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14.2公分。",[70,51],177,2,{"id":181,"slug":182,"title":183,"dynasty":18,"author":184,"museum":185,"description":186,"tags":187,"thumbUrl":195,"material":47,"size":196,"collection":148,"collections":197,"showCount":198,"zanCount":199,"manualWeight":11,"mainColor":54},219753,"he-shu-fu-long-tu-tang-yin-219753","鹤书赴陇图","唐寅","大英博物馆","画作以苍虬古松开篇，虬枝斜曳如龙，山间飞瀑直落深谷，涤荡山野清寂。板桥跨于寒溪之上，两位文士驻足松下，似正眺望远山，暂歇行旅劳顿。右侧山道车马随行，将赴陇的行旅意涵隐于画中。\n\n笔墨兼具吴门雅致与浙派刚劲，山石以斧劈皴利落勾勒，设色沉郁古雅，把山野的辽远壮阔与文人驻留的悠然意趣相融，将行旅途中的片刻闲静，晕染进苍莽山水间，尽显此作山水人物交融的隽永意境。",[23,24,142,30,188,189,32,33,190,191,7,27,192,193,194],"古松","飞瀑","山石","山道","斧劈皴","行旅","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d65752ecf21627fe7c9bec5d68f3a0.jpg","纵132.3cm横80.2cm",[148],128,1,{"id":201,"slug":202,"title":203,"dynasty":58,"author":204,"museum":117,"description":205,"tags":206,"thumbUrl":214,"material":47,"size":215,"collection":49,"collections":216,"showCount":217,"zanCount":112,"manualWeight":11,"mainColor":54},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","刘松年","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,26,27,25,145,144,28,30,31,39,34,190,207,208,209,210,7,211,212,213],"栏杆","台阶","衣冠","亭","人物故事","柳树","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[49],117,{"id":219,"slug":220,"title":155,"dynasty":58,"author":59,"museum":117,"description":221,"tags":222,"thumbUrl":233,"material":130,"size":130,"collection":130,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":54},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[82,24,140,25,223,224,225,226,227,228,37,172,229,7,64,230,231,41,232,40,66],"淡设色","兼工带写","散点透视","汴河","虹桥","郊野","漕船","骆驼","市井人物","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],116,{"id":237,"slug":238,"title":239,"dynasty":58,"author":240,"museum":79,"description":241,"tags":242,"thumbUrl":247,"material":47,"size":248,"collection":49,"collections":249,"showCount":250,"zanCount":199,"manualWeight":11,"mainColor":54},218162,"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","李唐","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[24,140,243,27,26,30,244,7,245,246],"册","帐篷","胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","50.7x39.7",[49],113,{"id":252,"slug":253,"title":254,"dynasty":94,"author":255,"museum":79,"description":256,"tags":257,"thumbUrl":259,"material":260,"size":261,"collection":130,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":54},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[23,82,24,25,26,27,30,31,37,103,7,34,63,126,35,40,65,258,28],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg","未知","Xcm*Xcm",[],73,{"id":265,"slug":266,"title":267,"dynasty":18,"author":78,"museum":117,"description":268,"tags":269,"thumbUrl":271,"material":260,"size":261,"collection":130,"collections":272,"showCount":273,"zanCount":199,"manualWeight":11,"mainColor":54},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[23,82,24,25,270,27,26,28,30,31,101,172,7,44,63],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":275,"slug":276,"title":277,"dynasty":58,"author":278,"museum":60,"description":279,"tags":280,"thumbUrl":282,"material":283,"size":284,"collection":70,"collections":285,"showCount":286,"zanCount":199,"manualWeight":11,"mainColor":54},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","马和之","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,140,25,171,27,145,144,30,31,34,7,142,281],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","绢本，设色","纵28厘米，横864厘米",[70,148,51],60,{"id":288,"slug":289,"title":155,"dynasty":94,"author":78,"museum":117,"description":290,"tags":291,"thumbUrl":293,"material":260,"size":261,"collection":130,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":54},288090,"qing-ming-shang-he-tu-juan-yi-ming-288090","长卷铺展旧京烟火，屋舍连楹错落，行人摩肩接踵，漕船泊于汴河，酒旗随风招展。青绿晕染瓦舍林木，古旧绢色晕开千年余温，挑担货郎、赶脚行人、雅集文士各安其态，将汴梁的升平世象尽数铺陈。\n复刻宋韵盛景的笔触里藏着鲜活日常：虹桥下舟楫穿梭避让，茶肆中宾主对坐言欢，巷陌间孩童嬉闹追逐。以细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,82,24,25,27,26,28,30,31,32,33,292,7,44,35,100,173,144],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],37,{"id":297,"slug":298,"title":299,"dynasty":58,"author":278,"museum":300,"description":301,"tags":302,"thumbUrl":303,"material":47,"size":304,"collection":49,"collections":305,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":54},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","香港艺术馆","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,25,140,171,27,26,145,30,31,32,33,7,34,142,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[49],{"id":307,"slug":308,"title":309,"dynasty":310,"author":78,"museum":117,"description":311,"tags":312,"thumbUrl":318,"material":260,"size":261,"collection":130,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},255819,"che-ma-ren-wu-hua-xiang-zhuan-yi-ming-255819","车马人物画像砖","汉","汉砖上的雕饰，包罗万象，繁复美观。无论是彩绘或是浮雕图像都生动活泼，线条灵活；其中表现的故事都是当时社会的缩影，在四川省彭山发现的汉墓中，有一种圹砖是专供筑墓或建隧道使用的，在结构中似乎已经知道应用物理学上的圆柱中空的道理。",[313,314,315,316,7,30,317],"浅浮雕","线刻","模印","砖质","阙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd382b46ac2ac4a787be2307b10ef1167.jpg",[],16,{"id":322,"slug":323,"title":324,"dynasty":58,"author":240,"museum":117,"description":325,"tags":326,"thumbUrl":330,"material":260,"size":261,"collection":130,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":54},288369,"jin-wen-gong-fu-guo-tu-li-tang-288369","晋文公复国图","此《晋文公复国图》卷为宋代画家李唐绘。全图分为六段，描绘了晋文公（重耳）被他父亲放逐在外十九年，最后回国即位的故事，每段左题据传为宋高宗赵构手书的《左传》中相关章节，卷末有乔篑成、石岩、吴宽等人的跋。此卷现藏于大都会艺术博物馆。",[23,82,24,140,25,327,85,171,27,7,38,328,329],"人物画","林木","晋文公复国事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd91db8876f688881b3c4cf82766bb82.jpg",[],12,{"id":334,"slug":335,"title":336,"dynasty":58,"author":78,"museum":117,"description":337,"tags":338,"thumbUrl":343,"material":260,"size":261,"collection":130,"collections":344,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":54},288279,"gui-qu-lai-ci-tu-yi-ming-288279","归去来辞图","此作以诗画合璧，铺陈出隐逸山居的悠然日常。青绿浅设色晕染出远山浅渚、松篁茅堂，笔墨古拙温婉，带着沉静的古雅气质。\n\n画卷分段演绎归乡、雅集诸般场景：或策蹇归来、稚子相迎，或草堂清谈、把盏言欢，仆役往来洒扫，士人凭栏观山，动静之间，尽是园田居的澹泊意趣。题跋与绘事相映，将归园田居的旷达心境，具象为林下幽居的烟火雅事，把隐逸理想揉进古雅山居图景里，悠然意态溢于绢素。",[23,82,24,25,27,30,142,31,34,7,39,144,145,339,340,341,99,342],"隐逸","闲适","田园","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c04b691699448370c5877a28ea83f.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":310,"author":78,"museum":117,"description":349,"tags":350,"thumbUrl":354,"material":260,"size":261,"collection":130,"collections":355,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":151},271396,"che-ma-ren-wu-hua-xiang-zhuan-yan-yi-ming-271396","车马人物画像砖砚","以砖制砚者似乎只用汉砖，这是因为汉砖上多有图案文字，高古淳朴，极具玩赏价值，且砖质细腻，宜于制砚。从唐宋开始的文人墨客，发现用秦砖汉瓦制作的砖砚，非常好用，于是竞相效仿，以至于一砖难求，价格可比金玉，一直到近代吴昌硕大师作画写字多用砖砚研墨，鲁迅先生更是此砚种的使用和爱好者，以至于在北京被周作人夫妇打赶出家门之际，怀抱一砖砚而出，好的砖砚研墨写字作画和石头砚台一样，甚至更加好用，但是古砖稀少，今用之人甚少。",[351,352,7,30,353],"砚","雕刻","画像砖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7fc5dfce7dd06c705aa16889e2b0623.jpg",[],{"id":357,"slug":358,"title":359,"dynasty":94,"author":360,"museum":117,"description":361,"tags":362,"thumbUrl":366,"material":260,"size":261,"collection":130,"collections":367,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":151},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,82,24,140,25,26,27,30,83,363,364,365,7,38],"旗帜","兵器","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],10,{"id":370,"slug":371,"title":372,"dynasty":373,"author":78,"museum":374,"description":375,"tags":376,"thumbUrl":380,"material":260,"size":261,"collection":130,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":54},226384,"ku-zhu-shi-dong-bi-yi-ming-226384","窟主室东壁","唐","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 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。",[377,378,27,30,7,379],"壁画","宗教","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bc820f26f3246f056bb7795a256d34.jpg",[],3,{"id":384,"slug":385,"title":386,"dynasty":310,"author":78,"museum":117,"description":387,"tags":388,"thumbUrl":392,"material":260,"size":261,"collection":130,"collections":393,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":54},279032,"che-ma-ren-wu-wen-bi-niu-tong-yin-yi-ming-279032","车马人物纹鼻钮铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[281,389,390,391,352,7,30],"篆刻","篆书","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8537d6d9d43cd1d2f68ec9a8f9ebc317.jpg",[],{"id":395,"slug":396,"title":397,"dynasty":310,"author":78,"museum":117,"description":311,"tags":398,"thumbUrl":400,"material":260,"size":261,"collection":130,"collections":401,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":402},255313,"ke-ren-wu-che-ma-zhuan-yi-ming-255313","刻人物车马砖",[310,352,314,399,30,7,38,353],"浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F765f22cbb2e0fa12b4d45e29f35e21a2.jpg",[],"37474F",{"id":404,"slug":405,"title":406,"dynasty":94,"author":78,"museum":117,"description":407,"tags":408,"thumbUrl":414,"material":260,"size":261,"collection":130,"collections":415,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},274558,"mu-lou-qian-tong-shi-mu-shao-zhong-yi-ming-274558","木楼嵌铜饰木哨钟","最早的钟原本是指古代汉族 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