[{"data":1,"prerenderedAt":243},["ShallowReactive",2],{"subject-sheng-jiu-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5532,"sheng-jiu-qi","盛酒器","盛酒器画高清赏析","精选中国历代盛酒器题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5efdfac82a30668f26acb51e686b473.jpg",0,21,[14,36,52,62,76,90,99,108,124,135,147,155,162,170,180,188,199,207,215,222,235],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},226737,"lei-ce-zhu-you-yi-ming-226737","耒册竹卣","商","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。",[23,24,25,26,27,7,28,29],"青铜器","铜制","礼器","铸造","雕刻","商代","纹饰","未知","Xcm*Xcm","",[],11,"795548",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":20,"description":41,"tags":42,"thumbUrl":47,"material":32,"size":32,"collection":48,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},243044,"niu-zun-yi-ming-243044","牛尊","明","这尊青铜牛体态敦实健壮，犄角劲挺上扬，双目圆睁有神，鼻间系带刻画细致，将耕牛温驯却不失雄健的气质尽显。牛身褶皱肌理写实自然，背负束帛鞍垫，上承方座，兼顾礼器的功能性与日常牲畜的意趣。\n\n整体包浆厚重古雅，铜色沉穆温润，历经岁月仍线条流畅饱满。没有繁复纹饰堆砌，凭借洗练造型勾勒出耕牛质朴憨拙的神韵，暗含对农耕之本的敬意，是写实性与礼制实用性兼具的青铜佳作。",[43,23,24,27,44,45,46,25,7],"明代","写实","兽","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3934c0ad4f507ffa24a8d631e960fef4.jpg","青铜器精选",[48],8,"37474F",{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":20,"description":21,"tags":56,"thumbUrl":59,"material":30,"size":31,"collection":32,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":35},226775,"xi-zhou-shi-you-yi-ming-226775","西周 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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。",[128,113,86,25,7,131,69,132],"陶制","手工制作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60579d9be36faa39f08017d5b0a751.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":80,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":145,"material":30,"size":31,"collection":32,"collections":146,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},251213,"he-ban-qing-yu-shou-mian-tiao-wen-ti-liang-you-yi-ming-251213","褐斑青玉兽面条纹提梁卣","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。",[141,27,142,143,70,25,7,144],"玉石","兽面","条纹","褐斑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0427de756ad95e9362b0841a3b30684.jpg",[],{"id":148,"slug":149,"title":150,"dynasty":151,"author":19,"museum":20,"description":21,"tags":152,"thumbUrl":153,"material":30,"size":31,"collection":32,"collections":154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},244604,"zuo-cong-yi-you-yi-ming-244604","作从彝卣","周",[23,24,7,26,27,151,86,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc8aaa56d6114750c8ef310c83de18a.jpg",[],{"id":156,"slug":157,"title":158,"dynasty":151,"author":19,"museum":20,"description":21,"tags":159,"thumbUrl":160,"material":30,"size":31,"collection":32,"collections":161,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},244491,"meng-shen-you-yi-ming-244491","孟申卣",[23,24,7,27,45,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a73b1ceb78ddbc2dd0d90eae4d50d8a.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":151,"author":19,"museum":20,"description":21,"tags":166,"thumbUrl":168,"material":30,"size":31,"collection":32,"collections":169,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},243850,"niao-wen-zun-yi-ming-243850","鸟纹尊",[23,27,25,167,7,24,29],"鸟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a14187da205739e741ab6e0f6184301.jpg",[],{"id":171,"slug":172,"title":173,"dynasty":174,"author":19,"museum":20,"description":81,"tags":175,"thumbUrl":178,"material":30,"size":31,"collection":32,"collections":179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},243583,"shou-mian-wen-zun-yi-ming-243583","兽面纹尊","宋",[23,24,27,176,177,25,7],"兽面纹","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d6921699faa3cb8817fba3310b9b04.jpg",[],{"id":181,"slug":182,"title":183,"dynasty":40,"author":19,"museum":20,"description":184,"tags":185,"thumbUrl":186,"material":30,"size":31,"collection":32,"collections":187,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243123,"shou-mian-wen-bu-yi-ming-243123","兽面纹瓿","器形饱满敦厚，敞口束颈搭配矮圈足，沉稳大气尽显古雅仪态。纹饰分层铺陈，主体兽面纹威严狞厉，线条勾连辗转，古拙苍劲，辅以回纹填地，层次分明，复刻商周青铜礼器的肃穆气韵。\n\n铜色青灰斑驳，带着岁月剥蚀留下的苍旧痕迹，既追摹上古青铜的厚重质感，又带着沉静匠意。狞厉的上古图腾凝为案头雅器，将跨越千年的青铜文化余韵，藏于斑驳铜色与古拙纹饰之间。",[23,24,27,176,45,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ab265b4801171aa33b851f317b503a.jpg",[],{"id":189,"slug":190,"title":191,"dynasty":174,"author":19,"museum":20,"description":192,"tags":193,"thumbUrl":197,"material":30,"size":31,"collection":32,"collections":198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},243120,"cuo-jin-yin-qian-song-shi-hui-wen-lei-yi-ming-243120","错金银嵌松石回纹罍","敞口束颈，鼓腹圆浑，器形沉稳敦朴，自带古雅厚重之感。器身以错金银勾勒出回纹网格，格内密嵌松石，翠色点点于深褐铜色间错落，历经时光洗练依旧鲜亮动人，明暗相映，古韵悠然。\n回纹循环往复，带着规整的秩序之美，嵌饰工艺精细入微，将匠心藏于分毫之间。素净颈腹与满工纹饰形成视觉对比，张弛有度，把庄重雅致融于一身，复刻出古青铜的肃穆气韵，尽显造器的审美意趣，沉静中尽显雅致古意。",[23,24,194,195,27,196,25,7],"错金银","嵌松石","回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251c8744943ea5f01bafecba50cc1840.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":80,"author":19,"museum":20,"description":81,"tags":203,"thumbUrl":205,"material":30,"size":31,"collection":32,"collections":206,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},243062,"niao-wen-fang-zun-yi-ming-243062","鸟纹方尊",[23,24,27,167,25,204,29,7],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59bb0002a4969834f6ad9b3d00217ef2.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":174,"author":19,"museum":20,"description":81,"tags":211,"thumbUrl":213,"material":30,"size":31,"collection":32,"collections":214,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},243039,"cuo-jin-yin-fu-zun-yi-ming-243039","错金银凫尊",[23,7,194,212,27],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a4248a16309dfdf2b24de0370220bb.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":151,"author":19,"museum":20,"description":21,"tags":219,"thumbUrl":220,"material":30,"size":31,"collection":32,"collections":221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},242883,"ju-shu-hu-yi-ming-242883","矩叔壶",[23,25,7,26,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b62243c88b55a670a49207c2e17b13.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":151,"author":19,"museum":20,"description":21,"tags":226,"thumbUrl":233,"material":30,"size":31,"collection":32,"collections":234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},226847,"j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