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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。",[44,92,24,93,26,94,27,95,48,7],"青铜","象纹","周代","盛食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df485376ee5971e68bd49ebeeb66d1f.jpg",[],7,{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":114,"material":30,"size":31,"collection":32,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":117},250541,"yu-bi-xie-yi-ming-250541","玉辟邪","南北朝","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。",[23,24,106,107,103,108,49,109,110,7,111,112,113],"兽","辟邪","玉器","圆雕","透雕","瑞兽","古玉","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964cc7295640341385e3c05d542bd79f.jpg",[],6,"BDBDBD",{"id":119,"slug":120,"title":121,"dynasty":41,"author":19,"museum":20,"description":104,"tags":122,"thumbUrl":126,"material":30,"size":31,"collection":32,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":117},227020,"yu-niao-xing-pei-yi-ming-227020","玉鸟形珮",[23,24,123,124,46,7,125],"饰品","鸟形","俏色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf84478c91881d1b458de1d9770ec32.jpg",[],5,{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":137,"material":30,"size":31,"collection":32,"collections":138,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":139},221651,"yu-e-yi-ming-221651","玉鹅","宋","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[23,24,109,7,136],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676b4933ae42a740eab2fdca205b1c50.jpg",[],"FFFFFF",{"id":141,"slug":142,"title":143,"dynasty":41,"author":19,"museum":20,"description":104,"tags":144,"thumbUrl":150,"material":30,"size":31,"collection":32,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":36},252526,"yu-chan-yi-ming-252526","玉蝉",[23,24,66,145,146,147,148,7,149],"蝉","汉代","葬玉","写实","琢磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb9f0b8604d18980d804a3f698c9460.jpg",[],4,{"id":154,"slug":155,"title":156,"dynasty":157,"author":19,"museum":20,"description":90,"tags":158,"thumbUrl":163,"material":30,"size":31,"collection":32,"collections":164,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":58},244687,"shou-gui-yi-ming-244687","守簋","商",[44,45,24,26,159,160,27,161,162,48,7],"饪食器","商代风格","兽面纹","青铜铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0640bf5099f72e7eaeb54a69a880dd.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":133,"author":19,"museum":20,"description":169,"tags":170,"thumbUrl":174,"material":30,"size":31,"collection":32,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":36},227517,"bu-xiang-yi-ming-227517","不详","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[171,172,48,24,80,173,7],"宋代","石刻","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ca680160d6121a71ffc221205f51f7.jpg",[],3,{"id":178,"slug":179,"title":132,"dynasty":133,"author":19,"museum":20,"description":180,"tags":181,"thumbUrl":184,"material":30,"size":31,"collection":32,"collections":185,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":117},223885,"yu-e-yi-ming-223885","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[171,23,24,7,182,183],"动物","卷云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94128ec5f3ed9c2728d197008fef651.jpg",[],{"id":187,"slug":188,"title":189,"dynasty":190,"author":191,"museum":20,"description":192,"tags":193,"thumbUrl":205,"material":206,"size":32,"collection":32,"collections":207,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":117},216818,"zhan-zheng-tong-ban-hua-26-lang-shi-ning-216818","战争铜版画-26","清","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[194,195,148,7,196,197,198,199,200,201,202,203,204],"铜版画","中西合璧","战争场景","山峦","城堡","防御工事","士兵","云雾","树木","建筑","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c195a3d473ba74b85895cba0a65460.jpg","水墨",[],{"id":209,"slug":210,"title":211,"dynasty":190,"author":191,"museum":20,"description":192,"tags":212,"thumbUrl":10,"material":206,"size":32,"collection":32,"collections":222,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":117},216812,"zhan-zheng-tong-ban-hua-31-lang-shi-ning-216812","战争铜版画-31",[194,148,7,213,214,80,215,216,217,218,200,219,220,221],"透视","清代","楼阁","宫殿","庭院","队列","官员","兵器","开阔场地",[],{"id":224,"slug":225,"title":226,"dynasty":41,"author":19,"museum":20,"description":74,"tags":227,"thumbUrl":231,"material":30,"size":31,"collection":32,"collections":232,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":58},254798,"que-men-ren-wu-chang-fang-zhuan-yi-ming-254798","阙门人物长方砖",[41,228,229,24,7,230,80],"砖雕","画像砖","阙门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cff002ca064e304ded7612a055ed432.jpg",[],2,{"id":235,"slug":236,"title":237,"dynasty":41,"author":19,"museum":20,"description":74,"tags":238,"thumbUrl":239,"material":30,"size":31,"collection":32,"collections":240,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":36},254618,"ren-wu-chang-fang-zhuan-yi-ming-254618","人物长方砖",[146,228,48,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cac7bb1fdafec4b41e0fb2ba0fa1ce.jpg",[],{"id":242,"slug":243,"title":244,"dynasty":190,"author":191,"museum":20,"description":192,"tags":245,"thumbUrl":254,"material":206,"size":32,"collection":32,"collections":255,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":117},216785,"zhan-zheng-tong-ban-hua-61-lang-shi-ning-216785","战争铜版画-61",[194,195,148,246,200,247,24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