銅雕

銅雕產生于商周，是以銅料為胚，運用雕刻、鑄塑等手法制作的一種雕塑。銅雕藝術主要表現了造型、質感、紋飾的美，多用于表現神秘有威懾力的宗教題材。如佛像等。

中國歷史上重要的銅雕藝術品有西周的“伯矩”鬲，晚商的“司母戊”鼎以及漢代的“馬踏飛燕”。

人類最早使用鑄造金屬的記載已經模糊不清了，但我們可以這樣推測：早期的狩獵者們圍坐在火邊，一塊銅塊落進了煤炭里，銅塊熔化并流淌，像一股閃光的小溪流，一旦冷卻，這個閃光的重物體就變得很硬，形成了新的形狀。

很可能早期人們看到這種現象反復發生，然后他們尋找、收集銅塊，把它們扔到火里，看那些閃光的溪流慢慢流出。一些人想象并在沙地上面出一個形狀，讓金屬流進去，也許就變成了一個矛尖。從那以后，金屬鑄造經歷了幾十個世紀直到今天。

青銅雕

公元前4000到3000年間，發生了一個小小的奇跡，沒有證據表明這個奇跡發生的確切時間和地點，以及它是怎樣發生的。但是一些人又發現-抑或偶然-把一些稍有不同的閃光金屬或錫熔進閃光的銅中，這種混合物就變得更堅硬。伴隨著這個發現，青銅時代便開始了。

歷史上的作品

中國歷史上重要的銅雕藝術品有西周的“伯矩”鬲，晚商的“司母戊鼎”以及漢代的“馬踏飛燕”。

銅雕工藝遍布大江南北，莆田銅雕、唐縣銅雕等。莆田銅雕藝術中，鑄出的銅件的紋理和圖案絲毫不差，超大型傳統銅雕，即使高達108米，也能做到準確無誤。在莆田梅峰寺，有一口宋紹興二十五年（1155年）由名匠蔡通鑄造的銅鐘，敲擊時聲音洪亮，五更時分可傳至20公里遠，且音有揚抑，有詩贊道：“何處鐘聲出曉煙，梅寺別有上方天……清音可卜陰陽事，還憶當年蔡氏賢�！彼�以有“梅寺晨鐘”之稱，成為莆田二十四景之一。

保養

保持銅雕原貌，有個收藏保管問題，銅雕在地下經過長期腐蝕氧化，質地已不堅固，特別是半脫胎銅雕，甚至比瓷器還易損，因此對銅雕妥善保存，防止出土后受損，對投資者來說十分重要。

出土的銅雕經常是泥銹混濁，紋飾不清，進行適當的清洗，讓泥土自行脫落，而后用小毛刷輕輕刷洗，遇到有影響紋飾的土銹，可用小竹簽慢慢剔除，切忌用銅刷或硬毛刷著力刷洗，更不能用利器清理打磨，否則會毀壞銅雕，而失去收藏價值。

那么如何對銅雕進行保護保養呢？

①氧化銀法。用氧化銀與氧化亞銅接觸，封閉氯化亞銅的暴露面，達到控制腐蝕銅雕的目的。先用機械方法，剔除粉狀銹，露出灰白色蠟狀物氯化亞銅。然后將氧化銀與酒精調成糊劑，涂在氯化亞銅表面，并置于潮濕環境中,使其充分作用,形成氧化亞銅和氯化銅，覆蓋氯化亞銅表面。兩者皆為穩定性鹽,如此多次操作,直至將器物置于高濕環境中仍不出現粉狀銹的腐蝕點為止。此法適于斑點狀局部腐蝕的器物及有金屬鑲嵌物的器物。

②苯駢三氮唑法。苯駢三氮唑是雜環化合物，與銅及其鹽類能形成穩定絡合物，在銅合金表面生成不溶性且相當牢固的透明保護膜，使銅雕病被抑制并穩定下來，防止水蒸氣和空氣污染物的侵蝕。用蒸餾水和甲苯、丙酮等有機溶劑，清除銅雕表面泥土油污，然后浸入苯駢三氮唑酒精溶劑中進行滲透，即可形成絡合物保護膜。但苯駢三氮唑易受熱升華，失去保護作用，所以最后應在銅雕表面涂一層高分子材料，做封護膜。

③堿液浸泡法。將被腐蝕的銅雕置于倍半碳酸鈉溶液中浸泡，使銅的氯化物逐漸轉換為穩定的銅的碳酸鹽，銅雕的氯離子被置換出來轉入浸液中。浸液需定時更換，直至浸液中無氯離子出現為止。隨后將器物用蒸餾水反復清洗，除去堿液，干燥后封護。堿溶液僅把氯化物提取出來,保留著色彩斑斕的孔雀石等腐蝕層,不損害銅雕的原貌。此法缺點是置換反應時間長；另外氯化物不僅附在銹層表面，而且已滲入器物腐蝕結殼的深部，難以置換徹底。

Copper carving

The bronze carving is produced in Shang and Zhou dynasties. It is a sculpture made of copper material, which is made by carving and casting. The art of bronze carving mainly embodies the beauty of modeling, texture and decoration, and it is mainly used to show mysterious and deterrent religious themes. Such as the Buddha.

The most important bronze sculptures in Chinese history are the "Bo moment" of the Western Zhou Dynasty, the "Si Ma Wu" Ding of the late Shang Dynasty and the "horse riding swallow" in the Han Dynasty.

The earliest records of human use of cast metal are blurred, but we can speculate that early hunters sat around the fire, a piece of copper fell into the coal, the copper pieces melted and flowed, like a flashing stream, and once cooled, the flashing body became very hard and formed a new shape.

It is likely that early people see this phenomenon recurring, and then they look for and collect copper blocks, throw them into the fire, and watch the flash streams flow out slowly. Some people imagine and put a shape on the sand to let metal flow in, maybe it becomes a spear tip. Since then, metal casting has gone through several decades to this day.

Bronze sculpture

Between 4000 and 3000 B.C., there was a small miracle. There was no evidence to show the exact time and place of the miracle and how it happened. But some people have discovered - or accidentally - melted some slightly different flash metals or tin into the flash copper, and the mixture became stiffer. With this discovery, the Bronze Age began.

Historical works

The most important bronze sculptures in Chinese history are the "Bo moment" of the Western Zhou Dynasty, the "Si Ma Ding Ding" of the late Shang Dynasty, and the "horse riding flying swallow" in the Han Dynasty.

The process of copper carving is all over the north and south of the river, Putian copper carving and Tangxian County bronze carving. In the art of bronze carving in Putian, the texture and pattern of the copper pieces are not bad. The super large traditional bronze sculptures, even as high as 108 meters, can be accurate. In the Meifeng Temple of Putian, there is a bronze bell cast by the famous master Cai Tong in the twenty-five years of the song Shaoxing (1155). The sound is bright when the strike is struck. It can be spread to 20 kilometers at may time, and the sound is suppressed. Cai Shixian can also remember Yin and Yang. Therefore, the "Mei Temple morning bell" is known as one of the twenty-four scenes of Putian.

maintain

Keeping the original appearance of copper sculpture, there is a collection of storage problems, copper carving in the underground after long-term corrosion oxidation, the texture is not strong, especially semi free copper carving, even more vulnerable than porcelain, so the proper preservation of copper sculpture, to prevent the damage after unearthed, is very important for investors.

The unearthed bronze sculptures are often muddy and muddy and cloudy, and the ornamentation is not clear, and the proper cleaning is carried out to allow the soil to fall off itself, and then brush gently with a small brush, meet the soil rust that affects the ornamentation, and can be removed slowly with small bamboo sticks, and should not be washed with copper brush or hard brush, and can not be used to clean and grind with the utility tool, or otherwise the copper carving will be destroyed. And lose the value of the collection.

So how to protect the copper carving?

(1) the silver oxide method. The exposed surface of cuprous chloride is closed by contacting silver oxide with cuprous oxide to control the etching copper carving.  First use mechanical methods to remove powdery rust and expose gray white wax cuprous chloride. The silver oxide and alcohol are then transferred into a paste, coated on the cuprous chloride surface, and are placed in a wet environment to make it full to form cuprous oxide and copper chloride to cover the cuprous chloride surface. Both of them are stable salts, which are operated so many times until the objects are placed in a high humidity environment without the corrosion point of powdery rust. This method is suitable for spots with localized corrosion and utensils with metal inlays.

(2) benzoin three azol method. Benzoin three azole is a heterocyclic compound, which forms a stable complex with copper and its salts. It produces insoluble and solid transparent protective film on the surface of copper alloy, which inhibits and stabilizes the copper carving disease and prevents the erosion of water vapor and air pollutants. The organic solvents such as distilled water and toluene and acetone are used to remove the dirt from the surface of the copper carving and infiltrate into the benzo three azolol alcohol solvent, and the complex protective film can be formed. But benzoazazolium is easily heated and sublimated and loses its protective effect. Therefore, a layer of polymer material should be coated on the surface of the bronze sculpture to make a protective film at last. Three.

(3) lye immersion method. The corroded copper carving is soaked in the sodium bicarbonate solution, and the copper chloride is gradually converted into a stable copper carbonate, and the chloride ion of the copper carving is replaced and transferred into the immersion solution. The infusion should be replaced regularly until there is no chloride ion in the extract. The utensils were then washed repeatedly with distilled water to remove lye and seal after drying. The alkali solution only extracts chlorides, preserving colorful layers of malachite and other corrosive layers, and does not damage the original appearance of the bronze carving. The disadvantage of this method is that the reaction time is long. Besides, chloride is not only attached to the surface of rust, but also penetrated into the deep part of the corrosion crust of the utensils.