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这一厅有什么\n\n按本站的收录顺序，这一厅放的是克利夫兰的**商周青铜器与早期玉器**：鼎、方彝、尊、斝、琮、璧。它们大多来自 20 世纪上半叶的几次重要入藏，器物等级高、且馆方已把影像以 CC0 释出——这是本站优先收它的直接原因。\n\n## 怎么看\n\n青铜器看三件事：足制（炊器 \u002F 酒器）、纹饰层次（主纹 + 地纹）、铭文有无。玉器看两件事：器形与沁色。想快速建立手感，先看[青铜鼎](\u002Fartifacts\u002Fshang-ding)，再对比[青铜斝](\u002Fartifacts\u002Fshang-jia)的细长足。\n\n> 本厅尚未接入全景漫游。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":203,"zh":204},"Chinese Art Galleries","中国艺术展厅",{"alt":206,"src":209,"width":88,"height":210,"source":211,"caption":214},{"en":207,"zh":208},"Shang dynasty bronze ding, a highlight of the Cleveland Chinese art 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这一厅有什么\n\n[青铜觚](\u002Fartifacts\u002Fxizhou-gu)（商代酒器）、[良渚玉琮](\u002Fartifacts\u002Fliangzhu-cong)（新石器时代）、[分裆鼎](\u002Fartifacts\u002Fshang-liding)（商代）、[错铜纹壶](\u002Fartifacts\u002Feastern-zhou-hu)（东周）。\n\n## 怎么看\n\n大都会的中国青铜器展陈强调**功能分组**：炊器、酒器、水器各自成组。逛的时候可以按这个逻辑走——先认出\"它是做什么用的\"，再看装饰。相反，玉器看的是\"它是给谁用的\"：琮与璧都是礼器，几乎不出现在日常生活里。\n\n> 本厅尚未接入全景漫游。影像与元数据来自大都会艺术博物馆开放数据接口（CC0）。",{"en":247,"zh":248},"Asian Art Galleries","亚洲艺术展厅",{"alt":250,"src":253,"width":254,"height":37,"source":255,"caption":257},{"en":251,"zh":252},"A Shang dynasty bronze gu beaker from the Met's Asian art galleries","商代青铜觚，大都会亚洲艺术展厅的代表藏品","artifacts\u002Fmet-42173-gu.jpg",3101,{"url":256,"note":213,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F42173",{"zh":215},{"zh":259},"大都会的亚洲艺术部藏品跨度极大，本站只取其中国青铜与玉器的一小段：从商代礼器到良渚玉琮。影像全部出自馆方 CC0 开放数据。","2026-10-12T01:30:03.000Z",{"id":5,"slug":262,"status":7,"body":263,"name":264,"cover":267,"floor":277,"order":5,"museum":6,"summary":278,"created_at":242,"updated_at":260},"met-chinese-painting","## 这一厅有什么\n\n目前只收了[《照夜白图》](\u002Fartifacts\u002Fnight-shining-white)：唐代韩干画的一匹系在马桩上的骏马。它是本站收录的第一件纸本 \u002F 绢本绘画，也是\"为什么必须做高清大图\"的最好例子——真迹尺幅不大，细节全在线条里。\n\n## 怎么看\n\n书画类目和器物类不同：材质脆弱，长期展出的时间有限，很多时间是收在库房里的。看数字化影像时，重点放在**纸绢的肌理、墨色的干湿浓淡、以及题跋与印章的层叠**——这些在现场隔着展柜也未必看得清。\n\n> 本厅尚未接入全景漫游。影像与元数据来自大都会艺术博物馆开放数据接口（CC0）。",{"en":265,"zh":266},"Chinese Painting Galleries","中国书画展厅",{"alt":268,"src":271,"width":272,"height":273,"source":274,"caption":276},{"en":269,"zh":270},"Night-Shining White by Han Gan, a highlight of the Met's Chinese painting galleries","唐代韩干《照夜白图》，大都会中国书画展厅代表藏品","artifacts\u002Fmet-39901-night-shining-white.jpg",2000,1501,{"url":275,"note":213,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F39901",{"zh":215},"二层",{"zh":279},"大都会的中国书画藏品以唐、宋、元真迹见称。书画对光线极敏感，展陈常采取轮换与低照度，这一厅在本站先放一件——韩干《照夜白图》。",{"id":108,"slug":281,"status":7,"body":282,"name":283,"cover":286,"floor":298,"order":157,"museum":59,"summary":299,"panorama":301,"created_at":242,"updated_at":331},"panorama-demo","## 这一厅是干什么的\n\n本站的展厅页从这里开始接入全景漫游。为了让技术方案不被素材卡住——图像尺寸、加载体积、移动端性能——这里先挂一张公开授权的**等距柱状投影**（equirectangular）照片。\n\n它的拍摄地是意大利的 Esino Lario 博物馆，与本站收录的任何一家馆无关。**上线前必须换成合作馆方的授权实拍**，否则本厅整页下线。\n\n## 怎么逛\n\n- **环顾**：按住拖动，或直接在触屏上滑动；手机横屏视野最好；\n- **缩放**：滚轮或双指捏合；\n- **换厅**：脚下有箭头的方向就是相邻展厅，顺着箭头走（点击箭头或把视线转过去）会平滑过渡到下一场景；\n- **看展品**：画面里的朱砂色编号圆点对应旁边的展品清单，点击弹出卡片可跳转详情；\n- **小地图**：右下角平面图上的指针是当前朝向，箭头是从演示平面图（自绘示意图，非真实馆舍）上取的坐标。\n\n演示点位与箭头角度都是占位值——真图替换后按实际展陈重新标注。\n\n## 为什么一张全景也要登记来源\n\n全景文件通常比普通照片大得多：这张原图 9728×4864、约 9.4 MB。它以 3840px 档存入 OSS，由图片处理参数按端下发。授权是 CC BY-SA，属于\"必须替换\"级别——在素材清单里它和博物馆外观图一起，列为上线前的硬闸门。\n\n> 影像来自 Wikimedia Commons（Cmglee，CC BY-SA 4.0）；本站仅作开发阶段技术演示使用。",{"en":284,"zh":285},"Panorama Demo Hall","全景漫游演示厅",{"alt":287,"src":290,"width":291,"height":74,"source":292,"caption":296},{"en":288,"zh":289},"An equirectangular 360-degree interior photosphere of a museum","等距柱状投影的博物馆室内 360 度全景图","panoramas\u002Fesino-lario-museum-3840.jpg",3840,{"url":293,"note":294,"license":25,"provider":295,"replaceBeforeLaunch":27},"https:\u002F\u002Fcommons.wikimedia.org\u002Fwiki\u002FFile:Cmglee_Wikimania2016_Esino_Lario_museum_interior_photosphere.jpg","技术演示用素材，上线前必须替换为本馆授权实拍全景","Wikimedia Commons（Cmglee）",{"zh":297},"演示用全景，拍摄于意大利 Esino Lario 博物馆，非克利夫兰实景","一层（演示）",{"zh":300},"阶段 3 的全景漫游先在这里跑通技术链路：一张等距柱状投影照片 + 全景查看器。当前这张图与本站收录的博物馆都无关，纯作演示。",{"src":290,"plan":302,"view":304,"exits":306,"points":314,"source":330,"thumbnail":290},{"x":303,"y":235},215,{"yaw":225,"pitch":305},-5,[307],{"to":308,"yaw":309,"label":310,"pitch":313},"panorama-demo-science",265,{"en":311,"zh":312},"The adjacent science gallery","相邻的科技展厅",-8,[315,320,326],{"yaw":316,"note":317,"pitch":313,"artifact":319},32,{"zh":318},"演示点位：正式上线后，这个角度会是青铜鼎展柜的方位。","shang-ding",{"yaw":321,"note":322,"pitch":324,"artifact":325},108,{"zh":323},"演示点位：与鼎同厅陈列的方彝，同样只是角度占位。",-6,"shang-fangyou",{"yaw":327,"pitch":328,"artifact":329},172,-10,"xizhou-fuwu-zun",{"url":293,"note":294,"license":25,"provider":295,"replaceBeforeLaunch":27},"2026-10-12T04:54:05.000Z",{"id":157,"slug":308,"status":7,"body":333,"name":334,"cover":337,"floor":347,"order":108,"museum":59,"summary":348,"panorama":350,"created_at":242,"updated_at":260},"## 巡游的第二站\n\n这一厅是为了验证「多场景」而存在的：它和[全景漫游演示厅](\u002Fpanoramas\u002Fpanorama-demo)互设入口箭头，点击箭头或顺着箭头方向把视线转过去，就会平滑过渡到另一间房子——这正是虚拟巡游（virtual tour）在真实展馆里的用法：一间屋子看向门洞，走过去，进入下一间。\n\n## 素材说明\n\n照片拍摄于印度加尔各答科学城的「新兴科技展廊」，原图 11536×5768、恰为 2:1 的等距柱状投影。授权 CC BY 3.0（Biswarup Ganguly），同样属于**上线前必须替换**级别。\n\n它与演示厅一来自不同作者、不同馆舍、不同长宽比，正好覆盖多场景下的两类边界：图源尺寸不一时的档位适配，以及换厅过渡时的纹理替换。\n\n> 影像来自 Wikimedia Commons（Biswarup Ganguly，CC BY 3.0）；本站仅作开发阶段技术演示使用。",{"en":335,"zh":336},"Science Exploration Hall (demo)","科学探索厅（演示）",{"alt":338,"src":341,"width":291,"height":74,"source":342,"caption":345},{"en":339,"zh":340},"A 360-degree view of the Emerging Technologies Gallery, Science City Kolkata","印度加尔各答科学城「新兴科技展廊」的 360 度全景","panoramas\u002Fkolkata-science-hall-3840.jpg",{"url":343,"note":294,"license":183,"provider":344,"replaceBeforeLaunch":27},"https:\u002F\u002Fcommons.wikimedia.org\u002Fwiki\u002FFile:Emerging_Technologies_Gallery_-_360x180_Degree_Equirectangular_View_-_Science_Exploration_Hall_-_Science_City_-_Kolkata_2016-02-23_0570-0578.tif","Wikimedia Commons（Biswarup Ganguly）",{"zh":346},"演示用全景，拍摄于印度加尔各答科学城，非克利夫兰实景","二层（演示）",{"zh":349},"巡游演示的第二个场景，用来验证多展厅切换：两张全景互设入口箭头，跟箭头走会在场景之间平滑过渡。",{"src":341,"plan":351,"view":353,"exits":355,"points":361,"source":372,"thumbnail":341},{"x":352,"y":235},530,{"yaw":225,"pitch":354},-4,[356],{"to":281,"yaw":357,"label":358,"pitch":313},100,{"en":359,"zh":360},"Back to the museum atrium","返回博物馆中庭",[362,368],{"yaw":363,"note":364,"pitch":366,"artifact":367},58,{"zh":365},"演示点位：与邻近展厅的器物交叉引用，验证热点卡片在不同场景中的表现。",-7,"shang-jia",{"yaw":369,"pitch":370,"artifact":371},300,-9,"warring-states-bi",{"url":343,"note":294,"license":183,"provider":344,"replaceBeforeLaunch":27},[374,403,430,459,535,593,661,715,742,765,788,810,833,857,881,906],{"id":30,"slug":375,"status":7,"body":376,"hall":200,"name":377,"cover":380,"museum":59,"dynasty":390,"related":391,"summary":393,"category":395,"featured":80,"material":396,"accession":398,"dateLabel":399,"dimensions":401,"materialType":402,"created_at":242,"updated_at":260},"chenghua-cup","## 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。",{"en":378,"zh":379},"Wine Cup with Children at Play","斗彩婴戏纹杯",{"alt":381,"src":383,"width":384,"height":385,"source":386,"caption":388},{"zh":382},"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":387,"license":40,"provider":64,"replaceBeforeLaunch":80},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1957.61",{"zh":389},"克利夫兰艺术博物馆藏 1957.61，景德镇窑，有成化款","明",[371,392],"night-shining-white",{"zh":394},"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":397},"瓷，釉下青花加釉上彩（斗彩）","1957.61",{"zh":400},"明成化（1465–1487）","通高 4.8 厘米","瓷",{"id":58,"slug":404,"status":7,"body":405,"hall":228,"name":406,"cover":409,"museum":6,"dynasty":418,"summary":419,"category":421,"featured":80,"material":422,"accession":425,"dateLabel":426,"dimensions":428,"materialType":429,"created_at":242,"updated_at":260},"eastern-zhou-hu","## 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。",{"en":407,"zh":408},"Wine Container (Hu)","错铜纹壶",{"alt":410,"src":413,"width":273,"height":272,"source":414,"caption":416},{"en":411,"zh":412},"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",{"url":415,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F53960",{"zh":417},"大都会艺术博物馆藏，入藏号 29.100.545","东周",{"zh":420},"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":423,"zh":424},"bronze inlaid with copper","青铜错铜","29.100.545",{"zh":427},"公元前 5 世纪","高 44.5 厘米，腹径 29.8 厘米","青铜",{"id":5,"slug":431,"status":7,"body":432,"hall":228,"name":433,"cover":436,"museum":6,"dynasty":445,"related":446,"summary":448,"category":450,"featured":27,"material":451,"accession":454,"dateLabel":455,"dimensions":457,"materialType":458,"created_at":242,"updated_at":260},"liangzhu-cong","## 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":434,"zh":435},"Ritual Object (Cong)","玉琮",{"alt":437,"src":439,"width":440,"height":37,"source":441,"caption":443},{"zh":438},"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":442,"license":40,"provider":12,"replaceBeforeLaunch":80},"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F72376",{"zh":444},"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",[371,447],"shang-cong",{"zh":449},"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":452,"zh":453},"jade (nephrite)","玉（透闪石）","2004.52",{"zh":456},"约公元前 2400 年（良渚文化）","高 25.4 厘米，宽 7 厘米","玉",{"id":157,"slug":460,"status":7,"body":461,"name":462,"cover":465,"model":476,"museum":168,"dynasty":481,"related":482,"summary":485,"altNames":487,"category":421,"featured":80,"hotspots":490,"material":531,"dateLabel":532,"materialType":429,"created_at":242,"updated_at":534},"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":463,"zh":464},"Gui Food Vessel","青铜簋（西周早期）",{"alt":466,"src":468,"width":74,"height":469,"source":470,"caption":474},{"zh":467},"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":471,"note":472,"license":40,"provider":473,"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":475},"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":477,"poster":468,"source":478,"triangles":480},"models\u002Fmia-gui.glb",{"url":471,"note":479,"license":40,"provider":473,"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",[483,484,319],"mia-ting","mia-zun",{"zh":486},"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。",[488],{"zh":489},"簋",[491,501,511,521],{"id":492,"text":493,"title":495,"position":497},"rim",{"zh":494},"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":496},"宽侈口沿",[498,499,500],0.06,0.043,-0.475,{"id":502,"text":503,"title":505,"position":507},"ear",{"zh":504},"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":506},"兽首双耳",[508,509,510],0.125,-0.02,-0.545,{"id":512,"text":513,"title":515,"position":517},"belly",{"zh":514},"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":516},"腹部的扉棱",[518,519,520],0.07,0.005,-0.481,{"id":522,"text":523,"title":525,"position":527},"foot",{"zh":524},"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":526},"高圈足",[528,529,530],0.052,-0.075,-0.487,{"zh":429},{"zh":533},"约公元前 11 世纪","2026-10-16T03:25:39.000Z",{"id":108,"slug":536,"status":7,"body":537,"name":538,"cover":541,"model":548,"museum":168,"dynasty":553,"related":554,"summary":555,"altNames":557,"category":421,"featured":80,"hotspots":560,"material":590,"dateLabel":591,"materialType":429,"created_at":242,"updated_at":534},"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":539,"zh":540},"Jia Wine 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万面后仍可看清柱与足的转折。",[558],{"zh":559},"斝",[561,571,580],{"id":562,"text":563,"title":565,"position":567},"posts",{"zh":564},"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":566},"口沿上的柱",[568,569,570],0.074,6.988,-4.585,{"id":512,"text":572,"title":574,"position":576},{"zh":573},"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":575},"腹部的兽首鋬",[577,578,579],0.208,6.874,-4.652,{"id":581,"text":582,"title":584,"position":586},"legs",{"zh":583},"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":585},"三足",[587,588,589],0.131,6.732,-4.498,{"zh":429},{"zh":592},"约公元前 13–前 12 世纪",{"id":594,"slug":483,"status":7,"body":595,"name":596,"cover":599,"model":606,"museum":168,"dynasty":553,"related":611,"summary":613,"altNames":615,"category":421,"featured":80,"hotspots":618,"material":658,"dateLabel":659,"materialType":429,"created_at":242,"updated_at":534},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":597,"zh":598},"Ding Cauldron","青铜鼎（商代晚期）",{"alt":600,"src":602,"width":74,"height":469,"source":603,"caption":605},{"zh":601},"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":604,"note":472,"license":40,"provider":473,"replaceBeforeLaunch":27},"https:\u002F\u002Fcollections.artsmia.org\u002Fart\u002F2388",{"zh":475},{"src":607,"poster":602,"source":608,"triangles":610},"models\u002Fmia-ting.glb",{"url":604,"note":609,"license":40,"provider":473,"replaceBeforeLaunch":80},"原始扫描 6.4 万面，本站减面至 4.3 万并做 Draco 几何压缩与 WebP 纹理",43050,[319,612,460],"shang-liding",{"zh":614},"煮肉、盛肉的器，也是礼器群的核心。这件是标准的商晚期圆鼎：双立耳、深垂腹、三柱足，纹饰只集中在口沿下一圈。",[616],{"zh":617},"鼎",[619,629,639,648],{"id":620,"text":621,"title":623,"position":625},"ears",{"zh":622},"耳立在口沿之上，与器身一次铸成。立耳的位置恰好落在两足之间的空档上——这样提起来才平衡，这是商周鼎耳与足布局的固定规矩。",{"zh":624},"双立耳",[626,627,628],0.483,13.902,-27.521,{"id":630,"text":631,"title":633,"position":635},"band",{"zh":632},"纹饰只占口沿下方一条，兽面之间夹着圆涡纹。商晚期常见的做法是把装饰压在器身上部，下半部留素面——因为埋藏与使用中的磨损都集中在下部，素面也更省工。",{"zh":634},"口沿下的纹饰带",[636,637,638],0.7,13.82,-27.45,{"id":512,"text":640,"title":642,"position":644},{"zh":641},"腹壁向下垂收成圆底，这是\"垂腹\"，是商晚期圆鼎的典型轮廓。这一带的绿色斑驳是铜锈，扫描把它如实记录了进来——3D 模型的价值之一就在这儿：锈蚀的分布是照片难以完整传达的立体信息。",{"zh":643},"垂腹与锈蚀",[645,646,647],0.693,13.707,-27.464,{"id":649,"text":650,"title":652,"position":654},"feet",{"zh":651},"足近圆柱形、略向外撇。把视角压到底部往上看，能看到足与器底的接合处明显加厚：整只鼎盛肉之后重量全压在三个点上。",{"zh":653},"三柱足",[655,656,657],0.615,13.617,-27.419,{"zh":429},{"zh":660},"约公元前 12 世纪",{"id":662,"slug":484,"status":7,"body":663,"name":664,"cover":667,"model":674,"museum":168,"dynasty":481,"related":679,"summary":681,"altNames":683,"category":421,"featured":80,"hotspots":686,"material":713,"dateLabel":714,"materialType":429,"created_at":242,"updated_at":534},7,"## 为什么这件能转\n\n明尼阿波利斯艺术博物馆把一批商周青铜器做了摄影测量扫描，以 CC0 发布在自家 Sketchfab 账号 `artsmia` 上。这件尊的原始模型 1.6 万面，是四件里唯一不必减面就达到交互要求的，所以纹饰的起伏保留得最完整。\n\n## 看轮廓，不要看纹饰细节\n\n扫描精度不足以读清铭文，但器形轮廓是可靠的。判断尊的年代，先转圈看三个比例：敞口张开的角度、腹部最鼓点的高低、圈足占通高的比重。这三项的变化比纹饰名称更能说明问题。\n\n## 与同组器物对照\n\n本站另有[克利夫兰藏西周青铜尊](\u002Fartifacts\u002Fxizhou-fuwu-zun)与[西周觚](\u002Fartifacts\u002Fxizhou-gu)。尊、觚在商周墓葬里几乎总是成对出现——一个盛酒，一个饮酒。\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 Draco\u002FWebP 压缩）；中文说明由本站按公开资料整理。",{"en":665,"zh":666},"Zun Wine 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纹理",16348,[329,680,367],"xizhou-gu",{"zh":682},"盛酒器。喇叭形敞口、鼓腹、高圈足，是商末周初尊的标准轮廓。这件是本站第一批可交互查看的真文物三维扫描。",[684],{"zh":685},"尊",[687,696,705],{"id":492,"text":688,"title":690,"position":692},{"zh":689},"口沿外侈成喇叭状，越到西周敞得越开。转动模型看口沿的厚度变化——铸造时这一段用的泥范最薄，也最容易在埋藏中变形。",{"zh":691},"喇叭形敞口",[693,694,695],0.11,0.4,0.02,{"id":512,"text":697,"title":699,"position":701},{"zh":698},"腹最鼓处偏上，纹饰以扉棱为中线左右对称展开。把模型转到侧面，注意纹饰带在扉棱处断开，这是分范铸造留下的痕迹。",{"zh":700},"腹部与兽面纹",[702,703,704],0.093,0.22,0.002,{"id":522,"text":706,"title":708,"position":709},{"zh":707},"圈足越高，年代越偏西周早期。商代同类器的足相对矮一些，足上的纹饰层数也更少。",{"zh":526},[710,711,712],0.12,0.05,0.01,{"zh":429},{"zh":533},{"id":716,"slug":392,"status":7,"body":717,"hall":262,"name":718,"cover":721,"museum":6,"dynasty":727,"related":728,"summary":729,"altNames":731,"category":734,"featured":27,"material":735,"accession":737,"dateLabel":738,"dimensions":740,"materialType":741,"created_at":242,"updated_at":260},8,"## 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。",{"en":719,"zh":720},"Night-Shining White","照夜白",{"alt":722,"src":271,"width":272,"height":273,"source":724,"caption":725},{"zh":723},"唐代《照夜白》：一匹系在木桩上的白马，四蹄腾跃、鬃毛飞扬",{"url":275,"license":40,"provider":12,"replaceBeforeLaunch":80},{"zh":726},"传为韩干所作，大都会艺术博物馆藏 1977.78","唐",[375],{"zh":730},"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。",[732],{"zh":733},"照夜白图","书画",{"zh":736},"纸本墨笔，手卷","1977.78",{"zh":739},"约 750 年","画心 30.8 × 34 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1800px 档时，能同时看清凸起边缘的刀痕与抛光面的反光——这一类细节正是本站\"可放大看图\"功能要展示的东西。\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":861,"zh":862},"Ceremonial Disk with Grain Pattern (Bi)","谷纹玉璧",{"alt":864,"src":866,"width":88,"height":867,"source":868,"caption":870},{"zh":865},"战国玉璧，整面排布凸起的谷纹，中央圆孔","artifacts\u002Fcleveland-1952.567-bi.jpg",3094,{"url":869,"license":40,"provider":64,"replaceBeforeLaunch":80},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1952.567",{"zh":871},"克利夫兰艺术博物馆藏 1952.567","战国",[431,375],{"zh":875},"扁圆、中央有孔的玉器。战国璧满排谷纹，像一波波发芽的谷物，是\"玉比德\"观念成型期的标准样式。",{"zh":453},"1952.567",{"zh":879},"公元前 475–前 221 年","直径 18.4 厘米",{"id":882,"slug":329,"status":7,"body":883,"hall":200,"name":884,"cover":887,"museum":59,"dynasty":481,"related":896,"summary":897,"altNames":899,"category":421,"featured":80,"material":901,"accession":902,"dateLabel":903,"dimensions":905,"materialType":429,"created_at":786,"updated_at":787},15,"## 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":885,"zh":886},"Wine Vessel (Fu Wu Zun)","西周青铜尊",{"alt":888,"src":890,"width":891,"height":88,"source":892,"caption":894},{"zh":889},"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":893,"license":40,"provider":64,"replaceBeforeLaunch":80},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1938.13",{"zh":895},"克利夫兰编目名 Fu Wu Zun，取自器上铭文转写；馆藏号 1938.13",[325,680],{"zh":898},"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。",[900],{"zh":685},{"zh":429},"1938.13",{"zh":904},"约公元前 1000–前 900 年","口径 23.1 厘米，通高 25.2 厘米",{"id":907,"slug":680,"status":7,"body":908,"hall":228,"name":909,"cover":912,"museum":6,"dynasty":481,"related":918,"summary":919,"altNames":921,"category":421,"featured":27,"material":924,"accession":925,"dateLabel":926,"dimensions":928,"materialType":429,"created_at":786,"updated_at":787},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":910,"zh":911},"Ritual Wine Beaker (Gu)","青铜觚",{"alt":913,"src":253,"width":254,"height":37,"source":915,"caption":916},{"zh":914},"西周早期青铜觚，喇叭口、细腰、高圈足",{"url":256,"license":40,"provider":12,"replaceBeforeLaunch":80},{"zh":917},"大都会艺术博物馆藏 24.72.10，Munsey Fund 1931 年入藏",[319,329],{"zh":920},"饮酒器。口与足都向外撇、中间收细，整器像一段拉长的喇叭。\"觚不觚\"这句感叹，说的就是它的形制在春秋已经走样。",[922],{"zh":923},"觚",{"zh":429},"24.72.10",{"zh":927},"约公元前 11 世纪晚期","通高 21 厘米，口径 12.7 厘米，圈足径 7.1 厘米",[930,947,963],{"id":30,"slug":931,"status":932,"body":933,"name":934,"cover":937,"order":30,"museum":59,"summary":944,"featured":27,"artifacts":946,"created_at":786,"updated_at":787},"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":935,"zh":936},"Casting and Sacrifice: Shang and Zhou Bronze Ritual Vessels","铸与祭：商周青铜礼器",{"alt":938,"src":797,"width":798,"height":88,"source":941,"caption":942},{"en":939,"zh":940},"A Shang dynasty bronze fangyou vessel with taotie decor","商代青铜方彝，器身与盖满饰兽面纹",{"url":800,"license":40,"provider":64,"replaceBeforeLaunch":80},{"zh":943},"商代青铜方彝（克利夫兰艺术博物馆藏，1963.103）",{"zh":945},"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。",[319,325,612,367,329,680,404],{"id":5,"slug":948,"status":932,"body":949,"name":950,"cover":953,"order":58,"museum":6,"summary":960,"featured":27,"artifacts":962,"created_at":786,"updated_at":787},"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":951,"zh":952},"Ritual in Stone: Three Millennia of Jade","石之礼：玉器三千年",{"alt":954,"src":439,"width":440,"height":37,"source":957,"caption":958},{"en":955,"zh":956},"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",{"url":442,"license":40,"provider":12,"replaceBeforeLaunch":80},{"zh":959},"良渚文化玉琮（大都会艺术博物馆藏，72376）",{"zh":961},"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\"。",[431,447,371],{"id":58,"slug":964,"status":932,"body":965,"name":966,"cover":969,"order":5,"museum":59,"summary":979,"featured":80,"artifacts":981,"created_at":786,"updated_at":787},"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":967,"zh":968},"Online Feature: The Cleveland Chinese Galleries","线上专题：克利夫兰的中国厅",{"alt":970,"src":973,"width":974,"height":88,"source":975,"caption":977},{"en":971,"zh":972},"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":976,"license":40,"provider":64,"replaceBeforeLaunch":80},"https:\u002F\u002Fclevelandart.org\u002Fart\u002F1962.213",{"zh":978},"克利夫兰艺术博物馆藏，1962.213",{"zh":980},"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。",[447,371,375,367]]