Core Viewpoint - The article discusses the evolution and significance of the "Phoenix Bird Pattern" in ancient Chinese bronze artifacts, tracing its origins from the Shang Dynasty through the Western Zhou and into the Spring and Autumn and Warring States periods, highlighting its cultural and artistic transformations over time [1][2][3]. Group 1: Historical Context - The "Phoenix Bird Pattern" emerged during the Shang Dynasty, particularly associated with the worship of the "Xuan Bird," which is debated among scholars regarding its exact identity, with interpretations ranging from a black swallow to an owl [2][3]. - The pattern reflects a broader "bird worship" among the Shang people, indicating a complex relationship with various bird representations in their culture [2][3]. Group 2: Artistic Evolution - In the late Shang Dynasty, the Phoenix Bird Pattern was characterized by elaborate and ornate designs, often featuring large, prominent bird figures that conveyed a sense of grandeur [3][4]. - The Western Zhou period saw a shift towards simplification and elegance in the representation of the Phoenix Bird, focusing on aesthetic harmony rather than intricate detail [6][7][10]. - By the Spring and Autumn and Warring States periods, the Phoenix Bird Pattern diversified significantly, with geometric and abstract representations becoming more common, reflecting regional variations and cultural influences [11][12][13]. Group 3: Cultural Significance - The Phoenix Bird served as a symbol of communication between heaven and earth, embodying the spiritual beliefs of the Shang and Zhou dynasties [4][10]. - The transformation of the Phoenix Bird Pattern from a religious symbol to a more secular representation in daily life illustrates the changing social dynamics and values during the transition from the Shang to the Zhou [10][13]. - The pattern's continued evolution into the Warring States period signifies its adaptability and enduring relevance in Chinese cultural heritage, influencing later artistic expressions in lacquerware and other mediums [14][15][16].

（原标题：从细节探秘遗珍：现代科技如何唤醒青铜古韵？｜文物修复） 作者 朱紫璇 从兽面纹青铜斝到凤鸟纹提梁卣，从镂空青铜盒到汉代薄壁青铜盆，它们或破碎，或锈 蚀，但正是在这残缺与破败之中，青铜器修复师们开始了与古器的对话。 兽面纹青铜斝：可拆卸的青铜器 上海博物馆早年入藏一件青铜器，表面有兽面纹与龙纹，纹饰清晰精美，腹器内刻有铭文，自命 为"盂"。这只"盂"虽然外形完整，表面没有明显残缺破损的痕迹，但形状怪异，不合常理，因此当年入 藏时品名暂定为"盂"。 兽面纹残斝 上博修复师张珮琛通过计算机断层扫描检测发现，这只看似完整的"盂"有 6 处人为干扰的痕迹。青铜器 底部的 4 处痕迹中有 3 处为等边三角形，正是对应三足酒器的位置，说明原本底部有三足。而且更令人 吃惊的是，那自命为"盂"的铭文竟是后人将底部切割下来刻上文字后再焊接回去的。"改制"文物一直是 旧时古董行业的潜规则操作，因为有铭文的青铜器总可以卖个好价钱，因此旧时的古董商经常做这样的 事情。 CT扫描影像 虽然青铜斝"病害"已经找到，但修复过程仍是一波三折。因原器三足二柱全部缺失，国内出土虽有类似 器型，但因体型比例、纹饰风格差异太大，没有找到适合 ...