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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。",[23,24,25,7,29,59,26],"商代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3e4ee011cf5197904a3276bfc282c6.jpg",[],4,{"id":64,"slug":65,"title":66,"dynasty":56,"author":19,"museum":20,"description":57,"tags":67,"thumbUrl":69,"material":48,"size":49,"collection":33,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":37},242737,"de-ya-fu-geng-ding-yi-ming-242737","得亚父庚鼎",[59,23,26,25,24,29,68,7],"纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf3019fed1bf2612b98a25adbf21451.jpg",[],3,{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":20,"description":77,"tags":78,"thumbUrl":81,"material":48,"size":49,"collection":33,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},243382,"xiong-zu-deng-yi-ming-243382","熊足灯","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[79,23,24,80,7,29],"汉代","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c54b47cec85cafa42a687a12c954157.jpg",[],1,"BDBDBD",{"id":86,"slug":87,"title":88,"dynasty":89,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":95,"material":48,"size":49,"collection":33,"collections":96,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},243191,"fu-he-yi-ming-243191","凫盉","宋","此器取法上古礼器形制，以凫鸟为流首，昂首张喙，翎羽纹路细腻生动，似将引颈长鸣。提梁铸作蟠曲瑞兽，首尾探顾，线条遒劲灵动，暗蕴威严气势。盖顶缀小巧兽钮，圆腹满铺回纹地子，间饰几何暗纹，古拙沉静之中尽显细腻工巧。\n\n下承三兽足，兽首昂然、蹄足沉稳，与整体气韵浑然一体。凝厚的古铜包浆间带着斑驳锈色，晕开岁月摩挲的温润质感，将先秦青铜的肃穆厚重与宋代的复古雅趣相融，尽显古韵雅致。",[92,23,24,29,7,93,68,94],"宋代","水鸟造型","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610d5bb40aba2c32197f05367e75920b.jpg",[],"795548",{"id":99,"slug":100,"title":101,"dynasty":102,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":106,"material":48,"size":49,"collection":33,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},243177,"shou-mian-wen-fang-ding-yi-ming-243177","兽面纹方鼎","清","此器取方鼎形制，立耳沉稳方正，器膛浅阔利落。器壁饰兽面纹，线条古拙凝练，带着上古礼器特有的狞厉威严，复刻商周青铜古韵。四足为点睛之笔，以伫立神鸟造型塑成，翎羽层叠舒展，末端卷曲灵动，将上古礼器的厚重庄穆，糅入灵动雅致的细节。整体古韵盎然，尽显清代仿古工艺的细腻匠心，让古雅彝器重焕生机，肃穆中带着雅致的金石意趣。",[23,24,29,27,25,26,105,7],"仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a338e916903714e7e1a3d7e46ba3a0.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":112,"author":19,"museum":20,"description":113,"tags":114,"thumbUrl":10,"material":48,"size":49,"collection":33,"collections":121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},230684,"shou-mian-wen-bian-zu-fang-ding-yi-ming-230684","兽面纹扁足方鼎","不详","它立耳方腹，器身满饰兽面纹，回环线条勾画出狞厉威严的神异面容，带着上古祭祀礼器的庄重肃穆。龙形扁足蜿蜒扭转，刚健的器身搭配灵动的足饰，静穆中藏着飞动之姿，刚柔相济。\n\n细密的纹饰铺满器身，将上古先民对天地神祇的敬畏，凝铸在青铜肌理中，冷硬铜色裹着岁月锈蚀的斑驳，为这件礼器添上时间的厚重。瑰奇的造型暗藏巧思，祭祀的庄严与浪漫的上古想象融于一体，尽显青铜工艺的极致匠心。",[23,24,29,26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