铜雕,铜雕厂,铸铜雕塑厂,铜雕厂家

鼎是青铜时代最具代表性的器物，贯穿了整个青铜时代的始终。从公元前21世纪至公元前5世纪，在大约1500年的历史进程中，鼎从一件日常的生活用器逐渐走向政治舞台，成为国家政权的标志。尊贵的社会地位，深厚的精神内涵，完美的艺术形式，汇聚于铜鼎一身，使其成为中国青铜文化的代表。

Ding is the most representative utensil in the bronze age, which runs through the whole bronze age. From the 21st century B.C. to the 5th century B.C., in the historical process of about 1500 years, Ding gradually moved from a daily life tool to the political stage and became the symbol of the state power. The noble social status, profound spiritual connotation and perfect art form all converge on the bronze tripod, making it the representative of Chinese bronze culture.

铜鼎是由新石器时代的陶鼎演化而来，最初用来烹煮食物。最早的铜鼎见于夏代晚期的河南偃师二里头遗址，经商、周发展至极盛，两汉至魏晋时期逐渐衰落。

The bronze tripod evolved from the pottery tripod of the Neolithic age and was originally used to cook food. The earliest bronze tripod was found in Erlitou site of Yanshi, Henan Province in the late Xia Dynasty. It developed to its peak in commerce and Zhou Dynasty, and gradually declined from the Han Dynasty to the Wei Jin Dynasty.

早期的铜鼎，因铸造技术的局限，形制比较单一，以锥足圆鼎为主，器壁较薄，纹样简单，充满了原始性。

Due to the limitations of casting technology, the early bronze tripod was relatively simple in shape, mainly cone foot round tripod, with thin walls, simple patterns and full of primitivism.

商中期以后，随着铸造技术的提高和日益重要的祭祀的需要，鼎的形制也发生了很大变化：出现了方鼎和分档鼎，且形体也不断变大，鼎足由原来单一的锥足发展为柱足和造型各异的扁足；同时纹饰也逐渐精美繁缛起来，甚至整器都有装饰的纹饰，而且主次分明。

After the middle period of Shang Dynasty, with the improvement of casting technology and the need of more and more important sacrifice, the shape of the tripod also changed a lot: there were square tripod and divided tripod, and the shape of the tripod also changed from a single cone foot to a flat foot with different shapes; at the same time, the patterns were gradually exquisite and complicated, and even the whole vessel had decorative patterns, with distinct primary and secondary.

值得一提的是在商代中期偏晚的时候，以族徽与日名为主题所构成的铭文开始出现，中国国家博物馆藏的后母戊鼎就是这一时期的代表。青铜鼎由此进入了它的繁荣期。

It is worth mentioning that in the late middle of the Shang Dynasty, the inscriptions with the theme of ethnic emblem and Japanese name began to appear. The later mother Wuding in the National Museum of China is the representative of this period. Bronze tripod thus entered its prosperous period.

西周是青铜鼎发展的全盛时期，时代的更替变革必然会给青铜器的发展注入新鲜血液。

The Western Zhou Dynasty is the heyday of bronze tripod development, and the change of the times will certainly inject fresh blood into the development of bronze ware.

这一时期的变化主要发生在纹饰和鼎足上，纹饰由繁缛逐渐简约，青铜器满花的装饰风格已经不是主流。另外一个较为明显的变化是鼎足。西周早期的柱足从中期开始向蹄足的方向发展。更重要的突变是这一时期的青铜鼎已经成为“经国家，定社稷，序民人，利后嗣”的礼制用器，由此也赋予了青铜鼎政治与精神的含义。列鼎制度就是在这时兴起的，具有纪念碑性质的长篇铭文也是这一时期出现的。铭文内容涉及册命、战争、诉讼和婚嫁等许多方面。在类型上，西周青铜鼎较前也有所发展，既有庙堂重器，也有人间烟火气息浓郁的实用型的温鼎等。

The changes in this period mainly occurred in the decoration and tripod, the decoration gradually contracted from red tape, and the decorative style of bronze full of flowers is not the mainstream. Another obvious change is dingzu. In the early Western Zhou Dynasty, the column foot developed from the middle to the hoof foot. More importantly, the bronze tripod in this period has become a ritual tool of "by the state, by the state, by the people, and for the benefit of heirs", thus giving the bronze tripod the meaning of politics and spirit. At this time, the tripod system rose, and the long inscriptions with the nature of monuments also appeared in this period. The contents of the inscriptions involve life, war, litigation, marriage and many other aspects. In terms of type, the bronze tripod of the Western Zhou Dynasty has also developed. It has not only important utensils of temples and halls, but also practical tripod with strong smoke and fire atmosphere.

东周以降，周王室日趋衰微，争霸与兼并不断，这是一个礼崩乐坏的时期，却迎来了铜鼎的第二个高峰。

With the decline of the Eastern Zhou Dynasty, the royal family of Zhou Dynasty gradually declined, and the struggle for hegemony and annexation continued. This was a period of collapse of etiquette and music, but it ushered in the second peak of the bronze Ding.

各地诸侯为了彰显实力和等级，僭越造鼎的现象不断，于是各地都发展出具有本地特色的铜鼎。如繁复精美的楚式铜鼎，就是以如浪花飞溅般的变形蟠螭纹为主要装饰纹饰，显现出楚人的浪漫主义精神，如现藏中国国家博物馆的王子午鼎。而承袭了周人文化的秦式铜鼎却日趋质朴，纹饰也较楚式铜鼎简单。这种充满了僭越的用鼎与周代礼制相矛盾，于是，作为礼器的铜鼎就渐渐消失了。虽然它已经失去了“名尊卑，分上下”的社会功能，作为曾经的庙堂祭器，人们还是给予鼎很高的礼遇，并赋予其文化象征意义。

In order to show their strength and rank, the local princes arrogated the phenomenon of making tripod continuously, so they all developed copper tripod with local characteristics. Such as the complicated and exquisite bronze tripod of Chu style, the main decorative pattern is the distorted and curly pattern like the spray, which shows the romantic spirit of Chu people, such as the prince Wu tripod in the National Museum of China. However, the bronze tripod of Qin style inherited the culture of Zhou people is becoming more and more simple, and the pattern is simpler than that of Chu style. This kind of tripod full of arrogation contradicts with the ritual system of the Zhou Dynasty, so the bronze tripod as a ritual vessel gradually disappeared. Although it has lost the social function of "name, honor and inferiority, up and down", as a temple sacrificial device, people still give the tripod a high courtesy and give it cultural symbolic significance.

汉代是青铜鼎走向衰落的时期，铜鼎形体较小，以实用为主，器壁较薄，多为鼓腹、素面，铭文一般刻于鼎外，如宝鸡青铜器博物院收藏的羽阳宫鼎。

Han Dynasty is a period when bronze tripod declined. The shape of bronze tripod is small, mainly practical, with thin walls, mostly with belly bulge and plain surface. The inscriptions are generally engraved outside the tripod, such as Yuyang palace tripod collected by Baoji bronze Museum.

我厂就是流水线工艺一般一个等人大的铜雕塑一般就是15天左右完工。 唐县汇丰工艺品厂是设计与铸造于一体的铜雕厂家，在我们唐县铜雕厂家是领导者，在河北铜雕厂家中技术遥遥领先。

Our factory is a general assembly line process, and the copper sculpture of the people's Congress is generally completed in about 15 days. Tangxian HSBC handicraft factory is a copper carving manufacturer integrating design and casting. It is the leader of Tangxian copper carving factory and the leading technology in Hebei copper carving factory.