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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。",[110,48,111,112,113,114,115,116,117,118,119,120,7,121,122,123],"青铜器","弦纹","三足","日用器","汉代","装饰纹","盥洗用具","三足器","古物","汉代器物","金属器","弦纹装饰","三足结构","实用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527e3f0b93c0d510ed3ec55daf34f1d.jpg",[],{"id":127,"slug":128,"title":129,"dynasty":60,"author":19,"museum":20,"description":130,"tags":131,"thumbUrl":134,"material":34,"size":35,"collection":36,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":39},270326,"tong-qian-yin-ru-yi-yi-ming-270326","铜嵌银如意","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[48,132,133,7,63],"饰品","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d9a8b6a34159928e9356af6a275d4a.jpg",[],1,{"id":138,"slug":139,"title":140,"dynasty":60,"author":19,"museum":20,"description":141,"tags":142,"thumbUrl":146,"material":34,"size":35,"collection":36,"collections":147,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":148},270152,"dai-shan-tong-he-pen-jing-yi-ming-270152","带山铜鹤盆景","两只丹顶仙鹤情态各异，一鹤挺身伫立，昂首远眺尽显清傲风骨，一鹤垂颈偎依，似在私语流露柔婉意趣。铜胎施色精妙，玄色翎羽晕开幽蓝光泽，丹顶朱红鲜亮醒目，将仙鹤的灵秀神韵复刻传神。假山底座皴石逼真，缀饰细草生趣盎然，搭配漆器底座更衬古雅质感。\n\n整体动静相生，以仙鹤寄寓长寿祥瑞的美好祈愿，把工艺巧思与吉祥意趣相融，尽显清隽雅致的格调，是兼具审美价值与文化意涵的精巧造物。",[7,63,143,144,145],"鹤","盆景","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967c4c8bdfe1829b297ec201b4359853.jpg",[],"37474F",{"id":150,"slug":151,"title":152,"dynasty":107,"author":19,"museum":20,"description":108,"tags":153,"thumbUrl":165,"material":34,"size":35,"collection":36,"collections":166,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":39},243843,"xi-yi-ming-243843","洗",[114,110,48,154,155,156,157,158,120,159,160,7,161,162,163,164],"日用器具","铜锈","单柄","圈足","线纹","日常用品","汉代风格","锈蚀","带柄","底座","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f8c4baf2e5cc6b4d289513f8b24721.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":60,"author":19,"museum":20,"description":171,"tags":172,"thumbUrl":176,"material":34,"size":35,"collection":36,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},281480,"tong-ren-wu-xiang-yi-ming-281480","铜人物像","此作以铜与牙雕结合塑造枭雄立像，他头戴两角军帽，双臂负于胸前，倨傲神态呼之欲出。军服錾刻细致入微，肩章、绶带纹理清晰可见，衣褶随身形自然垂坠，尽显戎装飒爽。牙雕的面容冷硬肃穆，将人物独有的威严精准复刻，身旁石台搭置的披风，更衬出其身份不凡。整体造型挺拔沉稳，沉敛古雅的铜色搭配云纹墨石底座，写实塑形与传神写意相融，定格住一代霸主的威仪气场，尽显匠师对神态细节的精妙拿捏。",[48,63,173,7,174,175],"人物雕塑","军装人物","拿破仑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057810e571f1793a9a299ab7357bfa47.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":60,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":184,"material":34,"size":35,"collection":36,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":70},276241,"guang-chu-si-yin-yin-yi-ming-276241","“广储司印”印","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。",[47,48,49,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad665895ba8cfa2bcb039bc700d2dac7.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":60,"author":19,"museum":20,"description":190,"tags":191,"thumbUrl":195,"material":34,"size":35,"collection":36,"collections":196,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":148},274929,"tong-ba-bao-chang-yi-ming-274929","铜八宝-肠","此件造像以盘长结为顶饰，回环盘绕的线条勾勒出圆满无尽的禅意。下方莲台饱满莹润，稳稳承托主体。中部透雕缠枝卷草间点缀兽首，柔婉枝蔓与威严兽面相映，将肃穆与灵动感相融。通体鎏金匀净厚重，历经时光仍光泽温婉莹润。整体雕刻极尽精工，将吉祥意涵与雕刻技艺相合，既不失宗教器物的庄重静雅，又尽显金属造作的细腻工巧，是兼具精神寓意与审美价值的精工之作。",[48,63,192,7,193,194],"宗教","吉祥结","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d858c8c49be233fd9364684decbcf37.jpg",[],{"id":198,"slug":199,"title":200,"dynasty":60,"author":19,"museum":20,"description":201,"tags":202,"thumbUrl":203,"material":34,"size":35,"collection":36,"collections":204,"showCount":11,"zanCount":11,"manualWeight"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nt":11,"manualWeight":11,"mainColor":39},270895,"zi-shi-shuang-chi-wen-xun-lu-shi-nuan-yan-yi-ming-270895","紫石双螭纹熏炉式暖砚","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[262,48,273,63,274,263,100,7],"紫石","螭龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12415457b5c53fd6f8817699aa156ce.jpg",[],{"id":278,"slug":279,"title":280,"dynasty":60,"author":19,"museum":20,"description":281,"tags":282,"thumbUrl":286,"material":34,"size":35,"collection":36,"collections":287,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":288},270367,"yong-zheng-kuan-tong-lou-kong-chi-wen-shou-lu-yi-ming-270367","雍正款铜镂空螭纹手炉","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[48,283,284,285,63,100,7],"手炉","镂空","螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a1b23b9e8ee65711de2d4c1ec48593.jpg",[],"F48FB1",{"id":290,"slug":291,"title":292,"dynasty":107,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":297,"material":34,"size":35,"collection":36,"collections":298,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},244028,"zhang-shi-jing-yi-ming-244028","张氏镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 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