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双语推荐：青铜器

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我国是一个历史悠久的文明古国,拥有着上下五千年的文明史,其文化内涵博大精深,文化种类多种多样。早在夏朝时期就出现了青铜器,并在随后的商、西周乃至春秋战国进一步发展,形成了具有自己独特风格的艺术文化,是我国传统文化的重要组成部分,为我国文化艺术的传播做出了重要的贡献。商周青铜器作为我国古代青铜器文化的最重要组成部分,这时期的青铜器具有着很高的研究价值和历史文化价值,一直是青铜器研究界的研究重点,对其研究从来没有中断过。商周青铜器纹样发展经历了育成期、鼎盛期、转变期这三个阶段,每个阶段有着各自的特点。
Our country has a long history of civilization———of five thousand years ,with profound cultural connotations and various kinds of cultures .As early as in the Xia Dynasty ,bronze wares appeared ,and in the subsequent Shang ,Western Zhou and Spring and Autumn penod ,they further developed ,forming its own unique style of art and culture ,becoming an important part of China’s traditional culture ,making an important contribution to the dissemination of culture and art .Shang and Zhou bronzes ,as the most important part of the ancient bronze culture with a high research value and historical and cultural value ,has been a research focus in the circle without any suspension .Development of Shang and Zhou bronzes patterns has experienced a growing period ,the peak peri-od and transformation period ,each with their own characteristics .

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西周初期宝鸡地区的青铜器有深入研究的空间。从器形特点而言,青铜禁、方座簋、四耳簋、编钟、剑都是宝鸡青铜器群中颇具特色的器物;从纹饰而言,向外飞射的棱角、尖刺乳钉纹、蜗纹是宝鸡出土青铜器的独特装饰风格;从器形组合而言,鼎、簋组合,觚、爵、斝减少,铭尊、卣组合的出现是宝鸡出土周初的青铜器的特点。宝鸡出土青铜器之所以出现以上特征,是由于其受到多种文化影响。从宝鸡出土族徽铜器可发现商周大部族国,与远方部族国、高度发达青铜文化之间的多层次、多方位交流。
ResearchesonbronzewareoftheEarlyZhouDynastyinBaojiareinsufficientandshould bepromoted.Intermsofformsofthevessels,bronzebans,vesselswithsquarebase,vesselswith fourears,chimesandswordsaredistinctivebronzeware.Intermsofornamentation,outwardedges andcorners,pointednails,snail-shapedsculptureareveryunique.Intermsofcombinationofdiffer-entforms,combiningtripodsandGui,combiningengraveddrinkingvesselsandwinecontainerYou, decreasingnumberofGu,JueandJiaarecharacteristicsofbronzewareoftheEarlyZhouDynastyex-cavatedinBaoji,whichiscausedbyinfluencesfrom variouscultures.Clanemblem bronzereveals multi-level,multi-facetedandhighly-developedbronzeculturalexchangesbetweenbigtribal countriesandremotetribalcountriesinShangandZhoudynasties.

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中国在青铜时代通常用“金”来代表青铜器，而“金”作为字素在单音词构词中有显著的表意作用，因此青铜时代的金部单音词以词汇的形式描绘了这一时代的青铜器文化，对青铜器的类别、冶炼以及青铜文化繁荣状况与原因都进行了形象生动的反映，进而诠释了词汇与文化间相辅相成的关系。
The word “Jin” is representative of Bronze in the Bronze Age. At the same time, as grapheme, the word “Jin” can represent meaning in monosyllable word formation. Therefore, all the mono-syllabic words from the “Jin” department of the Bronze Age are able to depict the culture of the Bronze in the form of words which included the Bronze category, smelting technologg, and the reasons for bronze cul-tural prosperity, Which explain the complementary relationship between vocabulary and culture.

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贺州出土的青铜器量多而型美，在广西考古史上实属罕见。这些青铜器是凝固的历史，更是沉默的文化字符，蕴藏着贺州百越时期的民俗信仰、冶炼技术等诸多文化元素。贺州青铜器是新石器时代模制技术与金属采冶、浇铸技术相结合的集大成者，体现了百越精神的继承与创新。
The bronze wares unearthed in Hezhou are large in number and beautiful in shape, which are rare in Guangxi ar-chaeological history. These bronze wares are solidified history, as well as silent cultural symbols, embodying a variety of cultural elements of Hezhou at the Baiyue period, such as folk belief and smelting technology. Hezhou bronze wares are the combination of molding technique, metal mining and smelting and casting tech-nology in the Neolithic period, and they reflect the inheritance and innovation of the Baiyue spirit.

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青铜时代是指以使用青铜器为标志的人类文化发展的新阶段。安徽大量古矿冶遗址的发现，显示了古代其作为长江中下游主要矿区以及冶炼和铸造青铜器的历史。
The bronze age is a new era for human cultural development symbolized by using bronze vessels. Discovery of many ancient copper mine relics discloses the history of smelting and casting bronze vessels in main copper mine belt in the middle and lower reaches of Changjiang River.

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青铜器锈蚀研究能够揭示出青铜器腐蚀机理，为制定科学的保护措施提供重要的参考资料。目前，青铜器锈蚀研究主要从其外部锈蚀产物入手，通过锈蚀组成结构分析，探讨其腐蚀机理。本文选择了保存较好青铜器本体样品进行了内部锈蚀情况研究。首先采用金相制备技术，通过打磨、抛光和超声清洗处理后，制备了断面相组织形态清晰的24件秦早期青铜器青铜本体样品。然后利用共聚焦显微拉曼光谱仪对样品夹杂物进行了光谱学研究，发现其物相为PbCO3和PbO及Cu2 O ，都属于常见的青铜合金腐蚀产物。样品金相组织中圆形或者大面积无规则亮灰色区域为C u2 O ，反映出青铜器表面不仅易于形成一定厚度C u2 O锈蚀层，在相界之间也容易发生氧化反应生成C u2 O ，存在合金内部和外部同时发生腐蚀生成赤铜矿锈蚀的情况。此外，拉曼光谱分析显示黑灰色物质主要为铅腐蚀产物———PbCO3和PbO ，反映出铅元素的腐蚀过程：Pb→PbO→PbCO3。在铸造态青铜合金组织中，铅一般呈近圆形颗粒状态分布在相界之间。青铜器内部分布的铅颗粒在土壤埋藏环境中会发生氧化反应生成PbO ，再与地下水中溶解的CO2－3发生化学反应生成比较稳定的PbCO3。结果表明：外界腐蚀因素（水、溶解氧和碳酸根等）能够通过合金中相界间通道进入青铜器内部，在相界表面逐步发生反应形成以金属氧化物为主的腐蚀产物。
The present paper analyzes the interior rust that occurred in bronze alloy sample from 24 pieces of Early Qin bronze wares .Firstly ,samples were processed by grinding ,polishing and ultrasonic cleaning to make a mirror surface .Then ,a confo-cal micro-Raman spectrometer was employed to carry out spectroscopic study on the inclusions in samples .The conclusion indi-cated that corrosive phases are PbCO3 ,PbO and Cu2 O ,which are common rusting production on bronze alloy .The light-colored circular or massive irregular areas in metallographic structure of samples are proved as Cu2O ,showing that bronze wares are not only easy to be covered with red Cu2 O rusting layer ,but also their alloy is easy to be eroded by atomic oxygen .In other words , the rust Cu2 O takes place in both the interior and exterior parts of the bronze alloy .In addition ,Raman spectrum analysis shows that the dark grey materials are lead corrosive products ———PbCO3 and PbO ,showing the corroding proces

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西周青铜器是礼乐制度的产物,因此它的形制、纹饰乃至排列组合都昭示着既定的礼乐制度,所谓"器以藏礼"指的就是青铜器能从各方面展示出礼乐规范的重要功能,"铸鼎象物"无疑就是"铸鼎显礼""铸器以显礼"。天子铸器以沟通天地、承接天命,而公侯大夫铸器无疑也是通过祭祀向祖先祈福,以保佑后世子孙,其背后的意义同样也起着展示权力、规范秩序的重要功能。青铜器是西周制礼作乐的载体,青铜制度往往就是礼乐制度,青铜观念往往就代表着礼乐观念。
The bronzeware of the Western Zhou Dynasty was a product of the ritual system, so its shape, decoration and arrangement are symbols of the established ritual system. The so-called"embodiment of rituals by bronzeware"means that the bronzeware could perform important ritual functions from all aspects. Making cauldrons was undoubtedly intended to show rituals. The emperors cast bronzeware to communicate with Heaven and Earth and receive divine decrees;and the dukes and ministers did so to pray happiness for future generations by offering sacrifices to their ancestors. Their actions could also be regarded as a display of power and regulation of order. Bronzeware was the carrier of ritual music of the Western Zhou;the system of bronzeware often stood for the ritual system;and the bronze concepts also represented ritual concepts.

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饕餮纹是青铜器上较为常见的纹样之一，本文通过对饕餮纹在旅游纺织品包袋中造型、色彩、风格的应用进行了分析与研究，从而归纳出两者之间的关系，为今后的旅游纺织品包袋设计提供一些参考。
gulosity is one of the commonly seen dermatoglyphic patterns on bronze ware. In this paper, the application of gulosity pattern in textile bags in modeling, color and style for tourism uses is analyzed and researched. Thus, the relations between them are summarized, and certain reference is provided to the future textile bag design for tourism.

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礼器是文明时代的产物，伴随着礼制而产生，源于日用器，以奢华为标志，肇始于上古祭祀文化，源于对天地自然的敬畏。礼器作为礼制的载体，是为举行祭祀、丧葬、朝聘、征伐、宴飨和婚冠等仪式活动而设计制作的器用，表明了使用者的身份、等级、地位和权力等，“藏礼于器”，使器物拥有了社会政治属性，也有装饰生活方式之功能。作为礼器的漆器，器类主要有簋、罍、豆、觚、觞、尊、俎、几、禁、钟鼓架、屏风等，门类众多，它与青铜器共同构成了一套完整的先秦礼器文化组合，并与青铜器有着同样的地位和功用。
Sacrificial vessels were the product of civilization along with the ritual system .Based on the articles of everyday use , and characterized with luxury , they originated from worship culture in ancient times, and the fear to the nature of heaven and earth .As the carrier of ritual system , they were designed for using in sacrifices, funerals, crowning, conquering, treats and marriage ceremony activities , to show onw-er’s identity, rank, status and power,etc .Etiqutte in wares endowed the wares with social and political at-tributes , besides and decorative function of life style .Those used as ritual vessels mainly included Gui , Lei, Dou, Gu, Shang, Zun, Zu, Jji, Jin, bel, drum rack, screen and so on numerous category .Together with bronzes they form a complete set of combination about the Pre -Qin culture of ritual vessels , and have the same status and function as bronzes .

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中国有着五千多年的文明历史，创造了无数光辉灿烂的文化，青铜器，甲骨，壁画，瓷器，兵马俑等不胜枚举。然而近些年由于人们急功近利的思想作怪，我国有很多文化遗产遭到损失，令人堪忧，所以作者通过多年工作经验，所见所闻介绍了中国文化遗产的现状，并提出了保护措施。
China has more than 5,000 years of civilization history, creates many splendid culture, such as, bronzes, Oracle bones, paintings, porcelain, Terra-Cotta Warriors, and so on. However because of the profit-oriented thinking in recent years, a lot of cultural heritage were lost, which is worrying. So the author introduced the status of China''s cultural heritage through several years of work experience and what they saw or heard and proposed protection measures.

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