瑞兽铭文青铜梅瓶

瑞兽铭文青铜梅瓶存世量较多，兽的形态各异，有些青铜器研究学者形容它们像狮、虎、豹、狼、马、鼠或狐头马躯、狐首虎躯等。唐高宗之前，主题纹饰以灵异瑞兽为主，再配以善颂善祷的祯祥铭文，纹饰布局拘束谨严，但形象活泼生动，丰腴柔健、珠圆玉润般的圆雕式技法逐渐兴起。一洗汉式镜拘谨板滞之态而作流畅华丽之姿，铸制手法亦由繁乱纷杂而转为清新优雅。梅瓶最早出现于唐代，宋辽时期较流行，此梅瓶为乾隆年制。梅瓶的造型在后期也逐渐依据其使用功能和创造者的审美发生变化，历经多个朝代的再设计和再创造其造型愈加优美。

    There are many bronze plum bottles in the inscription of Swiss beast and the shapes of beasts are different. Some bronze scholars describe them as lions tigers leopards wolves horses rats or foxes horses and tigers. Before Gaozong in Tang Dynasty the theme decoration was mainly spiritual and exotic beasts accompanied by the inscription of Zhenxiang which praised the good and prayed for the good. The decoration layout was restrained and rigorous but the image was lively and vivid and the round sculpture techniques like rich soft and strong beads and round jade rose gradually. The Chinese-style mirror is fluent and gorgeous in its rigid and stagnant manner and its casting technique has changed from complicated to fresh and elegant. The plum bottle first appeared in Tang Dynasty and was popular in Song and Liao Dynasty. In the later stage the shape of plum bottle gradually changes according to its use function and the creator's aesthetic appreciation. After several dynasties'redesign and recreation the shape of plum bottle becomes more beautiful.

    瑞獣の銘の青銅の梅の瓶の生存量は多くて、獣の形態はそれぞれ異なっていて、一部の青銅器研究者は、ライオン、トラ、豹、狼、馬、鼠、狐の頭馬のようなもの、狐の首の虎の身などを形容している。唐高宗の前に、テーマの紋様は霊異瑞獣を中心にして、更に善礼の善しあわせのサプリメントの忠文を添えて、紋様の配置の拘束は謹厳で、しかしイメージは活発で生き生きしていて、ふっくらとした柔らかい、珠玉のような円像式の技法が次第に盛んになった。漢式鏡は謹直な状態で滑らかで華麗な姿を作り、鋳造の手法も繁雑で複雑で優雅である。梅の瓶は最も早く唐代に現れて、宋の遼の時期は比較的に流行します。梅瓶のスタイリングは、後期にも使用機能やクリエーターの審美によって変化し、多くの朝代の再設計とその造形をさらに美しくする。