8.jpg",[],{"id":84,"slug":85,"title":86,"dynasty":87,"author":19,"museum":20,"description":88,"tags":89,"thumbUrl":93,"material":34,"size":35,"collection":36,"collections":94,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},272716,"cheng-ni-shi-han-shi-yan-yi-ming-272716","澄泥石函式砚","宋","此砚石质温润凝厚，包浆静穆古雅，函式形制朴拙沉稳，自带沉静雅致的气韵。砚面镌刻诗文笔力苍劲端秀，笔墨意趣与石质肌理相融，既叙说澄泥古砚的风雅源流，也为这件文房器物晕染出浓郁的人文底色。宋时制砚的内敛匠心，与后世题咏的文人情思凝合一方，将实用文玩与赏鉴雅趣融为一体，静静诉说着旧时文斋案头的清寂风雅，尽显文房器物的隽永意韵。",[47,90,91,25,92,7],"文房四宝","楷书","澄泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b6d68a53def74ec483e2fd980459288.jpg",[],{"id":96,"slug":97,"title":98,"dynasty":44,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":104,"material":34,"size":35,"collection":36,"collections":105,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},272030,"yu-ming-cheng-ni-fang-song-yu-tu-chao-yuan-yan-yi-ming-272030","御铭澄泥仿宋玉兔朝元砚","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。",[47,101,62,25,102,7,103],"澄泥砚","兔","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a5e3622818066cbd4f84515f71292c3.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":44,"author":19,"museum":20,"description":45,"tags":110,"thumbUrl":113,"material":34,"size":35,"collection":36,"collections":114,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},271818,"yu-ming-she-shi-fang-tang-guan-xiang-yan-yi-ming-271818","御铭歙石仿唐观象砚",[47,49,62,111,7,112],"石质","八边形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62696130f0aa20af945dec9fb542ff5c.jpg",[],{"id":116,"slug":117,"title":109,"dynasty":44,"author":19,"museum":20,"description":45,"tags":118,"thumbUrl":119,"material":34,"size":35,"collection":36,"collections":120,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},271769,"yu-ming-she-shi-fang-tang-guan-xiang-yan-yi-ming-271769",[47,49,62,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463bd3b15cec2315881c6a7848cac6aa.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":77,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":128,"material":34,"size":35,"collection":36,"collections":129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},271224,"lin-chun-ze-ming-duan-shi-sui-xing-yan-yi-ming-271224","林春泽铭端石随形砚","依石之天然轮廓随形就势，不作过多修饰，浑朴古雅尽显原石本真之态。砚面凝厚包浆，是百年摩挲晕染出的温润光泽，暗合旧时文人朝夕相伴的翰墨日常。\n\n墨池顺着石势自然延展，天工与文心相融无间，静默伫立间仿佛仍留存着昔时濡墨挥毫的余温，将文人幽居雅玩之思凝于一方石上，沉静隽永，尽显古砚的岁月风华。",[47,60,127,62,7],"随形砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960770ffef2b684a1b0856faa3661b68.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":44,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":137,"material":34,"size":35,"collection":36,"collections":138,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},271158,"ri-ben-duo-he-cheng-han-bei-shi-mo-yi-ming-271158","日本多贺成汉碑式墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[136,62,7,25],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cc3c973caa50a4c08749de2527df61.jpg",[],{"id":140,"slug":141,"title":43,"dynasty":44,"author":19,"museum":20,"description":45,"tags":142,"thumbUrl":144,"material":34,"size":35,"collection":36,"collections":145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},271127,"yu-ming-she-shi-fang-tang-ba-leng-yan-yi-ming-271127",[47,49,143,62,7],"八棱形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2e1faeac12f6395bb093412a02e228.jpg",[],"BDBDBD",{"id":148,"slug":149,"title":150,"dynasty":44,"author":19,"museum":20,"description":151,"tags":152,"thumbUrl":154,"material":34,"size":35,"collection":36,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},271120,"yu-ming-she-shi-fang-han-shi-qu-ge-wa-yan-yi-ming-271120","御铭歙石仿汉石渠阁瓦砚","古代殿瓦又名“瓦砚”。汉魏未央官铜雀台等诸殿瓦，瓦身如半个，面至背厚一寸弱，背平可研墨，唐宋以来，去其身以为砚，俗呼“瓦头砚”。砚，也作“研”。唐贯休《禅月集·砚瓦诗》：“应念研磨苦，无为瓦砾看。”参阅宋苏易简《文房四谱·砚谱》、《百宝总珍集·瓦砚》、明曹昭《格古要论·汉末未央宫瓦砚记》。有地名称砚瓦。有地质名词砚瓦山组。",[47,62,49,153,7,25],"瓦砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fd85d8acb0a0708deb7d9e553f77957.jpg",[],{"id":157,"slug":158,"title":159,"dynasty":44,"author":19,"museum":20,"description":45,"tags":160,"thumbUrl":161,"material":34,"size":35,"collection":36,"collections":162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},270927,"jia-qing-yu-shang-ming-song-hua-jiang-shi-yan-yi-ming-270927","嘉庆御赏铭松花江石砚",[47,62,111,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6265dad24a4263bc41789d9dce9f8cdb.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":44,"author":19,"museum":20,"description":134,"tags":167,"thumbUrl":169,"material":34,"size":35,"collection":36,"collections":170,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},270734,"qian-long-kuan-nei-dian-qing-mei-yu-mo-yi-ming-270734","乾隆款内殿轻煤御墨",[136,62,7,168],"御墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e622a3104f5b62a200bb55e162970d.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":77,"author":19,"museum":20,"description":134,"tags":175,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},270575,"wang-jun-zheng-qing-lin-sui-mo-yi-ming-270575","汪君政青麟髓墨",[136,62,7],[],1777535723957]