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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[45,46,25,26,102,103,104,105,106,90,107,7],"山水","楼阁","小桥","流水","树木","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],62,{"id":112,"slug":113,"title":114,"dynasty":66,"author":19,"museum":67,"description":68,"tags":115,"thumbUrl":121,"material":76,"size":77,"collection":58,"collections":122,"showCount":123,"zanCount":33,"manualWeight":11,"mainColor":61},270176,"sha-tie-juan-tao-shu-xian-he-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270176","纱贴绢桃树仙鹤图面乌木雕花柄团扇",[70,116,26,25,74,117,118,119,120,7,56],"团扇","桃树","仙鹤","竹","奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facead754c75987afe21c13f4dbff64eb.jpg",[],57,{"id":125,"slug":126,"title":127,"dynasty":18,"author":19,"museum":67,"description":128,"tags":129,"thumbUrl":139,"material":58,"size":58,"collection":58,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":61},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[44,45,130,131,132,26,25,24,133,134,135,136,49,137,138,56,7],"名画","长卷","临摹","美人","宫妓","乐器","琴","树","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],52,{"id":143,"slug":144,"title":145,"dynasty":66,"author":19,"museum":67,"description":146,"tags":147,"thumbUrl":152,"material":58,"size":58,"collection":153,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":61},241864,"ga-nan-xiang-qian-zhu-bao-er-wa-zan-yi-ming-241864","伽南香嵌珠宝耳挖簪","以珍贵伽南香为柄，錾刻缠枝卷草为底托，将诸色珍宝错落嵌入其间。圆润海珠环衬各色宝石，艳粉、娇绿、赤朱、暖珀次第排布，宝石莹亮浓丽，珍珠匀净润白，与沉香的沉雅木质相得益彰。\n此簪兼具妆饰与实用，在温婉古雅的木质之上，铺陈出富贵明艳的珠光宝气，融木雕的细腻工巧与珠宝镶嵌的华贵于一体，尽显旧时闺阁首饰的精巧华贵，是晚清细作首饰中的上乘之作。",[66,7,148,149,150,151],"镶嵌","珠宝","饰品","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfbc33d093a1c768a45acab24457cf88.jpg","玉器精选",[153],50,{"id":157,"slug":158,"title":159,"dynasty":66,"author":19,"museum":67,"description":160,"tags":161,"thumbUrl":163,"material":76,"size":77,"collection":58,"collections":164,"showCount":165,"zanCount":166,"manualWeight":11,"mainColor":34},272876,"zi-tan-mu-bian-xiu-hua-niao-tu-gua-ping-yi-ming-272876","紫檀木边绣花鸟图挂屏","此挂屏以石青暗缎为地，施针走线晕染出幽隽小景。浅绒线绣就的花树虬曲苍柔，枝头花苞攒聚、轻绽妍丽，花瓣脉络隐现，娇态尽显。玲珑湖石立于坡间，间伴细草幽竹，朴雅静谧。几只彩蝶振翅穿行，翅纹纤毫毕现，似携清风欲飞，让画面骤然生动。\n\n绣法精巧入微，将工笔花鸟画的雅致意趣融于针黹，配色柔雅和谐，石青底色衬出浅绣的温润柔和，整体清逸娴静，尽显旧时绣作的细腻灵秀，将庭院春景的恬然诗意凝固于方寸之间。",[89,87,74,106,162,72,73,7,56,26],"湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999cee02d06f47378508cade23691a87.jpg",[],48,2,{"id":168,"slug":169,"title":170,"dynasty":171,"author":172,"museum":67,"description":173,"tags":174,"thumbUrl":187,"material":76,"size":77,"collection":188,"collections":189,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":190},226148,"da-shi-men-xiao-han-si-huo-er-bai-yin-226148","大使们","不详","小汉斯·霍尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》",[175,176,25,24,177,178,179,135,180,181,182,56,183,7,51,184,185,186],"油画","写实","衣帽","地球仪","书籍","科学仪器","桌子","地毯","金属器","写实技法","室内场景","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2fbcb4770ff51108175120146d4681.jpg","油画精选",[188],"37474F",{"id":192,"slug":193,"title":194,"dynasty":66,"author":19,"museum":67,"description":68,"tags":195,"thumbUrl":199,"material":76,"size":77,"collection":58,"collections":200,"showCount":201,"zanCount":33,"manualWeight":11,"mainColor":61},270159,"zhe-se-sha-xiu-qiu-hai-tang-hua-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270159","赭色纱绣秋海棠花图面乌木雕花柄团扇",[70,74,196,197,7,151,56,198],"秋海棠","纱绣","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F820052132890f2b23ca53cf203398173.jpg",[],46,{"id":203,"slug":204,"title":205,"dynasty":206,"author":19,"museum":207,"description":208,"tags":209,"thumbUrl":212,"material":76,"size":77,"collection":58,"collections":213,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":190},226327,"ku-zhu-shi-ren-zi-pi-xi-pi-yi-ming-226327","窟主室人字披西披","唐","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[210,25,23,24,211,7],"壁画","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ba4db1bfd3ac3236001af3ca315d5d.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":66,"author":19,"museum":67,"description":218,"tags":219,"thumbUrl":222,"material":76,"size":77,"collection":58,"collections":223,"showCount":224,"zanCount":33,"manualWeight":11,"mainColor":61},270163,"xue-qing-se-chou-xiu-lan-hua-tu-mian-hei-qi-diao-hua-bing-tuan-shan-yi-ming-270163","雪青色绸绣兰花图面黑漆雕花柄团扇","绸缎，泛指丝织物。古时多是有钱人家作为衣物，其颜色光滑亮丽，五彩缤纷。《儿女英雄传》第二回：“大凡到工的官儿们送礼，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 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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。",[89,652,7,527,151,148,653,233,654,655,656,657,186],"葫芦形","博古","瑞兽","宝瓶","中国结","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe780a39b0246fbdabfe87677c261928f.jpg",[],{"id":661,"slug":662,"title":663,"dynasty":66,"author":19,"museum":67,"description":664,"tags":665,"thumbUrl":667,"material":76,"size":77,"collection":58,"collections":668,"showCount":645,"zanCount":11,"manualWeight":11,"mainColor":61},273631,"zi-tan-mu-bian-zuo-dian-cui-song-zhu-tu-cha-ping-yi-ming-273631","紫檀木边座点翠松竹图插屏","屏心以点翠技法晕染苍松，躯干虬劲古拙，松针似凝寒带露，深色底衬将翠色衬得清莹雅致，暗合君子凌霜风骨。紫檀边框透雕缠枝瑞纹，刀工圆融细腻，将木料纹理与镂刻章法相融，古雅厚重。基座嵌饰珐琅锦地纹样，宝蓝柔彩呼应点翠松影，添就华贵雍容。\n\n整器融雕刻、点翠、珐琅数种工艺于一体，将文人意趣与宫廷匠心相合，沉稳大气间尽显清代工艺审美之精妙，当属陈设雅器中的上乘之作。",[411,7,666,445,119,410,476],"点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4420039651c331e451c2e3b425117220.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":18,"author":19,"museum":67,"description":68,"tags":673,"thumbUrl":675,"material":76,"size":77,"collection":58,"collections":676,"showCount":645,"zanCount":11,"manualWeight":11,"mainColor":190},252872,"mu-diao-pu-sa-xiang-tou-yi-ming-252872","木雕菩萨像头",[23,151,7,24,674],"宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91987c42fe75af253990be37ee568f6.jpg",[],{"id":678,"slug":679,"title":680,"dynasty":99,"author":19,"museum":67,"description":681,"tags":682,"thumbUrl":685,"material":76,"size":77,"collection":58,"collections":686,"showCount":687,"zanCount":11,"manualWeight":11,"mainColor":34},288113,"han-jian-mo-ji-yi-ming-288113","汉简墨迹","汉代的书法有两大系统，一是碑刻文字，一是简牍墨迹，它们都是在纸未发明以前或未大量使用以前的书籍文献。由于材料不同，书写的工具不同、内容不同，形制不同及书写者的身份不同，因而表现出各自不同的艺术风格。\n汉简书写的文字内容或是书信记事，或是公文报告，因而不拘形迹，草率急就者居多。汉简受简面狭长、字迹小的限制。但章法布局仍能匠心独运，错落有致，随意挥洒。\n汉简的文字，篆、隶、真、行、草（章草）各体具有。汉简在书写思想上没有受到那么多的束缚，因此，表现出丰富的创造力。",[460,683,7,51,684],"隶书","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d2c75f1582ee2e8b5fbc556a2e82f2.jpg",[],12,{"id":689,"slug":690,"title":691,"dynasty":66,"author":19,"museum":67,"description":692,"tags":693,"thumbUrl":698,"material":76,"size":77,"collection":58,"collections":699,"showCount":687,"zanCount":11,"manualWeight":11,"mainColor":34},272880,"zi-tan-mu-bian-hua-ni-jin-nong-qing-tu-gua-ping-yi-ming-272880","紫檀木边画泥金农庆图挂屏","深色地子托举泥金画卷，金泽温润沉古，将山乡丰年盛景缓缓铺展。层峦皴染厚重苍劲，漫山林木错落生姿，金粉晕染出秋意深浓。错落村舍隐于林泉之间，田垄水榭、乡居人家各得其所，处处浸着农庆时节的安闲祥和。\n\n泥金工艺精工细致，屋瓦纹路、枝干松针皆勾勒入微，将乡野升平的烟火气凝于金彩之中。紫檀边框沉稳雅致，与金碧画面相映成趣，融山水意趣与民俗风情于一体，把旧日田园的丰饶闲逸定格为传世的雅致风物。",[45,89,7,694,102,103,104,105,695,106,696,697],"泥金","村落","房屋","农庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aa894d4acbe3f09ca44cf0d124c41c.jpg",[],{"id":701,"slug":702,"title":703,"dynasty":66,"author":19,"museum":67,"description":704,"tags":705,"thumbUrl":709,"material":76,"size":77,"collection":58,"collections":710,"showCount":687,"zanCount":11,"manualWeight":11,"mainColor":34},272836,"zi-tan-mu-bian-zuo-qian-ci-bai-di-qing-hua-shan-shui-tu-cha-ping-yi-ming-272836","紫檀木边座嵌瓷白地青花山水图插屏","青花瓷（blue 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然翠色与传统吉庆意趣相融，尽显民间造物里的巧思与意韵。",[719,527,151,1206,7,282],"白菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3df520b7fe57980e7961f29173d287.jpg",[],{"id":1210,"slug":1211,"title":1212,"dynasty":206,"author":19,"museum":67,"description":1213,"tags":1214,"thumbUrl":1215,"material":76,"size":77,"collection":58,"collections":1216,"showCount":1122,"zanCount":11,"manualWeight":11,"mainColor":61},223815,"lian-sheng-gui-zi-jing-mu-tuo-fu-jian-yi-ming-223815","联生贵子镜木托附件","唐代铜镜在造型上突破了汉式镜，创造出各种花镜，如葵花镜、菱花镜、方亚形镜等等。图案除了传统的瑞兽、鸟兽、画像、铭文等纹饰外，还增加了表现西方题材的海兽葡萄纹，表现现实生活的打马球纹等等。唐代铜镜的纹饰和总体布局，也突破了前期的程式规范。铜镜的构图虽然还是环绕式和对称式的表现手法，但是布局清新明朗，流畅华丽，自由活泼，特别是高浮雕技法，生气充沛，柔美自然。\n唐代铜镜在造型上已突破了汉式镜，如葵花镜、菱花镜、方亚形镜等。图案除传统的瑞兽、鸟兽、画像、铭文等纹外，还增加了表现西方题材的海兽葡萄纹，打马球纹等。盛唐以后，以花为主，多为吉祥图案，自由豪放，清新活泼，表现了大唐帝国蓬勃向上的精神面貌。装饰方法有浮雕、彩绘、镶嵌、鎏金等到，出现了金银平脱、螺钿镶嵌、涂釉、涂漆等新工艺。唐代铜镜的演变情况可分为三个时期。初唐，一方面继承隋代传统，多为四神镜、十二生肖镜、瑞兽镜；另一方面又受外影响，出现海兽葡萄镜。盛唐、中唐时，民族特点加强，多为花鸟镜、瑞花镜、人物故事镜、盘龙镜、对凤镜等，寓意吉祥。构图也不像传统汉式镜那样严格对称，而是采用绘画风格，但求均衡，不求对称。装饰手法也比以前增多，华丽精致，雄健豪放，是唐镜的最盛期，代表了唐镜的水平。晚唐处于衰落趋势，多为八卦镜，万字镜，有宗教意义，整个看上去，简单粗放，单调乏味。",[206,7,151,460,867,868,683,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac7475659ac1057721ffccf004fe6db.jpg",[],{"id":1218,"slug":1219,"title":1220,"dynasty":66,"author":19,"museum":67,"description":1221,"tags":1222,"thumbUrl":1228,"material":76,"size":77,"collection":58,"collections":1229,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":34},281588,"ri-ben-hong-se-nan-mian-ju-yi-ming-281588","日本红色男面具","古代，傩祭，傩戏的流行面很广，长江流域、黄河流域、嫩江流域都有流行。这一地区丰富多彩的傩戏群大致可以归纳为三类，即地戏、傩堂戏、变人戏。",[1223,7,151,1224,1225,1226,1227],"面具","男性","日式","惊讶","戏剧道具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae771e86d456c99cc1e16f6814e0927b.jpg",[],5,{"id":1232,"slug":1233,"title":1234,"dynasty":66,"author":19,"museum":67,"description":1221,"tags":1235,"thumbUrl":1238,"material":76,"size":77,"collection":58,"collections":1239,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":61},281576,"shuang-jiao-guai-xing-mian-ju-yi-ming-281576","双角怪形面具",[1223,7,151,1236,1237],"鬼怪","凶恶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6179debee686cb11b74654ec982acf.jpg",[],{"id":1241,"slug":1242,"title":1243,"dynasty":66,"author":19,"museum":67,"description":1244,"tags":1245,"thumbUrl":1246,"material":76,"size":77,"collection":58,"collections":1247,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":34},275918,"qing-yu-yu-bi-du-ou-yang-xiu-zong-qiu-lun-ce-yi-ming-275918","青玉御笔读欧阳修纵囚论册","红木贮匣包浆厚重莹润，顶面阴刻填金题款，古韵悠然。玉册取质匀净的青玉为材，温润清透之上，以刀代笔复刻名篇笔墨。书法端雅挺劲，刀工精准还原笔墨转折的灵动意趣，将御笔书法的笔墨情致与治玉工艺的沉静质感相融，把文人名篇、帝王笔意与传统玉作合为一体，尽显宫廷器物的庄重雅致，藏着清代艺文与工艺交织的独到审美意涵。",[7,527,460,718],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafef061402c680f9b796ee45db2439b7.jpg",[],{"id":1249,"slug":1250,"title":1251,"dynasty":66,"author":19,"museum":67,"description":1252,"tags":1253,"thumbUrl":1255,"material":76,"size":77,"collection":58,"collections":1256,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":190},275798,"qing-yu-yu-zhi-xi-zang-shi-si-shi-yun-ce-yi-ming-275798","青玉御制西藏诗四十韵册","此件以红木为器地，采用百宝嵌工艺，集牙、玉、螺钿等诸般珍材施作。盖面诗文搭配瑞祥纹样，文趣与饰韵相融；盒身嵌翎毛走兽，造型生动雅致，诸色材质明暗交错，色调和谐沉静。\n\n整体形制规整秀雅，收纳之用与陈设之美兼得，将诗文意趣、吉祥寓情与匠心工艺揉合一处，尽显清代细作造物的雅致格调，是传统百宝嵌工艺的精巧演绎。",[718,527,7,151,148,460,27,1254,282,51],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e09bbeeb8289eecc90a7be64ac4cef.jpg",[],{"id":1258,"slug":1259,"title":1260,"dynasty":66,"author":19,"museum":67,"description":1261,"tags":1262,"thumbUrl":1265,"material":76,"size":77,"collection":58,"collections":1266,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":190},275072,"zi-tan-mu-shi-zong-xian-huang-di-da-en-huang-kao-sheng-ling-zhi-bao-wei-yi-ming-275072","紫檀木世宗宪皇帝大恩皇考圣灵之宝位","此器取紫檀为材，色泽沉穆古雅。边框嵌饰回纹环围牌身，规整间尽显祭祀礼制的庄严肃穆。牌身阴刻填金铭文，笔力端稳厚重，赤金与深褐紫檀相映，华贵而不失内敛，尽显清式礼器的规整威仪。\n\n下承底座高浮雕螭龙纹，龙身辗转灵动，与牌身的方正肃穆形成动静对照，于庄重中揉入灵动巧思，尽显清代匠作的精湛工法。整器形制庄严规整，将礼制规制与工艺巧思相融，静静承载着追远敬祖的肃穆情怀，是清代祭祀礼器中的上乘之作。",[7,151,1263,868,1264,1060],"礼器","牌位","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c22a707b2f71c2876a1f7c69cb33b8.jpg",[],{"id":1268,"slug":1269,"title":1270,"dynasty":66,"author":19,"museum":67,"description":1271,"tags":1272,"thumbUrl":1279,"material":76,"size":77,"collection":58,"collections":1280,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":190},275009,"lan-se-duan-xiu-jin-zi-bei-dou-tian-zhong-po-jun-xing-jun-mu-ding-fan-yi-ming-275009","蓝色缎绣金字北斗天中破军星君木顶幡","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[1273,1274,87,1275,7,1276,1277,1278],"道幡","道教","缎面","破军星君","北斗星君","宗教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5669ec82db284b204a346d3361438e2f.jpg",[],{"id":1282,"slug":1283,"title":1284,"dynasty":171,"author":19,"museum":67,"description":1285,"tags":1286,"thumbUrl":1287,"material":76,"size":77,"collection":58,"collections":1288,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":34},274082,"zi-tan-mu-bian-qian-yu-ren-wu-tu-cha-ping-yi-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Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[175,3328,176,25,3329,3330,3331,3332,56,7],"印象派","光影","笔触","人体局部","手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b462c60042430d87ee2c37c610af71.jpg",[],{"id":3336,"slug":3337,"title":3338,"dynasty":171,"author":19,"museum":67,"description":650,"tags":3339,"thumbUrl":3341,"material":76,"size":77,"collection":58,"collections":3342,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":34},230771,"lou-kong-mu-gai-yuan-yang-yu-ding-yi-ming-230771","镂空木盖鸳鸯玉顶",[527,7,151,307,3340],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8559882a709ebbb52c5a340771433475.jpg",[],{"id":3344,"slug":3345,"title":3346,"dynasty":171,"author":3347,"museum":67,"description":3348,"tags":3349,"thumbUrl":3350,"material":258,"size":77,"collection":58,"collections":3351,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":34},230569,"rong-bo-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230569","戎博迦尊者","平安时代 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[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。",[305,7,151,412,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0cb4048cf77cedee64c05bd8ae06ca.jpg",[],{"id":3378,"slug":3379,"title":3380,"dynasty":171,"author":19,"museum":67,"description":3381,"tags":3382,"thumbUrl":3383,"material":58,"size":58,"collection":58,"collections":3384,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":61},225399,"fu-shi-hui-156-yi-ming-225399","浮世绘156","这幅美人绘尽显江户仕女柔婉风情，女子斜倚木栏，高发髻簪饰错落，面妆清丽秀雅，垂眼颔首间自带慵懒娴静的韵致。和服层次丰富，纯黑外褂配圆形家纹，端庄沉稳，腰覆与带扬织就复古几何团花，古雅耐看。曳地振袖遍绣粉白花枝，墨色底衬得花影柔艳灵动，配色冷暖交织，繁简相宜。画面线条舒展凝练，设色调和柔润，暖棕木栏衬出佳人沉静身姿，将和服织造美学与仕女慵懒情态相融，尽显和风雅致的市井意趣，勾勒出江户时代仕女独有的温婉风华。",[1089,1060,25,24,133,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64e7fde39ceeced118819dbca6af9988.jpg",[],{"id":3386,"slug":3387,"title":3388,"dynasty":66,"author":19,"museum":67,"description":1221,"tags":3389,"thumbUrl":3391,"material":76,"size":77,"collection":58,"collections":3392,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":190},281579,"bai-se-nv-mian-ju-yi-ming-281579","白色女面具",[1223,7,151,1521,3390],"微笑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4e733134b8ee6a8fa08d5c3dfbfea7.jpg",[],{"id":3394,"slug":3395,"title":3388,"dynasty":66,"author":19,"museum":67,"description":1221,"tags":3396,"thumbUrl":3397,"material":76,"size":77,"collection":58,"collections":3398,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":61},281578,"bai-se-nv-mian-ju-yi-ming-281578",[1223,151,1521,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3608c6ff5f7596ae9e60d6621a6524bb.jpg",[],{"id":3400,"slug":3401,"title":3402,"dynasty":66,"author":19,"museum":67,"description":1221,"tags":3403,"thumbUrl":3407,"material":76,"size":77,"collection":58,"collections":3408,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},281575,"hong-se-tong-mu-wu-shi-mian-ju-yi-ming-281575","红色铜目武士面具",[1223,3404,151,7,842,3405,3406],"武士面具","红色","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd25eab7e0e9bfcbc7d4604c3d247765.jpg",[],{"id":3410,"slug":3411,"title":3412,"dynasty":39,"author":19,"museum":67,"description":2413,"tags":3413,"thumbUrl":3415,"material":76,"size":77,"collection":58,"collections":3416,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":61},278290,"chou-bei-li-fa-yuan-shi-wu-ju-di-yi-ke-yin-yi-ming-278290","“筹备立法院事务局第一科”印",[138,7,884,3414],"官印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf90c6ac303c01a262b116740e2730f.jpg",[],{"id":3418,"slug":3419,"title":3420,"dynasty":66,"author":19,"museum":67,"description":2404,"tags":3421,"thumbUrl":3423,"material":76,"size":77,"collection":58,"collections":3424,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},278230,"mu-feng-zhi-fang-pao-fu-pai-yi-ming-278230","木“奉旨放炮”符牌",[7,151,1060,3422,460,868],"符牌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9206c6584863a0129f6895f453d87659.jpg",[],{"id":3426,"slug":3427,"title":3428,"dynasty":66,"author":19,"museum":67,"description":2404,"tags":3429,"thumbUrl":3430,"material":76,"size":77,"collection":58,"collections":3431,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},278226,"mu-fu-cheng-men-he-fu-yi-ming-278226","木“阜城门”合符",[7,1060,460,867,2406,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993f93090b5c76d768bc5ffccbf9a1fa.jpg",[],{"id":3433,"slug":3434,"title":3435,"dynasty":66,"author":19,"museum":67,"description":3436,"tags":3437,"thumbUrl":3438,"material":76,"size":77,"collection":58,"collections":3439,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},278218,"mu-shang-deng-hei-hu-chuo-yi-ming-278218","木“上等黑狐”戳","中国的雕刻文字，最古老的有殷的甲骨文，周的钟鼎文，秦的刻石等，凡在金铜玉石等素材上雕刻的文字通称“金石”。玺印即包括在“金石”里。玺印的起源或说商代，或说殷代，至今尚无定论。根据遗物和历史记载，至少在春秋战国时已出现，战国时代已普遍使用。起初只是作为商业上交流货物时的凭证。秦始皇统一中国后，印章范围扩大为证明当权者权益的法物，为当权者掌握，作为统治人民的工具。\n战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[7,138,884,1060,198],"https:\u002F\u002Fo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破空的脆响，藏着冷兵器时代的肃杀余韵与匠人巧思。",[985,1907,3603,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb4bc3f76c3423ef417a64562ddeb72.jpg",[],{"id":11097,"slug":11098,"title":11099,"dynasty":66,"author":19,"museum":67,"description":11100,"tags":11101,"thumbUrl":11103,"material":76,"size":77,"collection":58,"collections":11104,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275593,"zi-tan-xiang-tong-bing-ma-bian-yi-ming-275593","紫檀镶铜柄马鞭","骑马的辅助用具，用于辅助驱使马匹按照人类的意愿完成各种动作。根据在不同马术比赛项目中使用的马鞭分类，分为障碍鞭和舞步鞭。",[282,7,842,11102,198],"马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a94ba4f62510576c32af32383edf90.jpg",[],{"id":11106,"slug":11107,"title":11108,"dynasty":66,"author":19,"museum":67,"description":4149,"tags":11109,"thumbUrl":11111,"material":76,"size":77,"collection":58,"collections":11112,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275587,"mu-bing-hei-qi-qiao-gao-li-dao-yi-ming-275587","木柄黑漆鞘高丽刀",[985,3603,221,7,11110],"刀剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e11bfa86f29d52c8b9ce6b5a2929fca.jpg",[],{"id":11114,"slug":11115,"title":3672,"dynasty":66,"author":19,"museum":67,"description":11116,"tags":11117,"thumbUrl":11118,"material":76,"size":77,"collection":58,"collections":11119,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275584,"si-tong-huo-qiang-yi-ming-275584","它以四铳并联排布，将火力密度与便携性精妙平衡，燧发火机的金属构件带着时光氧化的斑驳痕迹，与温润包浆的实木枪托相映成趣。\n匠人巧思藏于每一处细节，铳身严丝合缝，扳机联动设计精妙，既承载着实战的杀伐之用，也饱含手工造物的温度，是武备智慧与传统工艺的融合。冷硬金属与柔润木色碰撞，刻下岁月冲刷的厚重质感，静静诉说着过去的烟火往事。",[985,3675,3603,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96821488bcaa71b6540c5814d9749a0.jpg",[],{"id":11121,"slug":11122,"title":11123,"dynasty":66,"author":19,"museum":67,"description":11124,"tags":11125,"thumbUrl":11126,"material":76,"size":77,"collection":58,"collections":11127,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275582,"shuang-tong-huo-qiang-yi-ming-275582","双筒火枪","这对燧发火枪形制规整协调，胡桃木枪托凝着经年摩挲的温润包浆，暗哑木质纹理里晕开时光的厚重印记。燧发机铜件覆着旧锈，却仍能窥见往日錾刻纹饰的精巧工致。修长枪管走线平直利落，尽显沉稳扎实的打制功底。\n\n配套留存的鞣制皮囊，造型贴合携行，是当年盛装火药与弹丸的实用利器。整套器物褪去了杀伐锐势，余下百年沉淀的匠人巧思，静静铺陈出清代民用火器的真实风貌，作为冷兵向热武过渡时代的鲜活注脚，定格了晚清民间武具的细节质感。",[985,3675,7,3603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7ff4b64885d4af5dcb58e3959c78bd.jpg",[],{"id":11129,"slug":11130,"title":11131,"dynasty":66,"author":19,"museum":67,"description":11132,"tags":11133,"thumbUrl":11134,"material":76,"size":77,"collection":58,"collections":11135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275577,"tie-zu-ya-zui-xing-wei-shao-jian-yi-ming-275577","铁镞鸭嘴行围哨箭","鸭嘴形铁镞扁薄周正，棱线利落分明，既弱化了侵彻杀伤力，又能精准把控受力，适配行围射猎的特殊需求。镞尾与箭杆套接严丝合缝，髹漆箭杆经百年仍挺括顺滑，未见明显形变。上方箭支的禽羽尾翼排布齐整，借风性稳定弹道，尽显匠人巧思。它内置鸣哨，发箭时会破空鸣响，既能追踪箭路，也兼具礼仪示警之用，是旧时围猎文化的具象缩影，凝缩了实用功能与礼制价值的双重匠心。",[985,3603,1907,10635,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a6a2501e1d9bad18574223c348336ba.jpg",[],{"id":11137,"slug":11138,"title":10641,"dynasty":66,"author":19,"museum":67,"description":11139,"tags":11140,"thumbUrl":11141,"material":76,"size":77,"collection":58,"collections":11142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275574,"tie-zu-luan-ling-hua-jian-yi-ming-275574","箭杆修长莹润，铁镞凝着岁月晕开的暗沉色泽，雕花饰纹精巧雅致，将杀伐之具晕染出雅致格调。三支羽箭翎态各异，其一翎羽苍劲完整，带着猎猎古意；其二绒羽轻扬，添了几分灵动柔婉；其三利落齐整，自存端正气度。\n冷硬铁器搭配柔润箭杆、灵动翎羽，刚柔相济。作为武备之器，却暗藏审美巧思，把实用与雅致相融，静静伫立间，似能窥见挽弓引箭的飒爽身姿，藏着旧时武具里的独特意趣，是时光沉淀下来的匠心遗存，将兵刃打磨成兼具观赏性的工艺之作，尽显传统造物的精妙心思。",[985,1907,3603,7,10644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b7b7732ba6d50198d1ff61180d1c87.jpg",[],{"id":11144,"slug":11145,"title":11146,"dynasty":66,"author":19,"museum":67,"description":11147,"tags":11148,"thumbUrl":11150,"material":76,"size":77,"collection":58,"collections":11151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275567,"tie-zu-san-chi-yu-cha-jian-yi-ming-275567","铁镞三齿鱼叉箭","这是一件融实用与巧思的渔猎器具，三齿铁镞棱角分明，既可以深扎猎物躯体，又能牢牢勾挂防止挣脱，适配河湖渔猎的实际需求。修长竹身兼具韧性与轻便，尾羽严整排布，精准平衡配重，让抛射时的轨迹更稳、落点更准。\n\n它没有繁复装饰，却将功能美学体现到极致，每一处形制都贴合渔猎场景的日常需求，藏着旧时劳动者对造物的朴素思考，静静诉说着过去渔猎生活里的生存智慧，是民间实用工艺的质朴缩影。",[985,3603,7,1907,11149],"渔猎器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd245c881ad96d56bd7eb3246d1e629b.jpg",[],{"id":11153,"slug":11154,"title":11155,"dynasty":66,"author":19,"museum":67,"description":11156,"tags":11157,"thumbUrl":11158,"material":76,"size":77,"collection":58,"collections":11159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},275566,"tie-zu-zun-hua-zhang-pi-jian-yi-ming-275566","铁镞遵化长鈚箭","箭镞扁薄修长，暗锈凝着百年风尘，肌理间藏着锻打的质朴力道。竹质箭杆匀直挺括，浅棕木纹顺着箭身迤逦舒展，带着山野竹材的温润质感。尾羽虽褪去油亮光泽，排布依旧齐整，留存着匠人穿线捆缚的细密痕迹。\n\n它曾是引弓待发的锐器，褪去杀伐之气后，只剩器物本身的沉静厚重，将旧时武备的规制章法藏于寸尺之间，静静诉说着往昔校场演武、秋猎弯弓的旧日图景，凝着冷兵器时代独有的硬朗风骨。",[985,3603,7,1907],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46dfbf78128ddba1b39be6a64c802c.jpg",[],{"id":11161,"slug":11162,"title":11155,"dynasty":66,"author":19,"museum":67,"description":11163,"tags":11164,"thumbUrl":11165,"material":76,"size":77,"collection":58,"collections":11166,"showCount":11,"zanCount":1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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。",[282,198,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd36d5446bdcaa25b1cc84dd37a7bc0.jpg",[],{"id":21949,"slug":21950,"title":21951,"dynasty":66,"author":19,"museum":67,"description":1334,"tags":21952,"thumbUrl":21953,"material":76,"size":77,"collection":58,"collections":21954,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":190},243261,"qian-long-kuan-jing-yi-ming-243261","乾隆款镜",[66,842,7,151,282,21433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6f1d6d6064e679ce526d7798688a4d.jpg",[],{"id":21956,"slug":21957,"title":21958,"dynasty":66,"author":19,"museum":67,"description":1334,"tags":21959,"thumbUrl":21961,"material":76,"size":77,"collection":58,"collections":21962,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":190},243258,"mu-bing-su-jing-yi-ming-243258","木柄素镜",[719,7,151,148,565,21433,150,15255,16492,21960],"打磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a46d623b9bc119920112ceb9c96e6c3.jpg",[],{"id":21964,"slug":21965,"title":21966,"dynasty":66,"author":19,"museum":67,"description":1334,"tags":21967,"thumbUrl":21969,"material":76,"size":77,"collection":58,"collections":21970,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},243257,"mu-bing-jing-yi-ming-243257","木柄镜",[719,7,842,151,282,565,10733,21968],"装饰元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ece203acecfc30932b21735392c00a.jpg",[],{"id":21972,"slug":21973,"title":21958,"dynasty":66,"author":19,"museum":67,"description":1334,"tags":21974,"thumbUrl":21976,"material":76,"size":77,"collection":58,"collections":21977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":190},243256,"mu-bing-su-jing-yi-ming-243256",[719,221,7,151,764,198,150,21975,233],"装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a643502802ea23fd160bd6fdba9ac9a.jpg",[],{"id":21979,"slug":21980,"title":21958,"dynasty":66,"author":19,"museum":67,"description":1334,"tags":21981,"thumbUrl":21983,"material":76,"size":77,"collection":58,"collections":21984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},243255,"mu-bing-su-jing-yi-ming-243255",[719,842,7,16492,2988,16735,21982],"手柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e8bcdcd2596fab38599958e082f1b4.jpg",[],{"id":21986,"slug":21987,"title":21958,"dynasty":66,"author":19,"museum":67,"description":1334,"tags":21988,"thumbUrl":21989,"material":76,"size":77,"collection":58,"collections":21990,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":190},243254,"mu-bing-su-jing-yi-ming-243254",[719,221,151,27,1418,7,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b883e2bb0daf561abc3cd0fef82596.jpg",[],{"id":21992,"slug":21993,"title":21994,"dynasty":66,"author":19,"museum":67,"description":21995,"tags":21996,"thumbUrl":21997,"material":76,"size":77,"collection":58,"collections":21998,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":190},242121,"tan-xiang-mu-chao-zhu-yi-ming-242121","檀香木朝珠","以檀香木为珠体，清和香气随佩戴漫溢。主珠匀净素朴，搭配翡翠雕花背云、浓艳碧玺坠角，白玉、珊瑚、翡翠分珠与结饰错落其间，冷色莹润与暖色明丽相映成趣。\n制式恪守礼制，饰件排布规整有度，将清雅木质与华贵宝石糅合一体，平衡文心雅致与宫廷贵气，尽显旧时配饰工艺的精湛水准，暗合清代含蓄端庄的审美意趣。",[719,7,527,150,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ec8b32999b1ca68a384fd5b087686c.jpg",[],{"id":22000,"slug":22001,"title":22002,"dynasty":66,"author":19,"museum":67,"description":908,"tags":22003,"thumbUrl":22005,"material":76,"size":77,"collection":58,"collections":22006,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},241970,"huang-yang-mu-qian-jin-fu-zhu-shi-ru-yi-yi-ming-241970","黄杨木嵌金蝠珠石如意",[719,7,1565,354,22004,5634,186,2188],"珠子","https:\u002F\u002Foss.chuangqi.store\u002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