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:11,"mainColor":66},228787,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-228787","天龙八部罗叉女众","这幅画本是明代宫廷佛像画作，工笔重彩，人物造型精准，表情生动，堪称明代佛画中的顶级作品。从其左下方“御用监太监尚义王勤等奉命提督监造”的字样可知。尚王二人，皆为负责宫廷佛事的御用监太监，其地位甚至要高于同时期的郑和。",[23,58,59,103,118,24,25,26,119,579,7],"护法形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bbf54a59c4eb18498e924da22790e0.jpg",[],{"id":583,"slug":584,"title":585,"dynasty":183,"author":53,"museum":168,"description":586,"tags":587,"thumbUrl":594,"material":174,"size":175,"collection":63,"collections":595,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":48},225529,"fu-shi-hui-287-yi-ming-225529","浮世绘287","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[349,588,25,26,31,589,590,591,592,593,7],"木刻","和服","木梯","石墙","礼盒","黑色帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf32d0df13ac99f023f68b6eb239b390.jpg",[],5,{"id":598,"slug":599,"title":600,"dynasty":183,"author":53,"museum":168,"description":586,"tags":601,"thumbUrl":608,"material":174,"size":175,"collection":63,"collections":609,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":48},225416,"fu-shi-hui-174-yi-ming-225416","浮世绘174",[57,349,602,25,31,7,603,604,24,605,26,246,606,607],"木刻版画","发饰","扇子","彩色","装饰性","线条流畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5477c822d26a0ceb9cb19269c340678a.jpg",[],{"id":611,"slug":612,"title":613,"dynasty":18,"author":53,"museum":168,"description":614,"tags":615,"thumbUrl":620,"material":174,"size":175,"collection":63,"collections":621,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":48},267392,"xue-qing-se-cai-yun-jin-long-wen-zhuang-hua-duan-nan-pei-yi-ming-267392","雪青色彩云金龙纹妆花缎男帔","雪青底色沉静雅致，妆花缎之上，金龙矫健蟠绕，龙鳞金甲以金线细密织就，熠熠生辉，于五彩祥云间腾挪，威严尽显。朵云纹色彩明丽柔婉，中和龙纹的刚劲，刚柔相济。\n下摆江崖海水纹样层次分明，惊涛翻涌间衬出福山寿海的祥瑞寓意，整体构图饱满均衡，配色和谐华贵。\n整件服饰织绣工艺精湛考究，将皇权象征的龙纹与吉庆纹样相融，既彰显出尊崇不凡的气度，也饱含着纳福祈安的美好意蕴，尽显传统织绣技艺的绝妙匠心。",[278,616,444,243,617,618,619,7],"男帔","彩云纹","金龙纹","妆花缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936e9a2f36a9dc8b038fb394db4dab9e.jpg",[],4,{"id":624,"slug":625,"title":626,"dynasty":18,"author":53,"museum":168,"description":627,"tags":628,"thumbUrl":633,"material":174,"size":175,"collection":63,"collections":634,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":48},265888,"yue-bai-se-ke-si-ba-tuan-bai-die-xi-xiang-feng-wen-jia-chang-yi-yi-ming-265888","月白色缂丝八团百蝶喜相逢纹夹氅衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[629,278,444,448,630,631,632,7],"缂丝","百蝶纹","喜相逢纹","氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a2ca44a8003dac20193e2e79a618ab.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":18,"author":53,"museum":168,"description":225,"tags":639,"thumbUrl":642,"material":228,"size":63,"collection":63,"collections":643,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":48},217931,"da-mo-yi-jin-ba-duan-jin-8-yi-ming-217931","达摩易筋八段锦-8",[58,59,25,24,26,208,7,640,641],"动态人物","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0fbe0415d5fdc1a47acf577614524.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":18,"author":53,"museum":398,"description":648,"tags":649,"thumbUrl":653,"material":25,"size":63,"collection":63,"collections":654,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":48},217302,"gu-xiu-wu-shi-san-can-tu-ce-12-yi-ming-217302","顾绣·五十三参图册-12","祥云漫卷间，神祇立于云端：衣袍纹饰细密如织，色彩雅致却见层次；或持物昂首，或拱手含笑，神态鲜活如生。身旁小兽灵动俏皮，似与云气嬉戏。顾绣以针作笔，丝线婉转处摹尽衣袂飘举之态、云纹舒展之姿，每一处针脚皆藏匠心——光泽流转的丝线与素净纸本相映，恍若云端景致触手可及。作品将绘画意境与刺绣工艺相融，尽显传统技艺的雅致与祥瑞意趣，令人叹服其巧思与精湛。",[445,650,25,26,651,652,118,171,7],"顾绣","神怪","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3213b3d0fa5c55cee9d43ca0a75cc6.jpg",[],{"id":656,"slug":657,"title":658,"dynasty":18,"author":53,"museum":168,"description":659,"tags":660,"thumbUrl":665,"material":174,"size":175,"collection":63,"collections":666,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":48},265912,"da-hong-se-chou-xiu-ba-tuan-long-feng-shuang-xi-mian-pao-yi-ming-265912","大红色绸绣八团龙凤双喜棉袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[278,445,243,661,662,663,7,664],"凤","双喜","绸布","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febfa0e88447807039bcc21cad01f426d.jpg",[],{"id":668,"slug":669,"title":670,"dynasty":183,"author":53,"museum":168,"description":671,"tags":672,"thumbUrl":676,"material":174,"size":175,"collection":63,"collections":677,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":48},231795,"chun-ri-ji-li-xing-fu-xing-shi-shang-juan-yi-ming-231795","春日祭礼兴福行事上卷","此作为全景长卷，徐徐铺展祭典全程。开篇以苍劲松杉点缀郊野，晕染出古朴郊祀的清雅底色。随后人潮次第排布，僧众、职役、乐师各行其位，衣装色彩错落分明，素洁僧袍、朱色公服、明黄仪仗次第铺陈，仪仗行进的秩序感跃然纸上。\n\n右侧的花树仪仗团如流动花簇，将祭典热烈推向顶点，与左侧题字的朴拙笔意相映成趣。静雅山林与喧腾仪仗形成鲜明对照，既还原古仪的整肃轨制，又饱含鲜活的世俗烟火气，将春日祭典的庄重盛大与和风雅韵凝于卷上。",[23,58,59,489,25,24,26,673,33,674,7,675],"松","人群","祭祀场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8c267524e8c66bbbf9ed1253ce3df2.jpg",[],{"id":679,"slug":680,"title":681,"dynasty":183,"author":53,"museum":168,"description":586,"tags":682,"thumbUrl":685,"material":174,"size":175,"collection":63,"collections":686,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":48},225477,"fu-shi-hui-235-yi-ming-225477","浮世绘235",[349,588,25,26,31,683,589,134,7,684],"长发","版画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8e28cd97b8696a6a7d90f31ec26a1b.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":183,"author":53,"museum":168,"description":586,"tags":691,"thumbUrl":693,"material":174,"size":175,"collection":63,"collections":694,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":66},225412,"fu-shi-hui-170-yi-ming-225412","浮世绘170",[349,588,25,26,7,692],"手持器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7200e9910ea8e733faed7fe673a22b32.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":18,"author":53,"museum":168,"description":699,"tags":700,"thumbUrl":706,"material":62,"size":63,"collection":63,"collections":707,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":265},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4","佚名的佛画 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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。",[58,59,25,24,949,950,951,952,953,335,192,954,29,33,7,287,955,956],"唐代风格","敦煌艺术","人物画","宗教画","叙事画","宫殿建筑","室外场景","文字题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116a4e2727294d527ea752d0bb8e8fab.jpg",[],{"id":960,"slug":961,"title":962,"dynasty":18,"author":53,"museum":168,"description":963,"tags":964,"thumbUrl":968,"material":228,"size":63,"collection":63,"collections":969,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},215873,"qing-dai-xing-fa-ji-lu-tu-ce-10-yi-ming-215873","清代刑罚记录图册-10","画面定格清代刑罚瞬间，人物动态张力十足。左侧执牌者神态肃然，似监刑之役；中间二人俯身控住受刑者手足，姿态紧绷；右侧壮汉高举长杖，杖身斜贯画面，蓄势待发的力度呼之欲出。人物衣饰色彩朴拙，蓝灰为主调，衬得受刑者红衣格外刺目。线条简练却精准勾勒各角色神情动作，从监刑者的沉稳到施刑者的刚劲，再到受刑者的屈伏，层次分明。整幅图以写实笔触记录场景，无多余修饰却将清代司法惩戒的肃穆严苛尽显，是研究当时律法民俗的直观图像资料。",[208,25,24,26,965,966,7,967],"刑罚","棍","动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487ed19589f274740807238a9a21d1f.jpg",[],{"id":971,"slug":972,"title":973,"dynasty":18,"author":53,"museum":168,"description":974,"tags":975,"thumbUrl":980,"material":228,"size":981,"collection":63,"collections":982,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},215828,"miao-zu-yao-zu-sheng-huo-tu-ce-19-yi-ming-215828","苗族瑶族生活图册-19","画面里的山地日常，像被阳光浸过的老布，质朴却暖得入心。持犁者弓腰拽绳，臂膀的线条绷成拉满的弓；挎篮人侧身回望，竹篮的纹路里晃着细碎的烟火；负童的老者唇间斜插草茎，连风都带着几分悠然。孩童扒在大人肩头，小手攥着衣角，眼里是对世界的好奇。衣饰上的纹样虽简，却藏着族群的印记；土黄的底色衬着褐、蓝的衣料，像把山间的泥土与溪水都揉进了画里。没有刻意的修饰，每一笔都落在生活的褶皱里——劳作的力度、相视的温柔、片刻的松弛，都被妥帖地收进这方尺幅，让远去的族群生活，有了可感的温度与鲜活的模样。",[23,58,59,171,25,24,26,976,977,978,979,494,7],"苗族","瑶族","劳作","犁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ecdf3b7cf79ea6843e91fb46171623.jpg","36.5x29.5",[],1777535706576]