宋代仿古再造的过程围绕模本与造物展开，因其追复古代的目的承载了宋人对时间与历史的认知。近年来的研究主要围绕它们作为意象的性质展开，但少有对其时间功能的深入探讨。本文致力于研究仿古器物模本与造物的关系，分析此类内容在艺术史层面的演进，并借此印证宋人观看、构建时间的方法与目的。 为了全面地观察这个时代的仿古器物制作，本文的研究对象涵盖器物、图像与文献，即具备仿古意图与制器实践的宋代材料，并灵活地调整模本与造物的定位，不执着于精确的图物关系。 全书分四个部分，在绪论中对选题意义、研究方法、研究范畴进行概括。第一章回顾仿古器物的学术研究，整理相关著作的领域，指明本文推进的方向；第二章系统地梳理了在本文视野内的研究材料，依其形式分门别类，以便接下来清晰地辨析内容。 第三章聚焦仿古器物模本的成型过程。《三礼图》与其制器沿袭汉唐以来的图像样本与文献描述，图物的对应建立起宋与先前朝代的有序联系，并将这一结构完善、推广，整个宋代的仿古再造均受其影响；《皇祐新乐图记》继承依礼书制物的传统，但此时古物的发现致使直追三代思想得到实物支撑，宝和钟与《图记》的冲突源自宫廷内制器理论的差别；徽宗新成礼器精确模仿样本，二者之间具备直接而紧密的联系，古物收藏使宋与三代得以跨越时间、衔接于仿古器物。 第四章中，《宣和博古图》通过排列古物图像，试图借艺术规律印证历史的轨迹，但作者无法概括所有材料，只建立起不完整、有局限的历史模型；《归去来辞图卷》中衣冠、车舆、器皿等题材来自多个时代的模本，用来构建晋代气象，模本的拼凑也同样出现在这一时期的《晋文公复国图》、《诗经图》等历史题材的绘画中。 第五章着眼于与样本逐渐脱离的造物，原本被赋予时间意味的视觉特征逐步与礼书、古物解绑，尤其普遍地出现在实用的图物上。铜质器物虽多，瓷器占领了民间仿古制器的主流，屡见于窖藏、墓葬，陶器、漆器依附文献少量地运用在礼仪场景；工匠不再拘泥于复制样本，器物的形象被改造并运用于铜镜、壁瓶等时器，它们被改造成自由使用的装饰题材；铭文的神秘性被抹去，《集古录》所载内容与书法艺术受到重视，但随着宋代金石学的发展，它于《博古图》、《历代钟鼎彝器款识法帖》、仿古器物的编写、制作中，逐渐偏重文字的标本与装饰功能。

The process of antique reconstruction in the Song Dynasty revolves around models and creation. The reason is its purpose of tracing ancient times carries people's cognition of time and history in that era. In recent years, the research mainly focuses on their nature as images, but there is little in-depth study on their temporal functions. This paper is devoted to the study of the relationship between the models of antique artifacts and creations, and analyzes the evolution of such subjects in the art history, so as to confirm the method and purpose of observing and constructing time in the Song Dynasty. In order to observe the production of antique artifacts in this era comprehensively, the research object of this paper covers artifacts, images and documents, that is, materials from the Song Dynasty with antique intention and manufacturing practice of antiques. The author flexibly adjusts the positioning of models and creations, instead of clinging to the precise relationship between images and objects. This paper is divided into four parts. In the introduction, the significance of the selected topic, research methods and research categories are summarized. In the first chapter, we review the academic research of antique artifacts, sort out the fields of related works, and point out the direction of this paper; in the second chapter, we systematically list the research materials related to this paper, and classify them according to their forms, so as to distinguish the contents clearly in the following parts. In the third chapter, importance is attached to the molding process of antique objects. Sanlitu (Illustrations of the three ritual classics) and the artifacts mentioned follow the image samples and literature descriptions since the Han and Tang Dynasties. The correspondence between pictures and objects establishes the orderly relationship between the Song Dynasty and previous dynasties, and this structure is perfected and popularized, which affects the antique reconstruction of the whole Song Dynasty. Huangyou xin yue tuji (New illustrated record on music from the Huangyou reign) inherits the tradition of making things according to the ritual books, but at this time the discovery of antiquities provides support for the thought in the past three generations. And the conflict between Baohe Bell and Tuji (The Picture Book) stems from the difference of the theory of making antiques in the court. Emperor Huizong's new ritual vessels accurately imitate the samples, and the relationship between them is direct and close. Antiquities collection enables the Song Dynasty and three generations before it to span time and continue in making antique objects. In the fourth chapter, Xuanhe Bogu Tu (Illustrations on a wide range of antiques from the Xuanhe reign-period) tries to verify the historical track by artistic laws by arranging antique images, but the author cannot summarize all the materials, but only establishes an incomplete and limited historical model. The clothes, cars, utensils and other subjects in Guiqu Laici TuJuan come from the models of many times, which are used to construct the weather in the Jin Dynasty. The patchwork of the models also appears in the paintings of historical subjects such as Jin Wengong Fugu Tu and Shijing Tu in this period. The fifth chapter focuses on the creations gradually separated from the samples, and the visual features originally endowed with time are gradually untied from the ritual books and antiquities, especially commonly appearing on practical objects. Although there are many bronze objects, porcelain occupies the mainstream of folk antique making, which is often seen in cellars and tombs, and pottery and lacquerware are used in etiquette scenes in a small amount. Artisans no longer stick to copying samples, and the images of artifacts are transformed and applied to bronze mirrors, wall bottles and other timepieces, which are transformed into freely used decorative themes. The mystery of inscriptions has been erased, and their contents and calligraphy art have been paid attention to in the Ji Gu Lu (Collection of Ancient Records). However, with the development of epigraphy in the Song Dynasty, objects with inscriptions highlight the functions of specimens and decoration in Bogu Tu, Lidai Zhongding Yiqi Kuanshi Fatie and antique objects.