汇丰铜雕(图)-纯铜缸-铜缸

铜工艺品和中国古代绘画一样，中国古代哲学思想也与中国古代铜工艺品雕塑风格有着密切的联系。中国艺术反映为崇高、庄严、壮丽、肃穆、典雅等等风格。道家哲学崇尚自然，在艺术上则表现为飘逸、雄浑、淳厚、古朴、淡泊、天真、稚拙等等风格。中国绘画和雕塑都有意返璞归真，追求一种内在美和一种大巧若拙的哲学精神境界。

Like ancient Chinese painting， ancient Chinese philosophy is closely related to ancient Chinese sculpture style. Chinese art is reflected in lofty， solemn， magnificent， solemn， elegant and other styles. Taoist philosophy upholds nature， while in art，铜缸价格， it is characterized by elegance， forcefulness， simplicity， simplicity，紫铜缸， indifference， innocence， naivety and so on. Both Chinese paintings and sculptures are intended to return to the nature and pursue a kind of inner beauty and a kind of philosophical spiritual realm.

按照大清的祖制，皇帝大婚时，皇后要坐轿从故宫的正门午门被抬入皇宫，然后经太和门再向北进入内宫。由于太和门被大火焚毁，一时不可能完全修复，而光绪皇帝的婚期又不可随便更改，慈禧遂责令扎彩工匠临时扎制了一个一模一样的纸太和门，隆裕皇后正是从这座纸太和门进入后宫的。

According to the ancestral system of the Qing Dynasty， when the emperor got married， the queen would be carried into the Imperial Palace from the main gate of the Forbidden City， the Meridian Gate， and then through the Taihe gate to the north into the inner palace. As like as two peas were destroyed， the emperor's marriage was not changed at any time. Ci Xi's marriage was not changed. The temporary leader of the emperor was ordered to make a paper like Taihe gate. The queen of Long Yu entered the palace from this paper Tai He gate.

在清代，宫中的铜缸是由内务府统一管理的。每天一早，内务府官员便命苏拉（杂役）从井内汲水，一担一担地把所有大缸灌满，以备防火之用。每年到了小雪季节，宫内的太监就要在铜缸外套上一层***的棉套，上面再加上厚厚的缸盖。同时在铜缸下的汉白玉石基座里放置一盆炭火，并保证其昼夜不息地燃烧着。这样，通过双重保暖措施，防止缸内的存水结冰。保暖工作一直要到第二年的惊蛰时节才能结束，那时大地回春，气候已经逐渐转暖，铜缸，太监们就会解去棉套，撤去炭火。为了保证宫中有足够的水源用于灭火，纯铜缸，当时在宫中设置了许多大缸。据《大清会典》记载，宫***有大缸308口。但世事沧桑，由于各种原因，如今只剩下231口了。
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