北宋一朝士大夫與宮廷的「再現三代」，實反映了儒家地位在北宋的受到再度重視，與宋代新儒學的產生相輔相成。這種「再現三代」，是由士大夫與宮廷一起參與產生的復古運動，在野與在朝的相互激盪，具體落實在以士大夫為主而朝廷也相繼參與的「古器物學」的建立，以及宮廷為隆禮作樂所鑄的仿古宋器。宋「仿古」銅器有「再現三代」的文化復古理想及學術性探索的「古器物學」作支柱，在許多層面皆流露以「今器」追求「仿古」的現世意義，在新作中力求「仿古」，在仿古中渴望「再現三代」，並進而成功地建立了「古器物學」，以求真的學術性態度，為「再現三代」作歷史性的回顧及方法論的探索。這種追求嚴肅歷史根據的新學術與仿古銅器，二者相輔相成，其試圖超越當代，跨越漢唐，直接與理想化的三代接續，並進而比美三代，以形成具有歷史深度的禮樂教化新制。這種為再現三代在青銅藝術上所展現的復古運動，使沉寂已久的三代青銅藝術以仿古的形式再生，這種對聖人之所出的時代的嚮往，反映了儒家地位在有宋一代再受肯定的一面，其與哲學上的宋代新儒學，及文學上直追三代的古文運動，有互通之處。 本文以仿古宋器及宋「古器物學」作為二大議題，前者以至今傳世的仿古宋器為主，並參考文獻所載者，試圖了解仿古宋器在宋青銅藝術發展中的地位。至於後者，宋古器物學，則以宋金石著錄中「金」學的部分為主。金石著錄沉寂於漢唐，到宋代激增，不只反映了宋印刷術的發達，更是學術史上的大事。宋古器物學的發達實與宋仿古銅器互為因果，二者共同反映了宋高度文化中的復古潮流。

　　　　　During the Northern Sung Dynasty, the archaism movement known as "Recovering the Three Dynasties," or tsai-hsian san-tai reflected the revival of Confucian traditions and developed in tandem with Neo-Confucianism. With the interaction and shared influence between the literati as well as the court, this "movement" was characterized by a general interest in the "study of ancient objects" (antiquarianism) and by effort to reorder the rituals of the state through the reproduction of archaic ritual bronze vessels. Interest in the revival of ancient cultural ideals of tsai-hsian san-tai, along with the scholarly study of antiquities, laid the intellectual foundation for the production of "archaic imitation" bronzes. Furthermore, antiquarianism was established successfully leading scholars to examine the past and determine the method of their inquiry. Thus, this archaism movement revived the bronze casting art of the Three Dynasties which had seemed to perish over the ages. At the same time, it was parallel to the development of neo-Confucianism in philosophy and "ancient text" (ku-wen) movement in literature during the Sung. This article focuses on two topics: the production of archaic imitation bronze vessels and antiquarianism during the Sung. The former begins with an exploration of surviving Sung "imitation" bronzes and related literary records in an effort to better understand the role which these "archaic imitations" played in the development of Sung bronze casting art. The letter emphasizes on the bronze epigraphy (chin-hs?eh) duing the Sung. The fact that large numbers of illustrated catalogues of bronze epigraphy, rarely seen in the Han and T'ang, suddenly begin to appear in the Sung historical record is not only the result of the development of printing but more importantly a symptom of profound intellectual change. Together, these two interrelated aspects of bronze scholarship and bronze casting history offer insight into the interest in antiquity that characterized the intellectual flowering of the Sung.