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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。",[23,88,25,7,26,27,18,129],"古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d488bc59abff2807dc7d206e50744f7.jpg",[],53,{"id":134,"slug":135,"title":136,"dynasty":137,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":140,"material":29,"size":29,"collection":30,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":33},242617,"xing-fu-yi-ding-yi-ming-242617","幸父乙鼎","周","立耳微撇，承托宽腹敛口的器身，轮廓饱满沉稳。腹身兽面纹线条狞厉古朴，卷涡纹路在铜锈斑驳间流转，尽显上古青铜礼器的狞厉之美。\n\n三只柱足粗壮敦实，稳稳撑起鼎身，带着祭祀重器的威严厚重。铜色间浮着绿锈红斑，是千年时光浸漫的痕迹，将礼制的庄重与岁月沧桑凝于一身。静静伫立间，沉凝古韵扑面而来，尽显上古青铜工艺的精湛与肃穆品格。",[23,25,7,26,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ffc5fb3cb6154ffd307ad1fd807bc4.jpg",[30],47,{"id":144,"slug":145,"title":146,"dynasty":18,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":149,"material":29,"size":29,"collection":30,"collections":150,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":33},242679,"ya-fu-yi-ding-yi-ming-242679","亚父乙鼎","立耳微张，三足沉稳敦实，器型周正古雅，自带上古祭祀礼器的厚重威仪。腹部铺陈兽面纹饰，卷云纹勾勒出兽面轮廓，凸鼓圆目凌厉有神，线条狞厉又不失精巧，将神异威严凝铸于青铜肌理。\n\n器身乌亮包浆凝着悠悠岁月，边角斑驳锈迹是时光烙下的印记，静静诉说着庙堂祭典的庄重肃穆。它将先祖对天地神祇的敬畏熔铸其中，尽显青铜礼器独有的狞厉之美，把千年前的信仰与礼制定格在这一方铜鼎之上，带着跨越时空的厚重底蕴。",[23,88,25,7,26,24,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe12b91ad285945d15e076cfb86f7fef.jpg",[30],41,{"id":153,"slug":154,"title":155,"dynasty":18,"author":19,"museum":20,"description":156,"tags":157,"thumbUrl":158,"material":29,"size":29,"collection":30,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":65},242607,"ge-ding-yi-ming-242607","戈鼎","立耳高挑挺括，三足敦实沉稳，器腹圆腴舒展，造型凝练庄重。颈间纹饰带排布规整，兽面纹与涡旋纹相间排布，狞厉古拙的兽面搭配圆柔涡纹，刚柔相济，将上古重神尚巫的审美意韵凝于铜身。幽绿铜色裹着温润包浆，斑驳锈迹刻录千年风尘，沉稳器型暗合礼制的庄重肃穆，狞丽纹饰诉说着先民对天地神祇的敬畏，是青铜时代狞厉之美的绝佳缩影。",[23,88,40,7,25,26,24,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40686117cb4ebf720c28ddef9725408c.jpg",[30],40,{"id":162,"slug":163,"title":164,"dynasty":18,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":167,"material":29,"size":29,"collection":30,"collections":168,"showCount":169,"zanCount":122,"manualWeight":11,"mainColor":33},242709,"fu-yi-fang-ding-yi-ming-242709","父乙方鼎","立耳方腹，柱腿沉稳敦实，器型规整肃穆，自带上古礼器的威严厚重。口沿下浮雕兽面，涡纹蜷曲缠绕，狞厉兽面裹挟着神秘威慑感，腹身乳钉纹齐整排布如星芒密布，粗粝肌理衬出青铜冷硬质感，腿足兽面与器身纹饰呼应，层层铺展上古神权礼制的庄重。沉穆铜色裹着厚重包浆，带着岁月摩挲的痕迹，将商代青铜狞厉美学凝于一身，静静诉说着上古祭祀的庄严礼序，尽显庄重狞美的上古气象。",[23,25,88,26,40,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fba942f18f720b4c0aafa4b440b04d.jpg",[30],38,{"id":171,"slug":172,"title":173,"dynasty":18,"author":19,"museum":20,"description":127,"tags":174,"thumbUrl":178,"material":77,"size":78,"collection":29,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":33},226731,"ya-xing-wen-fu-yi-ding-yi-ming-226731","亚形文父乙鼎",[39,23,175,26,176,177,25,7],"铸造","铭文","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5e2837847f970d98f78e06452c99c1.jpg",[],36,{"id":182,"slug":183,"title":184,"dynasty":137,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":187,"material":29,"size":29,"collection":30,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":33},242698,"ding-yi-ming-242698","鼎","立耳微撇，三足敦实沉稳，器腹圆鼓饱满，线条凝练古雅。器身纹饰带着独特的庄重感，圆形乳钉搭配回字方纹，朴拙间透着规整礼制。\n\n铜色历经岁月晕染，斑驳绿锈晕开苍苔般的古韵，腹部鎏金余韵泛着沉敛柔光，深浅色泽交织出时光痕迹。它曾是承载祭祀宴飨的礼器，将古人心底对天地先祖的敬畏，浇筑进青铜肌理中，每一处锈痕都是光阴篆刻的印记，静静诉说千年前的礼乐风华，尽显上古青铜工艺的浑朴大气与礼制精神。",[23,25,7,88,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7020bc2cb2b3e928b84409d012e118.jpg",[30],32,{"id":191,"slug":192,"title":193,"dynasty":18,"author":19,"museum":20,"description":194,"tags":195,"thumbUrl":196,"material":29,"size":29,"collection":30,"collections":197,"showCount"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质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、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。",[388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a2d55f02bd4b1d2b4d074c4137febc.jpg",[],{"id":1081,"slug":1082,"title":1083,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1084,"thumbUrl":1085,"material":77,"size":78,"collection":29,"collections":1086,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":33},245188,"kui-wen-fang-ding-yi-ming-245188","夔纹方鼎",[23,26,305,25,7,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c3a77f7ef20f151ba05e01181eb791.jpg",[],{"id":1088,"slug":1089,"title":1090,"dynasty":424,"author":19,"museum":20,"description":425,"tags":1091,"thumbUrl":1093,"material":77,"size":78,"collection":29,"collections":1094,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":33},244946,"shuang-er-xian-huan-zeng-yi-ming-244946","双耳衔环甑",[601,23,88,7,1092,175],"双耳衔环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aecc934879b5cdc06132a4a0732c8a7.jpg",[],{"id":1096,"slug":1097,"title":17,"dynasty":18,"author":19,"museum":20,"description":1098,"tags":1099,"thumbUrl":1100,"material":29,"size":29,"collection":30,"collections":1101,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":33},244690,"shou-mian-wen-ding-yi-ming-244690","立耳敞口，袋腹承三足，形制沉稳古拙，自带祭祀重器的肃穆气场。器身满铸兽面纹，圆目突出，线条狞厉深邃，雷纹衬底铺陈，将殷商特有的神异威严尽数勾勒，是神权王权交织的精神缩影。青黑铜身斑驳锈蚀，沉淀千载时光，把上古冶铸匠心与礼器厚重融为一体，静静诉说着那个时代的信仰狂热与工艺巅峰，尽显青铜文明的厚重底色。",[23,27,7,25,26,18,24,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f47840c6c1022570d39dbdaac250eb.jpg",[30],{"id":1103,"slug":1104,"title":1105,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1106,"thumbUrl":1108,"material":77,"size":78,"collection":29,"collections":1109,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":65},244422,"lei-wen-bu-yi-ming-244422","雷纹瓿",[23,26,1107,7],"雷纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ca08c079abcc562c01a256577e6f6f.jpg",[],{"id":1111,"slug":1112,"title":1113,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1114,"thumbUrl":1116,"material":77,"size":78,"collection":29,"collections":1117,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":33},244395,"zuo-cong-yi-pan-yi-ming-244395","作从彝盘",[23,88,25,7,1115,175],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99819af4234c17387fb2e4c968b831.jpg",[],{"id":1119,"slug":1120,"title":1121,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1122,"thumbUrl":1124,"material":77,"size":78,"collection":29,"collections":1125,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":33},244318,"xian-wen-yu-yi-ming-244318","弦纹盂",[39,23,88,1123,26,7,40],"弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac2f33324ebfd221bf71e6afc6e307.jpg",[],{"id":1127,"slug":1128,"title":1129,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1130,"thumbUrl":1131,"material":77,"size":78,"collection":29,"collections":1132,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":65},244225,"yi-gui-yi-ming-244225","乙簋",[23,26,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557df1dea29509b7211c82bee19af853.jpg",[],{"id":1134,"slug":1135,"title":1136,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1137,"thumbUrl":1138,"material":77,"size":78,"collection":29,"collections":1139,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":65},244179,"da-gui-fu-yi-gui-yi-ming-244179","大龟父乙簋",[23,39,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6adff1a02956cc692113d6ebe0540bcb.jpg",[],{"id":1141,"slug":1142,"title":538,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1143,"thumbUrl":1144,"material":77,"size":78,"collection":29,"collections":1145,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":65},243476,"kui-wen-ding-yi-ming-243476",[23,7,25,26,27,205,88,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f4f2a9a205a48e22ff70639e86f216.jpg",[],{"id":1147,"slug":1148,"title":1149,"dynasty":18,"author":19,"museum":20,"description":127,"tags":1150,"thumbUrl":1151,"material":77,"size":78,"collection":29,"collections":1152,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":33},243336,"wei-fu-yi-gui-yi-ming-243336","囗父乙簋",[23,88,25,7,26,305,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18824f13d55b43c68b6c6b9c4828f3e0.jpg",[],{"id":1154,"slug":1155,"title"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表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[225,1049,1038,2297,26,7,40],"三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee09f157d17b11652968ff6b5254f9c8.jpg",[714],{"id":2301,"slug":2302,"title":712,"dynasty":1666,"author":19,"museum":20,"description":1618,"tags":2303,"thumbUrl":2304,"material":77,"size":78,"collection":29,"collections":2305,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":33},260690,"hei-you-wan-yi-ming-260690",[225,229,7,712,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc577dd457068e5975f6230133bdc1678.jpg",[],{"id":2307,"slug":2308,"title":2309,"dynasty":256,"author":19,"museum":20,"description":274,"tags":2310,"thumbUrl":2314,"material":77,"size":78,"collection":29,"collections":2315,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":81},260550,"qing-hua-fan-wen-wan-yi-ming-260550","青花梵文碗",[225,276,2311,2312,2313,279,7,229],"梵文","佛教","缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d3fccaf526b3fb6e845f0cb2bc8609.jpg",[],{"id":2317,"slug":2318,"title":2319,"dynasty":1666,"author":19,"museum":20,"description":1618,"tags":2320,"thumbUrl":2321,"material":77,"size":78,"collection":29,"collections":2322,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":65},260423,"hei-you-bai-li-qian-wan-yi-ming-260423","黑釉白里浅碗",[225,40,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a7135e1c1657b8cdab49701d0ff012.jpg",[],{"id":2324,"slug":2325,"title":2234,"dynasty":1645,"author":19,"museum":20,"description":1036,"tags":2326,"thumbUrl":2327,"material":77,"size":78,"collection":29,"collections":2328,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":65},260328,"qing-you-wan-yi-ming-260328",[225,229,7,1049,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab08bc492f4f24fb6a727ebbd470a731.jpg",[],{"id":2330,"slug":2331,"title":2332,"dynasty":709,"author":19,"museum":20,"description":1618,"tags":2333,"thumbUrl":2334,"material":77,"size":78,"collection":29,"collections":2335,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":81},260296,"hei-you-ji-xin-shi-wan-yi-ming-260296","黑釉鸡心式碗",[225,229,7,1620,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe5d371759f95f28cd8528c48926844.jpg",[],{"id":2337,"slug":2338,"title":2339,"dynasty":709,"author":19,"museum":20,"description":1047,"tags":2340,"thumbUrl":2343,"material":77,"size":78,"collection":714,"collections":2344,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":33},260261,"yao-zhou-yao-qing-you-dou-yi-ming-260261","耀州窑青釉豆",[225,1049,2341,2342,7],"瓷器","豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a04f6c938ae480c5c10d3fdd09684b.jpg",[714],{"id":2346,"slug":2347,"title":2348,"dynasty":256,"author":19,"museum":20,"description":274,"tags":2349,"thumbUrl":2353,"material":77,"size":78,"collection":29,"collections":2354,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":81},260194,"ge-you-qing-hua-pan-chi-wen-si-fang-wei-jiao-wan-yi-ming-260194","哥釉青花蟠螭纹四方委角碗",[225,276,2350,2351,279,229,7,2352],"哥釉","蟠螭纹","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91612603ef07690d4c18dd095f6c93eb.jpg",[],{"id":2356,"slug":2357,"title":2358,"dynasty":1666,"author":19,"museum":20,"description":2359,"tags":2360,"thumbUrl":2363,"material":77,"size":78,"collection":29,"collections":2364,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":65},260193,"san-cai-mo-yin-tie-hua-san-zu-lu-yi-ming-260193","三彩模印贴花三足炉","圆腹丰腴饱满，兽足沉稳敦实，翻口内敛自带古朴拙稚的气度。黄绿褐三色釉彩肆意流淌交融，似流云漫过山峦，如野火燎过春原，将素胎晕染出热烈奔放的盛唐底色。\n\n模印贴花隐在釉色之间，浅浮雕的纹样带着内敛的装饰意趣，为器物添了几分灵动鲜活。米白胎质与浓艳釉色形成柔和反差，粗粝胎骨与柔润釉面碰撞，将大唐兼容并包的审美藏在釉色的每一处晕染里，是千年前盛世烟火与匠心的缩影，携带着旧时光的温度，诉说着盛唐的浪漫厚重。",[225,2361,2362,2297,7,40],"三彩","模印贴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7d8ba3f26e4d2d0850e1aa52357f0c.jpg",[],{"id":2366,"slug":2367,"title":2368,"dynasty":709,"author":19,"museum":20,"description":1618,"tags":2369,"thumbUrl":2371,"material":77,"size":78,"collection":29,"collections":2372,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":33},260110,"hei-you-zi-hua-wan-yi-ming-260110","黑釉紫花碗",[225,40,229,7,2370,279],"黑釉紫花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ed865b458d0920095bb9ec4721683c.jpg",[],{"id":2374,"slug":2375,"title":2376,"dynasty":1666,"author":19,"museum":20,"descr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n-huang-you-an-hua-yun-long-wen-wan-yi-ming-259118","康熙款黄釉暗划云龙纹碗",[225,205,2444,229,7,40],"暗划","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b5d065db38b15b5d589bebf540d3d.jpg",[],{"id":2448,"slug":2449,"title":2450,"dynasty":424,"author":19,"museum":20,"description":2451,"tags":2452,"thumbUrl":2454,"material":77,"size":78,"collection":29,"collections":2455,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":33},255239,"tao-zao-yi-ming-255239","陶灶","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。",[601,2453,26,7],"陶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2bc9a25f560ce41bd73696121560145.jpg",[],{"id":2457,"slug":2458,"title":2450,"dynasty":1666,"author":19,"museum":20,"description":2459,"tags":2460,"thumbUrl":2464,"material":77,"size":78,"collection":29,"collections":2465,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":33},255181,"tao-zao-yi-ming-255181","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[225,2461,1938,7,2462,26,2463,177],"陶制","日用","建筑造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0394e5e3523ac141cc3175a88ec5fe5e.jpg",[],{"id":2467,"slug":2468,"title":2469,"dynasty":424,"author":19,"museum":20,"description":1618,"tags":2470,"thumbUrl":2473,"material":77,"size":78,"collection":29,"collections":2474,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":65},255071,"tao-lv-you-zao-yi-ming-255071","陶绿釉灶",[601,225,1027,2471,7,2472,2453,26],"釉陶","日用器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742afe12dcf96f90c89b02582cd56b24.jpg",[],{"id":2476,"slug":2477,"title":2478,"dynasty":57,"author":19,"museum":20,"description":2479,"tags":2480,"thumbUrl":2483,"material":77,"size":78,"collection":29,"collections":2484,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":65},251735,"yu-diao-ren-wu-fei-qin-zou-shou-wen-dou-yi-ming-251735","玉雕人物飞禽走兽纹豆","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。",[60,26,7,114,2481,2482,27],"飞禽","走兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d1eecab119cf37f0e75942ec21e2aa.jpg",[],{"id":2486,"slug":2487,"title":2488,"dynasty":57,"author":19,"museum":20,"description":2489,"tags":2490,"thumbUrl":2494,"material":77,"size":78,"collection":29,"collections":2495,"showCount":122,"zanCount":122,"manualWeight":11,"mainColor":33},250213,"qia-si-fa-lang-tuan-hua-wen-ling-hua-shi-huo-guo-yi-ming-250213","掐丝珐琅团花纹菱花式火锅","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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