[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"list-exhibitions-en":3,"list-artifacts-en":87,"list-museums-en":649},[4,40,67],{"id":5,"slug":6,"status":7,"body":8,"name":9,"cover":12,"order":5,"museum":26,"summary":27,"featured":29,"artifacts":30,"created_at":38,"updated_at":39},1,"bronze-ritual-vessels","current","## 为什么做这个专题\n\n早期青铜器的入门难点不在\"看不看得懂纹饰\"，而在**器物名字太多**：鼎、鬲、甗、簋、爵、觚、斝、尊、彝、壶……它们其实分属三个功能组：炊器、食器、酒器。名字是功能的外壳。\n\n这个专题按\"先分组、再看工艺演进\"的顺序组织七件展品：\n\n1. **炊器组** —— [分裆鼎](\u002Fartifacts\u002Fshang-liding)（袋足）与[青铜鼎](\u002Fartifacts\u002Fshang-ding)（柱足），对比足制。\n2. **酒器组** —— [青铜觚](\u002Fartifacts\u002Fxizhou-gu)、[青铜斝](\u002Fartifacts\u002Fshang-jia)、[青铜方彝](\u002Fartifacts\u002Fshang-fangyou)、[青铜尊](\u002Fartifacts\u002Fxizhou-fuwu-zun)。\n3. **工艺的分水岭** —— [错铜纹壶](\u002Fartifacts\u002Feastern-zhou-hu)：纹饰从\"铸出来\"变成\"嵌进去\"。\n\n## 一条隐藏的线索\n\n七件里六件是铸造成型、纹饰与器身一体；只有东周那件壶，把红铜嵌进了凹槽。这一小步意味着模具精度可以放宽、纹样可以更自由——青铜器的审美从\"厚重\"转向\"流动\"，就发生在这里。\n\n> 专题内所有影像与元数据均来自克利夫兰艺术博物馆与大都会艺术博物馆的开放数据接口（CC0）。",{"en":10,"zh":11},"Casting and Sacrifice: Shang and Zhou Bronze Ritual Vessels","铸与祭：商周青铜礼器",{"alt":13,"src":16,"width":17,"height":18,"source":19,"caption":24},{"en":14,"zh":15},"A Shang dynasty bronze fangyou vessel with taotie decor","商代青铜方彝，器身与盖满饰兽面纹","artifacts\u002Fcleveland-1963.103-fangyou.jpg",2427,3400,{"url":20,"license":21,"provider":22,"replaceBeforeLaunch":23},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1963.103","cc0","The Cleveland Museum of Art",false,{"zh":25},"商代青铜方彝（克利夫兰艺术博物馆藏，1963.103）","cleveland",{"zh":28},"把七件商周青铜器排成一条时间线：从安阳期的鼎、斝、方彝，到东周开始嵌红铜的壶。看的不是单件文物，而是铸造技术与礼制需求互相推着走的三百年。",true,[31,32,33,34,35,36,37],"shang-ding","shang-fangyou","shang-liding","shang-jia","xizhou-fuwu-zun","xizhou-gu","eastern-zhou-hu","2026-10-08T08:00:28.000Z","2026-10-12T01:30:04.000Z",{"id":41,"slug":42,"status":7,"body":43,"name":44,"cover":47,"order":59,"museum":60,"summary":61,"featured":29,"artifacts":63,"created_at":38,"updated_at":39},3,"jade-three-millennia","## 为什么玉器值得单独看\n\n青铜器是\"用得上\"的礼器：煮肉、温酒、盛水，功能还在。玉器不是。琮和璧从一出现就是**纯粹的礼器**——不盛物、不加热、不佩戴，只出现在墓葬与祭祀场合。\n\n这就带来一个有意思的问题：一件东西如果既不实用、又需要极高的加工成本（玉料硬度高，只能用解玉砂慢慢磨），它为什么重要？答案写在《周礼》那套\"以苍璧礼天、以黄琮礼地\"的体系里——玉的价值不在用处，在秩序。\n\n::quote{cite=\"《周礼·春官·大宗伯》\"}\n以苍璧礼天，以黄琮礼地。\n::\n\n## 三件怎么排\n\n1. **良渚玉琮** —— 新石器时代，外方内圆，考古学上认定与天地观念的对应关系最早成形于此。\n2. **商代玉琮** —— 形制延续，体量缩小。商人在青铜上做加法，在玉上做减法。\n3. **战国谷纹璧** —— 纹饰变成整齐的谷纹阵列，加工精度明显提升，玉开始同时作为佩饰出现。\n\n## 看得见的差异\n\n先看两件琮。良渚的那件四角纵向叠着七八节神人兽面纹，密到需要用放大镜；商代这件只剩几道横线与竖槽——形还在，纹没了。器形被沿用，原本承载它的图像系统却已失传或不再被理解。\n\n::wide-image{src=\"artifacts\u002Fcleveland-1915.630-cong.jpg\" alt=\"商代玉琮\" caption=\"商代玉琮，克利夫兰艺术博物馆藏（CC0）\"}\n::\n\n两件琮的对比之外，第三件是璧：\n\n::artifact-ref{slug=\"warring-states-bi\"}\n::\n\n> 三件展品的影像与元数据均来自大都会艺术博物馆与克利夫兰艺术博物馆的开放数据接口（CC0）。",{"en":45,"zh":46},"Ritual in Stone: Three Millennia of Jade","石之礼：玉器三千年",{"alt":48,"src":51,"width":52,"height":53,"source":54,"caption":57},{"en":49,"zh":50},"A Liangzhu culture jade cong with square exterior and round bore","良渚文化玉琮，外方内圆，通体刻细密纹饰","artifacts\u002Fmet-72376-cong.jpg",3001,4000,{"url":55,"license":21,"provider":56,"replaceBeforeLaunch":23},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F72376","The Metropolitan Museum of Art",{"zh":58},"良渚文化玉琮（大都会艺术博物馆藏，72376）",2,"met",{"zh":62},"三件玉器，跨度约两千年：新石器时代的琮、商代的小型琮、战国的谷纹璧。它们几乎不承担实用功能，却在各自的时代里是最重要的\"礼\"。",[64,65,66],"liangzhu-cong","shang-cong","warring-states-bi",{"id":59,"slug":68,"status":7,"body":69,"name":70,"cover":73,"order":41,"museum":26,"summary":83,"featured":23,"artifacts":85,"created_at":38,"updated_at":39},"cleveland-china-highlights","## 关于这个专题\n\n克利夫兰艺术博物馆的中国收藏不是\"零散收到什么展什么\"，而是很早就按门类成体系地建立：青铜、玉器、瓷器、绘画、造像各有专人负责。这个专题挑出四件作为入口：\n\n- **玉器** —— [商代玉琮](\u002Fartifacts\u002Fshang-cong)、[战国玉璧](\u002Fartifacts\u002Fwarring-states-bi)\n- **瓷器** —— [成化款杯](\u002Fartifacts\u002Fchenghua-cup)\n- **青铜** —— [青铜斝](\u002Fartifacts\u002Fshang-jia)\n\n## 关于日期\n\n这是本站自制的线上专题，没有对应的线下展期——页面展示的是\"当前\"状态的样式，正式上线时按实际内容替换。\n\n> 专题内影像与元数据来自克利夫兰艺术博物馆开放数据接口（CC0）。",{"en":71,"zh":72},"Online Feature: The Cleveland Chinese Galleries","线上专题：克利夫兰的中国厅",{"alt":74,"src":77,"width":78,"height":18,"source":79,"caption":81},{"en":75,"zh":76},"An adoring monk figure from the Cleveland Museum of Art","克利夫兰藏佛教造像，一位恭敬的僧人像","exhibitions\u002Fcleveland-1962.213-adoring-monk.jpg",2912,{"url":80,"license":21,"provider":22,"replaceBeforeLaunch":23},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1962.213",{"zh":82},"克利夫兰艺术博物馆藏，1962.213",{"zh":84},"以克利夫兰中国艺术展厅为线索的线上专题：青铜、玉器、瓷器、造像四条线各取一到两件，看一家美国博物馆是如何系统地收藏中国的。",[65,66,86,34],"chenghua-cup",[88,120,149,173,252,311,378,431,461,484,508,527,550,574,598,623],{"id":5,"slug":86,"status":89,"body":90,"hall":91,"name":92,"cover":95,"museum":26,"dynasty":105,"related":106,"summary":108,"category":110,"featured":23,"material":111,"accession":113,"dateLabel":114,"dimensions":116,"materialType":117,"created_at":118,"updated_at":119},"published","## 斗彩的工序\n\n先高温烧成釉下青花的轮廓线，出窑后在线内填各种釉上彩，再入窑低温第二次烧。同一件器物要过两次火、两套工艺，色料边界对不准就会露白，所以成品率天然低。\n\n## 为什么成化器格外贵\n\n传世量少、窑址长期不明，是它价格高的直接原因。20 世纪在景德镇珠山找到成化窑址、出土同类残片后，传世品的真伪比对才有一批可参照的实物锚点。\n\n## 图里画的是什么\n\n婴戏图在明代是常见母题，儿童放风筝、扑蝶、追逐，被读作多子与太平的吉庆寓意。看这类小杯时，比寓意更值得留意的是**画面在曲面上的接续关系**——杯转一圈，故事要能接得上。\n\n> 影像与元数据来自克利夫兰艺术博物馆开放数据接口（CC0）；中文说明由本站按公开资料整理。","cleveland-chinese-art",{"en":93,"zh":94},"Wine Cup with Children at Play","斗彩婴戏纹杯",{"alt":96,"src":98,"width":99,"height":100,"source":101,"caption":103},{"zh":97},"明成化斗彩婴戏图小杯，外壁绘儿童放风筝、追蝶","artifacts\u002Fcleveland-1957.61-cup.jpg",2742,2350,{"url":102,"license":21,"provider":22,"replaceBeforeLaunch":23},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1957.61",{"zh":104},"克利夫兰艺术博物馆藏 1957.61，景德镇窑，有成化款","明",[66,107],"night-shining-white",{"zh":109},"高不到五厘米的小杯，外壁以青花勾轮廓、再填釉上彩，画一群孩子在田埂上放风筝。成化斗彩是明清瓷器里溢价最高的一类。","瓷器",{"zh":112},"瓷，釉下青花加釉上彩（斗彩）","1957.61",{"zh":115},"明成化（1465–1487）","通高 4.8 厘米","瓷","2026-10-08T08:00:27.000Z","2026-10-12T01:30:03.000Z",{"id":59,"slug":37,"status":89,"body":121,"hall":122,"name":123,"cover":126,"museum":60,"dynasty":137,"summary":138,"category":140,"featured":23,"material":141,"accession":144,"dateLabel":145,"dimensions":147,"materialType":148,"created_at":118,"updated_at":119},"## 看什么\n\n凑近看器表：纹样不是铸出来的浮雕，而是一条条嵌进去的**红铜**。青铜本体的颜色偏青灰，红铜偏暖橙，两种金属在同一平面上形成双色效果——这是东周青铜最标志性的工艺。\n\n## 为什么会有这一步\n\n铸造浮雕纹需要雕刻陶范，越细越难、越容易废范。而嵌错工艺允许先铸出粗槽，再把铜丝、铜片敲进去打磨平整。纹样因此可以做成连续的、流动的、几乎像描线一样的图案。壶这种器形本身就适合\"通体装饰\"：肩部一道宽阔的装饰带，正好围绕最大径展开。\n\n## 顺带看一眼\n\n同一展厅的[分裆鼎](\u002Fartifacts\u002Fshang-liding)与[青铜尊](\u002Fartifacts\u002Fxizhou-fuwu-zun)：把这三件按铸造年代排一排，能看到纹饰从\"铸\"到\"嵌\"的过渡。\n\n> 影像与元数据来自大都会艺术博物馆开放数据接口（CC0）；中文说明由本站按公开资料整理。","met-asian-art",{"en":124,"zh":125},"Wine Container (Hu)","错铜纹壶",{"alt":127,"src":130,"width":131,"height":132,"source":133,"caption":135},{"en":128,"zh":129},"An Eastern Zhou bronze hu wine container inlaid with copper","东周青铜壶，器身通体错红铜纹饰","artifacts\u002Fmet-53960-hu.jpg",1501,2000,{"url":134,"license":21,"provider":56,"replaceBeforeLaunch":23},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F53960",{"zh":136},"大都会艺术博物馆藏，入藏号 29.100.545","东周",{"zh":139},"商代青铜纹饰是铸出来的，东周人开始往器表上\"嵌\"——把红铜丝打进预留的凹槽，纹样一下子细密流动起来。技术上的一小步，审美上的一大步。","青铜器",{"en":142,"zh":143},"bronze inlaid with copper","青铜错铜","29.100.545",{"zh":146},"公元前 5 世纪","高 44.5 厘米，腹径 29.8 厘米","青铜",{"id":41,"slug":64,"status":89,"body":150,"hall":122,"name":151,"cover":154,"museum":60,"dynasty":160,"related":161,"summary":162,"category":164,"featured":29,"material":165,"accession":168,"dateLabel":169,"dimensions":171,"materialType":172,"created_at":118,"updated_at":119},"## 形制为什么奇怪\n\n琮的中间是圆孔，外面却做成方形，四个转角朝外。圆与方在同一件器物上嵌套，让\"天圆地方\"的解读流传很久——但要提醒一句：这是后世的观念附会，良渚人自己没有留下文字，我们只能说它一定与祭祀有关，不能替它说出宇宙论。\n\n## 看转角，别看平面\n\n神人兽面纹的关键在**四个转角**。纹样以转角为中轴左右展开，从任何一面看都只到一半，必须绕着器物走一圈才能读完整。这不是设计疏忽，而是逼着观看者围绕它运动——四千年前就有人把\"观看需要时间\"这件事做进了器物里。\n\n## 分节的意思\n\n节数越多的琮越罕见。分节的意义仍在争论，主流意见倾向与祭祀序列或身份等级相关。本站把这件与商代的[玉琮](\u002Fartifacts\u002Fshang-cong)并列，是为了让你看见同一个形制在两三千年间被反复沿用与简化。\n\n> 影像为大都会艺术博物馆公有领域开放影像（CC0）；中文说明由本站按公开资料整理。",{"en":152,"zh":153},"Ritual Object (Cong)","玉琮",{"alt":155,"src":51,"width":52,"height":53,"source":157,"caption":158},{"zh":156},"良渚文化玉琮，外方内圆、分节雕刻神人兽面纹",{"url":55,"license":21,"provider":56,"replaceBeforeLaunch":23},{"zh":159},"大都会艺术博物馆藏 2004.52，是该院玉琮中节数较多的一件","新石器时代",[66,65],{"zh":163},"外方内圆的筒形器，良渚文化最有辨识度的玉器。高琮把神人兽面纹一节节沿四角叠起来，节数越多越罕见。","玉器",{"en":166,"zh":167},"jade (nephrite)","玉（透闪石）","2004.52",{"zh":170},"约公元前 2400 年（良渚文化）","高 25.4 厘米，宽 7 厘米","玉",{"id":174,"slug":175,"status":89,"body":176,"name":177,"cover":180,"model":192,"museum":197,"dynasty":198,"related":199,"summary":202,"altNames":204,"category":140,"featured":23,"hotspots":207,"material":248,"dateLabel":249,"materialType":148,"created_at":118,"updated_at":251},4,"mia-gui","## 簋是数出来的\n\n鼎簋制度是西周礼制里最硬的一条：鼎为奇数、簋为偶数，九鼎八簋、七鼎六簋，依次往下。所以墓葬报告里\"几鼎几簋\"这一行，往往比器物本身更能说明墓主是谁。看簋，看的不是单件，是它旁边那组鼎。\n\n## 为什么这件适合转着看\n\n簋的装饰是绕器身一周的，而且耳、扉棱都成对分布——照片只能给一个角度，转一圈才能看清扉棱把纹饰分成了几段、两侧的耳是否对称。这类\"数得出来的特征\"正是三维模型比照片强的地方。\n\n> 三维模型与渲染图来自明尼阿波利斯艺术博物馆开放扫描（CC0，经减面与 Draco\u002FWebP 压缩）；中文说明由本站按公开资料整理。",{"en":178,"zh":179},"Gui Food Vessel","青铜簋（西周早期）",{"alt":181,"src":183,"width":184,"height":185,"source":186,"caption":190},{"zh":182},"西周早期青铜簋的三维扫描渲染图，侈口、鼓腹、两侧兽首耳、高圈足","models\u002Fmia-gui-poster.jpg",1920,1080,{"url":187,"note":188,"license":21,"provider":189,"replaceBeforeLaunch":29},"https:\u002F\u002Fcollections.artsmia.org\u002Fart\u002F1068","这是 3D 扫描的渲染图而非馆方摄影，上线前替换为实物照片","Minneapolis Institute of Art（Sketchfab 账号 artsmia）",{"zh":191},"由明尼阿波利斯艺术博物馆发布的摄影测量扫描渲染，带馆方水印",{"src":193,"poster":183,"source":194,"triangles":196},"models\u002Fmia-gui.glb",{"url":187,"note":195,"license":21,"provider":189,"replaceBeforeLaunch":23},"原始扫描 6.4 万面，本站减面至 4.5 万并做 Draco 几何压缩与 WebP 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万面后仍可看清柱与足的转折。",[276],{"zh":277},"斝",[279,289,298],{"id":280,"text":281,"title":283,"position":285},"posts",{"zh":282},"两根柱是斝的标志，爵上也有，但爵有流有尾、斝没有。柱的作用至今没有定论，一说便于提拿，一说与祼礼的仪式动作有关。",{"zh":284},"口沿上的柱",[286,287,288],0.074,6.988,-4.585,{"id":229,"text":290,"title":292,"position":294},{"zh":291},"腹侧那个半环形的把手叫鋬，做成兽头衔环的样子，与口沿上的两柱不在一个高度上。它的用处很实际：器身加热后烫手，提拿只能靠这里。转一圈数一下，鋬只有一个，位置落在两足之间的空档上。",{"zh":293},"腹部的兽首鋬",[295,296,297],0.208,6.874,-4.652,{"id":299,"text":300,"title":302,"position":304},"legs",{"zh":301},"足部中空、呈锥形，是为了在足下置火温酒。看三足与腹底的接合处——扫描模型上这里的过渡最厚，因为要承重。",{"zh":303},"三足",[305,306,307],0.131,6.732,-4.498,{"zh":148},{"zh":310},"约公元前 13–前 12 世纪",{"id":312,"slug":200,"status":89,"body":313,"name":314,"cover":317,"model":324,"museum":197,"dynasty":271,"related":329,"summary":330,"altNames":332,"category":140,"featured":23,"hotspots":335,"material":375,"dateLabel":376,"materialType":148,"created_at":118,"updated_at":251},6,"## \"鼎\"与\"Ting\"\n\nMia 的编目名写作 Ting，这是\"鼎\"的一个旧读音（韵书里鼎有 tǐng 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看一匹马的张力\n\n马被系在桩上，头却往反方向拧。画家用一根立柱和一条缰绳，把一个\"想走不能走\"的状态钉住了——唐代画马的价值就在这里，它画的是御厩里被豢养的力量。\n\n## 为什么这幅画的\"空白\"很多\n\n手卷上除了马，其余位置被历代题字与印章填满。这些文字不是破坏，而是它流传史的一部分：每一方印都记录过一次收藏交接。看中国书画时，**题跋与印章本身就是要读的内容**，不能当噪声跳过。\n\n## 在本站怎么呈现\n\n画心尺寸极小（30.8 × 34 厘米），要看出鬃毛与肌理的笔法必须放大。它因此是本站\"OSS 现取高清档位\"最直接的验证对象——同一张原图，列表页取 320px、详情页取 1800px、放大查看走原图档。\n\n> 影像为大都会艺术博物馆公有领域开放影像（CC0）；中文说明由本站按公开资料整理。","met-chinese-painting",{"en":436,"zh":437},"Night-Shining White","照夜白",{"alt":439,"src":441,"width":132,"height":131,"source":442,"caption":444},{"zh":440},"唐代《照夜白》：一匹系在木桩上的白马，四蹄腾跃、鬃毛飞扬","artifacts\u002Fmet-39901-night-shining-white.jpg",{"url":443,"license":21,"provider":56,"replaceBeforeLaunch":23},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F39901",{"zh":445},"传为韩干所作，大都会艺术博物馆藏 1977.78","唐",[86],{"zh":449},"中国书画里流传有序的样板：一匹被拴住的御马，脖颈扭向一侧、鼻孔大张。画面本身很小，题跋与鉴藏印却一路延伸到卷尾。",[451],{"zh":452},"照夜白图","书画",{"zh":455},"纸本墨笔，手卷","1977.78",{"zh":458},"约 750 年","画心 30.8 × 34 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handles","商代青铜鼎，三足、双立耳，器身饰兽面纹","artifacts\u002Fcleveland-1960.288-ding.jpg",3204,{"url":497,"license":21,"provider":22,"replaceBeforeLaunch":23},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1960.288",{"zh":499},"克利夫兰艺术博物馆藏，入藏号 1960.288",{"zh":501},"三足炊器，也是商周礼制里等级最高的一件。鼎的数量与大小直接对应身份，\"天子九鼎\"就是这么来的。",{"en":503,"zh":148},"bronze","1960.288",{"zh":506},"约公元前 1200–前 1100 年","通高 14.3 × 12.5 厘米",{"id":509,"slug":32,"status":89,"body":510,"hall":91,"name":511,"cover":514,"museum":26,"dynasty":271,"summary":520,"category":140,"featured":23,"material":522,"accession":523,"dateLabel":524,"dimensions":526,"materialType":148,"created_at":38,"updated_at":39},11,"## 看什么\n\n方彝的形状像一间缩小的房子：器身直壁、圈足，盖从两端斜收，盖上还有象首或鸟形的钮。把盖和器身的纹饰连起来看，会发现在中线处正好拼成一张完整的兽面——这是商周工匠常用的\"对称拆解\"手法。\n\n## 为什么酒器这么多\n\n商人祭祀用酒，酒器组合因此格外讲究：盛酒的彝、斟酒的尊与卣、饮酒的爵与觚各就各位。周人灭商后检讨\"殷亡于酒\"，酒器组合随之减少，方彝也在西周中期以后基本消失——一件器物的存废，背后是一整套观念的转向。\n\n> 影像与元数据来自克利夫兰艺术博物馆开放数据接口（CC0）；中文说明由本站按公开资料整理。",{"en":512,"zh":513},"Square Wine Container (Fangyou)","青铜方彝",{"alt":515,"src":16,"width":17,"height":18,"source":517,"caption":518},{"zh":516},"商代青铜方彝，带屋顶形盖的长方形盛酒器",{"url":20,"license":21,"provider":22,"replaceBeforeLaunch":23},{"zh":519},"出土地一般认为在河南安阳，克利夫兰艺术博物馆藏 1963.103",{"zh":521},"长方形、带屋顶形盖的盛酒器。盖做得像一座小房子的屋顶，是方彝最好认的特征。",{"zh":148},"1963.103",{"zh":525},"约公元前 1250–前 1046 年","通高 26.7 × 13.4 厘米",{"id":528,"slug":34,"status":89,"body":529,"hall":91,"name":530,"cover":533,"museum":26,"dynasty":271,"summary":543,"category":140,"featured":23,"material":545,"accession":546,"dateLabel":547,"dimensions":549,"materialType":148,"created_at":38,"updated_at":39},12,"## 看什么\n\n口沿上那两根小柱子叫**柱**（或\"伞形柱\"），是斝区别于其他酒器的第一特征。其次是三足：足部常做成锥形或丁字形，比鼎足细长，因为要架在火上加热。\n\n## 它是做什么用的\n\n\"斝\"用于温酒——把酒倒进去，在足下生火，加热后倾出。它在礼器组合里与爵、觚搭配出现，三者常成套随葬。商代墓葬中，斝的数量有时和墓主等级直接相关。\n\n## 顺带看一眼\n\n同一展厅的[青铜鼎](\u002Fartifacts\u002Fshang-ding)与[青铜方彝](\u002Fartifacts\u002Fshang-fangyou)。注意看足：鼎足粗短承重，斝足细长受火，一眼就能分辨这件器物是煮的还是温的。\n\n> 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鬲鼎。判断顺序很简单：先看足是不是鼓包，再看口沿上有没有耳。\n\n## 为什么这样设计\n\n袋状足扩大了受火面积，也增加了容积——本质是炊器。但到了商晚期，它被从灶台搬进了祭坛，形制保留、功能变成身份标识。这类\"实用器礼制化\"的例子在青铜组里特别多。\n\n## 顺带看一眼\n\n同厅的[青铜鼎](\u002Fartifacts\u002Fshang-ding)（实心柱足的常规款）和[青铜斝](\u002Fartifacts\u002Fshang-jia)（体量更大的盛酒器），三件并排看能一眼分辨足制差异。\n\n> 影像与元数据来自大都会艺术博物馆开放数据接口（CC0）；中文说明由本站按公开资料整理。",{"en":554,"zh":555},"Lobed Tripod Cauldron (Liding)","分裆鼎（鬲鼎）",{"alt":557,"src":560,"width":561,"height":562,"source":563,"caption":565},{"en":558,"zh":559},"A Shang dynasty lobed tripod cauldron with inflated bag-shaped feet","商代分裆鼎，袋状腹下接三锥形足，器身饰兽面纹","artifacts\u002Fmet-53947-liding.jpg",3893,2921,{"url":564,"license":21,"provider":56,"replaceBeforeLaunch":23},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F53947",{"zh":566},"大都会艺术博物馆藏，入藏号 49.136.5",{"zh":568},"鼎的变体：三足做成鼓胀的袋状，取的是鬲（lì）的做法，袋腹与足连成一体，所以叫\"分裆\"。商人在炊煮效率与礼制象征之间的折中，就在这几条接缝上。",{"en":503,"zh":148},"49.136.5",{"zh":572},"公元前 12–11 世纪","至耳高 19.1 厘米，至口沿高 15.9 厘米，两耳间距 14.6 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