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(Cong)","玉琮",{"alt":269,"src":271,"width":272,"height":37,"source":273,"caption":275},{"zh":270},"良渚文化玉琮，外方内圆、分节雕刻神人兽面纹","artifacts\u002Fmet-72376-cong.jpg",3001,{"url":274,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F72376",{"zh":276},"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",[218,279],"shang-cong",{"zh":281},"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":284,"zh":285},"jade (nephrite)","玉（透闪石）","2004.52",{"zh":288},"约公元前 2400 年（良渚文化）","高 25.4 厘米，宽 7 厘米","玉",{"id":157,"slug":292,"status":7,"body":293,"name":294,"cover":297,"model":308,"museum":168,"dynasty":313,"related":314,"summary":318,"altNames":320,"category":253,"featured":80,"hotspots":323,"material":364,"dateLabel":365,"materialType":261,"created_at":230,"updated_at":367},"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":295,"zh":296},"Gui Food Vessel","青铜簋（西周早期）",{"alt":298,"src":300,"width":74,"height":301,"source":302,"caption":306},{"zh":299},"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",1080,{"url":303,"note":304,"license":40,"provider":305,"replaceBeforeLaunch":27},"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":307},"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":309,"poster":300,"source":310,"triangles":312},"models\u002Fmia-gui.glb",{"url":303,"note":311,"license":40,"provider":305,"replaceBeforeLaunch":80},"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 纹理",44716,"西周",[315,316,317],"mia-ting","mia-zun","shang-ding",{"zh":319},"盛食器，装黍稷。簋是西周礼制里最\"讲规矩\"的一件：数着个数用，几件配几鼎，直接标出墓主身份。这件有双耳与高圈足，纹饰分三段。",[321],{"zh":322},"簋",[324,334,344,354],{"id":325,"text":326,"title":328,"position":330},"rim",{"zh":327},"口沿外侈并压出一圈宽边，这是西周早期簋的常见样式；商代簋多敛口、口沿窄。",{"zh":329},"宽侈口沿",[331,332,333],0.06,0.043,-0.475,{"id":335,"text":336,"title":338,"position":340},"ear",{"zh":337},"两侧的耳做成兽头衔环的样子，是断代的好帮手：耳的形态变化比纹饰更快，也更有规律。转到正面看两耳是否等高，能顺带看出这件器物有没有变形。",{"zh":339},"兽首双耳",[341,342,343],0.125,-0.02,-0.545,{"id":345,"text":346,"title":348,"position":350},"belly",{"zh":347},"纹饰不是一圈连着的，而是被竖向的扉棱分成几段，每段以兽面为中轴左右对称。扉棱是在泥范的拼接处刻出来的，所以转一圈数有几道扉棱，大致就能看出这件器物分了几块范。",{"zh":349},"腹部的扉棱",[351,352,353],0.07,0.005,-0.481,{"id":355,"text":356,"title":358,"position":360},"foot",{"zh":357},"圈足独立成一段装饰带，下面没有再加方座。西周早期有些簋会在圈足下加一层方座，那是更讲究的做法。",{"zh":359},"高圈足",[361,362,363],0.052,-0.075,-0.487,{"zh":261},{"zh":366},"约公元前 11 世纪","2026-10-16T03:25:39.000Z",{"id":108,"slug":369,"status":7,"body":370,"name":371,"cover":374,"model":381,"museum":168,"dynasty":386,"related":387,"summary":389,"altNames":391,"category":253,"featured":80,"hotspots":394,"material":424,"dateLabel":425,"materialType":261,"created_at":230,"updated_at":367},"mia-jia","## 这件和那件斝的差别\n\n本站另有一件[克利夫兰藏的商代青铜斝](\u002Fartifacts\u002Fshang-jia)，是摄影照片。两件器形同类，比例并不一样：斝这一类器物在安阳期跨度很大，从三十几厘米到半米以上都有，单看照片容易把比例感看丢。把模型转起来，柱、腹、足三段的高度关系一目了然。\n\n## 减面之后还剩什么\n\n原始扫描 6.4 万面，交互时在中低端设备上吃紧。本站用 gltf-transform 先合并重复顶点、再按几何误差减到 4.4 万面，最后 Draco 压缩。肉眼可辨的特征（柱、扉棱、足的轮廓）都保住了，纹饰地子上细如发丝的阴刻线会有损失——这一点在照片上更明显，在模型上要看放大后的局部。\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":372,"zh":373},"Jia Wine 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万面后仍可看清柱与足的转折。",[392],{"zh":393},"斝",[395,405,414],{"id":396,"text":397,"title":399,"position":401},"posts",{"zh":398},"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":400},"口沿上的柱",[402,403,404],0.074,6.988,-4.585,{"id":345,"text":406,"title":408,"position":410},{"zh":407},"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":409},"腹部的兽首鋬",[411,412,413],0.208,6.874,-4.652,{"id":415,"text":416,"title":418,"position":420},"legs",{"zh":417},"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":419},"三足",[421,422,423],0.131,6.732,-4.498,{"zh":261},{"zh":426},"约公元前 13–前 12 世纪",{"id":428,"slug":315,"status":7,"body":429,"name":430,"cover":433,"model":440,"museum":168,"dynasty":386,"related":445,"summary":447,"altNames":449,"category":253,"featured":80,"hotspots":452,"material":492,"dateLabel":493,"materialType":261,"created_at":230,"updated_at":367},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 一读），西方博物馆沿用了这套旧音拼写。本站把标题按今音写作\"鼎\"，检索时两种写法都能命中。\n\n## 与另外两只鼎对照\n\n本站另有[克利夫兰藏的商代青铜鼎](\u002Fartifacts\u002Fshang-ding)与[分裆鼎（鬲鼎）](\u002Fartifacts\u002Fshang-liding)。三只并排看，最要紧的分别是袋足与柱足：鬲鼎的足做成中空的袋状，为了多受热；这件圆鼎的足是细长的柱状，受热靠的是薄壁的腹部。器形差异背后是炊煮方式的差异。\n\n## 模型是怎么来的\n\n原始扫描 6.4 万面，减面到 4.3 万后 Draco 压缩，最终 0.31MB——是四件里最小的。纹饰带上的细阴刻线在减面中损失最多，如果只想看清兽面纹，请看[西周青铜尊](\u002Fartifacts\u002Fmia-zun)，那件没有减过面。\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":431,"zh":432},"Ding Cauldron","青铜鼎（商代晚期）",{"alt":434,"src":436,"width":74,"height":301,"source":437,"caption":439},{"zh":435},"商代晚期青铜圆鼎的三维扫描渲染图，双立耳、垂腹、三柱足","models\u002Fmia-ting-poster.jpg",{"url":438,"note":304,"license":40,"provider":305,"replaceBeforeLaunch":27},"https:\u002F\u002Fcollections.artsmia.org\u002Fart\u002F2388",{"zh":307},{"src":441,"poster":436,"source":442,"triangles":444},"models\u002Fmia-ting.glb",{"url":438,"note":443,"license":40,"provider":305,"replaceBeforeLaunch":80},"原始扫描 6.4 万面，本站减面至 4.3 万并做 Draco 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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":555,"zh":556},"Night-Shining White","照夜白",{"alt":558,"src":560,"width":245,"height":244,"source":561,"caption":563},{"zh":559},"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":562,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F39901",{"zh":564},"传为韩干所作，大都会艺术博物馆藏 1977.78","唐",[200],{"zh":568},"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。",[570],{"zh":571},"照夜白图","书画",{"zh":574},"纸本墨笔，手卷","1977.78",{"zh":577},"约 750 年","画心 30.8 × 34 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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":634,"zh":635},"Square Wine Container (Fangyou)","青铜方彝",{"alt":637,"src":639,"width":640,"height":88,"source":641,"caption":643},{"zh":638},"商代青铜方彝，带屋顶形盖的长方形盛酒器","artifacts\u002Fcleveland-1963.103-fangyou.jpg",2427,{"url":642,"license":40,"provider":64,"replaceBeforeLaunch":80},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1963.103",{"zh":644},"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":646},"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":261},"1963.103",{"zh":650},"约公元前 1250–前 1046 年","通高 26.7 × 13.4 厘米",{"id":653,"slug":388,"status":7,"body":654,"hall":202,"name":655,"cover":658,"museum":59,"dynasty":386,"summary":668,"category":253,"featured":80,"material":670,"accession":671,"dateLabel":672,"dimensions":674,"materialType":261,"created_at":627,"updated_at":628},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## 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断代怎么读\n\n尊的腹部最鼓处若偏下、圈足较高，一般落在西周早期。它与商代同类器的区别更多在纹饰密度：商器喜欢把器身填满，西周早期开始留白，纹样也从多层收敛为单层。\n\n## 铭文这件事\n\n克利夫兰给出的编目名 Fu Wu Zun 来自器上铭文的转写，读作\"父某\"一类的亲称——这是典型的家族祭祀铭文。西周青铜器上这类刻辞的价值往往高于器形本身：它给出的是人名、称谓与事件，而器形只能给出类型。\n\n## 与相邻器物的关系\n\n同一组里还有[商代方彝](\u002Fartifacts\u002Fshang-fangyou)与[西周觚](\u002Fartifacts\u002Fxizhou-gu)。盛酒、斟酒、饮酒三类凑齐，才是商周礼器组合的真实样子。\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":727,"zh":728},"Wine Vessel (Fu Wu Zun)","西周青铜尊",{"alt":730,"src":732,"width":733,"height":88,"source":734,"caption":736},{"zh":731},"西周早期青铜尊，喇叭形敞口、鼓腹、圈足","artifacts\u002Fcleveland-1938.13-fuwu-zun.jpg",2818,{"url":735,"license":40,"provider":64,"replaceBeforeLaunch":80},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1938.13",{"zh":737},"克利夫兰编目名 Fu Wu Zun，取自器上铭文转写；馆藏号 1938.13",[631,515],{"zh":740},"敞口、鼓腹、圈足的盛酒器。\"尊\"在西周金文里常作礼器共名，后世才慢慢专指这一类大腹酒器。",[742],{"zh":520},{"zh":261},"1938.13",{"zh":746},"约公元前 1000–前 900 年","口径 23.1 厘米，通高 25.2 厘米",{"id":749,"slug":515,"status":7,"body":750,"hall":235,"name":751,"cover":754,"museum":6,"dynasty":313,"related":763,"summary":764,"altNames":766,"category":253,"featured":27,"material":769,"accession":770,"dateLabel":771,"dimensions":773,"materialType":261,"created_at":627,"updated_at":628},16,"## 看什么\n\n三段式轮廓最要紧：喇叭形敞口、收得极细的腰部、再次外撇的高圈足。腰部与圈足上各有一组纹饰带，其余留素面——这种\"抓重点装饰\"的做法，与商代把器身填满的习惯正好相反。\n\n## 名字带来的麻烦\n\n\"觚\"这个名称来自宋代金石学的定名，商周器物自身并没有留下这个名字。所以你在别的书里可能看到它被叫作\"大觚\"或直接称\"尊\"，这不是分歧，而是后世人给无名器物安名的通例。\n\n## 它在礼仪里的位置\n\n觚与爵常成组出现，一饮一斟。西周早期墓葬里觚的数量减少，是学界常用的断代线索之一，背后对应的是周人对商代饮酒风气的收敛。\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":752,"zh":753},"Ritual Wine Beaker (Gu)","青铜觚",{"alt":755,"src":757,"width":758,"height":37,"source":759,"caption":761},{"zh":756},"西周早期青铜觚，喇叭口、细腰、高圈足","artifacts\u002Fmet-42173-gu.jpg",3101,{"url":760,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F42173",{"zh":762},"大都会艺术博物馆藏 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