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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,24,20,25,7,26,27],"壁画","佛教","佛窟","佛教人物","石窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829ca63ceee20b8aa27e0768563d6271.jpg","未知","Xcm*Xcm","",[],164,1,"F48FB1",{"id":37,"slug":38,"title":39,"dynasty":40,"author":19,"museum":41,"description":42,"tags":43,"thumbUrl":49,"material":29,"size":30,"collection":31,"collections":50,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},252839,"tao-hua-cai-wu-shi-yong-yi-ming-252839","陶画彩武士俑","隋","藏地不详","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[44,7,45,46,47,48],"陶","设色","俑","武士","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0f7129d2b6bfaffed714ad7371533d.jpg",[],14,"37474F",{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":41,"description":58,"tags":59,"thumbUrl":68,"material":29,"size":30,"collection":31,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},252824,"cai-su-xi-chun-zuo-hua-xiang-yi-ming-252824","彩塑惜春作画像","清","三女围桌，尽显闺中艺文雅趣。居中者敛眉凝思，指尖将落未落，素纸铺陈、笔砚列置，将挥毫瞬间的沉静定格。左侧侍女执扇侍立，探手微侧，鲜活灵动带着侍奉的温婉妥帖，右侧仕女安坐凝睇，眉目娴静温婉。\n\n彩塑敷色调和清润，衣褶纹理写实自然，人物神态各有韵致，以朴拙生动的造像手法，定格深闺雅集的悠然瞬间，细腻还原旧时闺中研墨挥毫的雅致场景，将东方闺阁的娴静风雅藏入每一处细节里。",[7,45,60,48,61,62,63,64,65,66,67],"清代","美人","笔","墨","纸","砚","桌","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948ed08e87480a3982412c9e1406f162.jpg",[],11,"795548",{"id":73,"slug":74,"title":75,"dynasty":76,"author":19,"museum":41,"description":77,"tags":78,"thumbUrl":83,"material":29,"size":30,"collection":31,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":71},253199,"ni-su-cai-su-wu-dao-nv-li-xiang-yi-ming-253199","泥塑彩塑舞蹈女立像","明","屈膝蹲姿的少女抬手展袖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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[112,44,125,45,7,199,200],"马","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0cb8c9b0d08f2cd67b7dd5ef6218247.jpg",[],{"id":204,"slug":205,"title":111,"dynasty":18,"author":19,"museum":41,"description":42,"tags":206,"thumbUrl":211,"material":29,"size":30,"collection":31,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},255724,"tao-hua-cai-gong-shou-nan-li-yong-yi-ming-255724",[207,44,125,46,48,208,209,210,7],"唐代","男性","拱手","立姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09255bead1c94b487ee540689c8f9e60.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":18,"author":19,"museum":41,"description":42,"tags":217,"thumbUrl":218,"material":29,"size":30,"collection":31,"collections":219,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},255538,"tao-hua-cai-nan-li-yong-yi-ming-255538","陶画彩男立俑",[18,46,115,45,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931cd39a98c4c8ef2b6bb275d57b9701.jpg",[],{"id":221,"slug":222,"title":149,"dynasty":18,"author":19,"museum":41,"description":42,"tags":223,"thumbUrl":224,"material":29,"size":30,"collection":31,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},255525,"tao-hua-cai-nv-li-yong-yi-ming-255525",[18,115,46,48,45,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8281ccf40ede8885f679e64976873e6.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":41,"description":42,"tags":230,"thumbUrl":235,"material":29,"size":30,"collection":31,"collections":236,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},255289,"tao-hua-cai-nv-zuo-yong-yi-ming-255289","陶画彩女坐俑",[18,44,231,46,48,232,233,125,7,234],"画彩","女性","坐像","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb36bd436019d1aa4c21a66f58f69d7.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":41,"description":42,"tags":241,"thumbUrl":242,"material":29,"size":30,"collection":31,"collections":243,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},255200,"tao-hua-cai-gong-shou-nv-li-yong-yi-ming-255200","陶画彩拱手女立俑",[207,46,115,45,48,7,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96a12905f7663d38b59479d9a6e133.jpg",[],{"id":245,"slug":246,"title":240,"dynasty":18,"author":19,"museum":41,"description":42,"tags":247,"thumbUrl":248,"material":29,"size":30,"collection":31,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},254990,"tao-hua-cai-gong-shou-nv-li-yong-yi-ming-254990",[18,46,115,45,48,7,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be0f1bc8ac35f032d4b122a1b13c50c.jpg",[],{"id":251,"slug":252,"title":166,"dynasty":112,"author":19,"museum":41,"description":42,"tags":253,"thumbUrl":257,"material":29,"size":30,"collection":31,"collections":258,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},254684,"tao-hua-cai-nv-gui-yong-yi-ming-254684",[112,254,125,7,48,232,255,256,46],"陶质","跪姿","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9518e0cf0e2638385da4b4e62db5a14c.jpg",[],{"id":260,"slug":261,"title":216,"dynasty":76,"author":19,"museum":41,"description":42,"tags":262,"thumbUrl":263,"material":29,"size":30,"collection":31,"collections":264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},254510,"tao-hua-cai-nan-li-yong-yi-ming-254510",[115,45,48,46,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feafe695e31ba35c47fe48becf3556f19.jpg",[],{"id":266,"slug":267,"title":268,"dynasty":18,"author":19,"museum":41,"description":42,"tags":269,"thumbUrl":270,"material":29,"size":30,"collection":31,"collections":271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},254449,"tao-hua-cai-wu-shi-li-yong-yi-ming-254449","陶画彩武士立俑",[18,44,45,48,47,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2c0835eb0ee380a1fc31765ac7b296.jpg",[],{"id":273,"slug":274,"title":149,"dynasty":18,"author":19,"museum":41,"description":42,"tags":275,"thumbUrl":276,"material":29,"size":30,"collection":31,"collections":277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},254092,"tao-hua-cai-nv-li-yong-yi-ming-254092",[18,46,115,125,7,48,232,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852400e13b357bc1d257289c6205143.jpg",[],{"id":279,"slug":280,"title":281,"dynasty":76,"author":19,"museum":41,"description":42,"tags":282,"thumbUrl":284,"material":29,"size":30,"collection":31,"collections":285,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},253971,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253971","陶画彩骑马男俑",[115,46,48,199,45,283,7],"陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33fa41fbecd5c81eed2eaeda8186b93f.jpg",[],{"id":287,"slug":288,"title":289,"dynasty":112,"author":19,"museum":41,"description":197,"tags":290,"thumbUrl":291,"material":29,"size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Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[207,115,7,305,125],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa100aac05a1f2b4ea2392294455ace7.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":18,"author":19,"museum":41,"description":303,"tags":312,"thumbUrl":315,"material":29,"size":30,"collection":31,"collections":316,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},253480,"tao-hua-cai-niu-yi-ming-253480","陶画彩牛",[18,44,125,7,45,313,200,314],"牛","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a816baaeedd84ff35e201f6cd4c415f.jpg",[],{"id":318,"slug":319,"title":240,"dynasty":18,"author":19,"museum":41,"description":42,"tags":320,"thumbUrl":321,"material":29,"size":30,"collection":31,"collections":322,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":52},253144,"tao-hua-cai-gong-shou-nv-li-yong-yi-ming-253144",[44,115,45,48,61,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fb08e390f5e1cac6480080d6c99c5d.jpg",[],{"id":324,"slug":325,"title":281,"dynasty":76,"author":19,"museum":41,"description":42,"tags":326,"thumbUrl":327,"material":29,"size":30,"collection":31,"collections":328,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":71},253031,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253031",[76,115,45,48,199,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a14b403eed293458112e85e3f822707.jpg",[],1777535713990]