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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。",[152,53,27,7,44,142,153],"周代","植物纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd84174440df93371cd1b08a506122b.jpg",[],"BDBDBD",{"id":158,"slug":159,"title":160,"dynasty":161,"author":19,"museum":20,"description":162,"tags":163,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":167,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":156},226665,"dai-gai-de-guan-zi-yi-ming-226665","带盖的罐子","五代十国","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[24,161,164,83,7,28,165,166],"带盖","釉色","器物",[],{"id":169,"slug":170,"title":171,"dynasty":172,"author":19,"museum":20,"description":116,"tags":173,"thumbUrl":178,"material":30,"size":31,"collection":32,"collections":179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},261756,"xian-hong-you-mo-yin-yun-long-wen-gao-zu-wan-yi-ming-261756","鲜红釉模印云龙纹高足碗","明",[24,174,175,7,176,177],"饮酒器","龙","鲜红釉","高足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc6691bf4a675bc9e45a7f51e31411f.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":149,"author":19,"museum":20,"description":150,"tags":184,"thumbUrl":187,"material":30,"size":31,"collection":32,"collections":188,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255914,"shou-wen-ban-wa-dang-yi-ming-255914","兽纹半瓦当",[24,27,7,44,185,186],"树","古拙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d259be56a1f7f99eaca0e65b3499190.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":149,"author":19,"museum":20,"description":150,"tags":193,"thumbUrl":195,"material":30,"size":31,"collection":32,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255638,"shou-mian-wen-ban-wa-dang-yi-ming-255638","兽面纹半瓦当",[149,86,42,27,7,194,44],"兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3c76e708576e9e0b026d84e282196ca.jpg",[],{"id":198,"slug":199,"title":200,"dynasty":65,"author":19,"museum":20,"description":201,"tags":202,"thumbUrl":208,"material":30,"size":31,"collection":32,"collections":209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255237,"tao-fang-ge-wen-jing-lan-yi-ming-255237","陶方格纹井栏","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[65,203,204,205,7,27,206,207],"陶","方格纹","几何纹饰","日用器","陶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7dfbce9fa28de0723cbea4d2442e4bf.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":65,"author":19,"museum":20,"description":201,"tags":214,"thumbUrl":218,"material":30,"size":31,"collection":32,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255236,"tao-fang-ge-hua-jing-lan-yi-ming-255236","陶方格花井栏",[215,7,204,216,217,53],"汉代陶塑","圆形纹饰","井栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75286b771086909902b6c41512c033f1.jpg",[],{"id":221,"slug":222,"title":223,"dynasty":224,"author":19,"museum":20,"description":225,"tags":226,"thumbUrl":228,"material":30,"size":31,"collection":32,"collections":229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255082,"ren-shou-wen-chang-fang-zhuan-yi-ming-255082","人兽纹长方砖","晋","以浅浮雕勾勒出牵兽奔走的瞬间，左侧人物弓身曳绳，筋骨的发力感顺着粗粝线条肆意迸发。异兽昂首扬尾，四肢腾跃，仿佛正裹挟着疾风奔驰。\n\n整幅画面没有繁复修饰，古拙粗犷的线条将山野间的鲜活张力拉满，把驯兽的野性瞬间定格在青砖之上。斑驳的砖面带着岁月浸蚀的痕迹，让这片刻的灵动愈发厚重，尽显朴拙雄浑的中古气韵，把鲜活的山野生机凝练成永恒的砖石印记。",[27,24,227,44,72,7],"砖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8406a7e068f7f8a56f14ed4c65d0904d.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":149,"author":19,"museum":20,"description":150,"tags":234,"thumbUrl":236,"material":30,"size":31,"collection":32,"collections":237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},255079,"shuang-chi-wen-ban-wa-dang-yi-ming-255079","双螭纹半瓦当",[152,42,25,27,7,44,175,235],"螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f9df30e6a9e1551da848b20d95f958.jpg",[],{"id":239,"slug":240,"title":241,"dynasty":172,"author":19,"museum":20,"description":116,"tags":242,"thumbUrl":247,"material":30,"size":31,"collection":32,"collections":248,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},255043,"tao-zi-lv-you-fang-guan-yi-ming-255043","陶紫绿釉方罐",[207,243,244,245,7,83,124,246],"明代","紫绿釉","方形器","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa699aa497bed2b73bcc2d2f1bcca453f.jpg",[],{"id":250,"slug":251,"title":252,"dynasty":253,"author":19,"museum":20,"description":254,"tags":255,"thumbUrl":261,"material":30,"size":31,"collection":32,"collections":262,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},254789,"shan-ye-ni-fo-xiang-yi-ming-254789","善业泥佛像","唐","以模压之法塑就这方造像，中心楼阁式佛塔层层递进，四方环伺诸佛与胁侍。结跏趺坐的佛尊神态沉静，立身胁侍姿态恭谨，排布紧凑却层次井然。残存的朱砂痕迹，依稀可辨当年的色彩盛景。铜锈斑驳覆于表面，洗不去造像的圆融饱满，方寸之间揉合佛塔礼拜与千佛布局，把虔诚凝于掌心大小的泥范之中，尽显旧时造像工艺的纯熟精妙，静默诉说着信仰的温度。",[256,257,7,27,258,259,260,72],"唐代","泥质","设色","宗教","佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F110f5807901cc15902a43ef9cac942f4.jpg",[],{"id":264,"slug":265,"title":252,"dynasty":253,"author":19,"museum":20,"description":266,"tags":267,"thumbUrl":269,"material":30,"size":31,"collection":32,"collections":270,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},254257,"shan-ye-ni-fo-xiang-yi-ming-254257","模压而成的泥版之上，楼阁式佛塔居于正中，分层塔身轮廓清晰，佛龛内坐佛安然。诸佛与胁侍环列四周，结跏趺坐的佛陀法相端严，立姿胁侍神态恭谨，排布错落有致，烘托出主塔的庄严尊崇。\n\n泥面虽已斑驳苍古，却依旧留存着盛唐造像的圆融饱满，线条古拙凝练，带着沉静肃穆的气韵，将佛教的清净庄严凝缩于方寸之间。它带着千年来沉淀的质朴质感，静静诉说着旧时的信仰热忱，是民间佛教造像的珍贵遗存。",[256,259,7,83,72,268,257],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89a9a0cf49fdf24097147dcc6a70ca7.jpg",[],1777535719362]