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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。",[23,26,84,85,86,24,28,87,7,25],"兽面纹","牺首","兽","器",[],{"id":90,"slug":91,"title":92,"dynasty":42,"author":19,"museum":20,"description":82,"tags":93,"thumbUrl":98,"material":73,"size":74,"collection":33,"collections":99,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":37},224063,"xi-xiang-wen-gui-yi-ming-224063","西象纹簋",[23,7,24,94,28,46,25,95,96,97],"象纹","盛食器","浮雕","线刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df485376ee5971e68bd49ebeeb66d1f.jpg",[],{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":82,"tags":104,"thumbUrl":107,"material":73,"size":74,"collection":33,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":110},245316,"kui-wen-zhi-yi-ming-245316","夔纹觯",[23,7,18,105,106,24],"夔纹","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef0cfaa1d2e1430e01e0ece9be8291a.jpg",[],4,"37474F",{"id":112,"slug":113,"title":114,"dynasty":42,"author":19,"museum":20,"description":82,"tags":115,"thumbUrl":117,"material":73,"size":74,"collection":33,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":37},244024,"niao-wen-jing-yi-ming-244024","鸟纹镜",[42,7,60,24,116,25],"鸟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358635c94a803627e188d4ec2c89d3fa.jpg",[],3,{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":82,"tags":124,"thumbUrl":128,"material":73,"size":74,"collection":33,"collections":129,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":37},242821,"wei-gui-yi-ming-242821","囗簋",[23,28,125,7,24,84,126,127,87],"饪食器","龙纹","商代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709ecf3a90c657d8d176e5e8bc9370f6.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":20,"description":82,"tags":134,"thumbUrl":135,"material":73,"size":74,"collection":33,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":37},226773,"wan-ya-xing-wen-gu-yi-ming-226773","晚亚形文觚",[23,26,60,24,28,106,25,84,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512891357ff7c596f64808a884bc1a72.jpg",[],2,{"id":139,"slug":140,"title":141,"dynasty":142,"author":19,"museum":20,"description":143,"tags":144,"thumbUrl":149,"material":73,"size":74,"collection":33,"collections":150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},254321,"tong-fu-zuo-xiang-yi-ming-254321","铜佛坐像","南北朝","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。",[142,60,24,145,146,147,148,23,7],"宗教","坐像","佛教造像","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339c48fe78e69f1e25d597424e08805f.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":155,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":162,"material":73,"size":74,"collection":33,"collections":163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},243333,"ji-he-wen-lu-yi-ming-243333","几何纹炉","宋","敞口配绳纹立耳，鼓腹圆润饱满，下承兽蹄三足，身形古拙稳重。腹部浅刻几何纹饰，线条匀净规整，褪去了商周青铜的狞厉厚重，尽显宋代特有的清雅文气。\n\n铜身绿锈层叠铺覆，深浅交织间浸漫着岁月的痕迹，古意盎然。它追慕三代青铜古韵，又融入宋人内敛沉静的审美意趣，朴质造型间暗藏匠心，沉静之中尽显复古雅韵，是仿古铜炉里颇具代表性的器物。",[158,7,60,24,159,160,161,125],"宋代","几何纹","三足","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dedee2256c99102e34bf1d9b797e40.jpg",[],{"id":165,"slug":166,"title":167,"dynasty":42,"author":19,"museum":20,"description":82,"tags":168,"thumbUrl":175,"material":73,"size":74,"collection":33,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},226797,"xi-zhou-zao-qi-mao-bi-yan-yi-ming-226797","西周早期 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