[{"data":1,"prerenderedAt":250},["ShallowReactive",2],{"subject-chuan-tong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},632,"chuan-tong","传统","传统画高清赏析","精选中国历代传统题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40470fb25eb54a65bfb5469736207d1a.jpg",0,13,[14,42,60,91,109,129,144,160,174,191,207,225,239],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","明","佚名","印第安纳波利斯艺术博物馆","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[23,24,25,26,27,28,29,30,31,7,32],"高清","国画","工笔","设色","人物","孩童","货郎","禽鸟","器物","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","绢本,设色","纵161.5横97.2厘米","人物画精选",[36,38],"设色画精选",98,2,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":56,"material":57,"size":57,"collection":57,"collections":58,"showCount":59,"zanCount":40,"manualWeight":11,"mainColor":41},227952,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-227952","五百罗汉图之应身观音","宋","周季常","藏地不详","画面主次分明，应身观音安坐于视觉中心，圆光晕染间神态慈悲自在，衣袂舒展流转。身旁僧众或合十谛听，或垂目静思，清癯面容尽显禅门肃穆沉静。\n\n下方文人执卷商榷，童子随侍侧旁，雅意融融。整作设色调和古雅，衣纹以铁线描勾勒，劲挺流畅的线条尽显衣物褶皱的层叠质感，各个人物面相各有风骨，细节鲜活灵动。\n\n布景以祥云朱柱晕染出缥缈佛境，竹石点衬增添清幽禅意，将佛界的静穆与俗世雅意相融，尽显工笔人物画的精湛造诣，晕散开冲淡安和的禅意底蕴。",[23,24,51,52,25,26,27,53,54,55,7],"书画","宗教","竹","云雾","宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0a4e63aacdd50a770d92a6826a7327.jpg","",[],55,{"id":61,"slug":62,"title":63,"dynasty":18,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":82,"material":83,"size":84,"collection":85,"collections":86,"showCount":88,"zanCount":89,"manualWeight":11,"mainColor":90},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,68,69,70,53,71,72,73,74,75,18,7,76,77,78,79,80,81],"水墨","立轴","山水","烟雨","流水","石块","草丛","皴法","水墨山水","植物","自然景观","写意","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm","山水画精选",[85,87],"水墨画精选",54,1,"BDBDBD",{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":48,"description":97,"tags":98,"thumbUrl":104,"material":105,"size":106,"collection":57,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":90},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴","清","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,51,69,26,68,99,27,53,100,101,77,102,7,103],"白描","鹅","动物","清代","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg","未知","Xcm*Xcm",[],37,{"id":110,"slug":111,"title":112,"dynasty":95,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":124,"material":125,"size":126,"collection":85,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":41},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","耶鲁大学艺术博物馆","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,117,68,75,118,119,120,72,121,122,27,123,102,7,69],"山水画","山","亭","小桥","树木","房屋","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","绢本,水墨","189.9x85.7cm",[85],26,{"id":130,"slug":131,"title":132,"dynasty":95,"author":19,"museum":48,"description":133,"tags":134,"thumbUrl":140,"material":105,"size":106,"collection":57,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":143},234507,"jin-gua-wu-men-shen-ma-yi-ming-234507","金瓜武门神码","青碧祥云铺满底色，托举起这位威凛武将。他金盔覆顶，面如冠玉，长髯垂胸，宝甲遍饰华纹，红、金、蓝、紫浓艳撞色，尽显华贵威仪。一手紧握金瓜长兵，一手按执玄色令旗，腰间悬弓带箭，朱红飘带缠绕周身，更衬出刚健孔武之姿。\n此作画线刚劲爽利，敷色鲜亮厚重，承续民间年画祈福护宅的意涵，将武将慑邪安宅的威猛正气淋漓铺展，带着民间美术饱满热烈的审美特质，把阖家平安的美好祈愿藏进了精工彩绘之中。",[24,25,26,27,135,136,137,7,138,139],"兵器","衣帽","民间","门神","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdfb6e75f8dbabbcfe55d1e511e0873.jpg",[],24,"37474F",{"id":145,"slug":146,"title":147,"dynasty":95,"author":148,"museum":48,"description":149,"tags":150,"thumbUrl":157,"material":105,"size":106,"collection":57,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":90},230258,"xin-xi-lie-xin-feng-tian-jin-bo-wu-guan-hong-yi-fa-shi-230258","信系列-信封(天津博物馆)","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[102,151,152,153,26,154,155,156,7],"书法","行书","印章","纸质","书信","墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e0f3d64e776a98d557a75865bbc2e9.jpg",[],15,{"id":161,"slug":162,"title":163,"dynasty":18,"author":19,"museum":48,"description":164,"tags":165,"thumbUrl":172,"material":57,"size":57,"collection":57,"collections":173,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":41},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[23,24,51,69,25,26,27,166,167,52,7,32,168,169,170,171],"海浪","仙人","水墨设色","人物画","道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":175,"slug":176,"title":177,"dynasty":95,"author":178,"museum":179,"description":180,"tags":181,"thumbUrl":187,"material":57,"size":57,"collection":188,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":90},240037,"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页","石涛","北京故宫博物院","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[51,151,102,152,182,68,183,153,184,185,80,186,7],"草书","纸本","文字","诗","毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg","书法精选",[188],10,{"id":192,"slug":193,"title":194,"dynasty":95,"author":195,"museum":48,"description":196,"tags":197,"thumbUrl":204,"material":57,"size":57,"collection":57,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":90},238951,"shan-shui-ce-ye-xu-ji-238951","山水册页","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,51,198,26,70,199,200,123,121,122,201,202,75,7,203],"册","松树","瀑布","溪流","山峦","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],7,{"id":208,"slug":209,"title":210,"dynasty":211,"author":19,"museum":48,"description":212,"tags":213,"thumbUrl":223,"material":105,"size":106,"collection":57,"collections":224,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":90},252409,"yu-xi-yi-ming-252409","玉觹","商","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[214,215,216,217,218,219,7,220,221,222],"玉石","雕刻","商代","饰品","礼器","玉器","器形","纹饰","古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e2746389bc0c6f40324ec80885c659b.jpg",[],{"id":226,"slug":227,"title":228,"dynasty":229,"author":19,"museum":48,"description":230,"tags":231,"thumbUrl":236,"material":105,"size":106,"collection":57,"collections":237,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":238},230829,"yu-zhi-mi-cang-quan-juan-di-shi-san-yi-ming-230829","禦製秘藏詮卷第十三","不详","此作为楷书写经长卷，结体方正端稳，笔墨匀净秀雅。通篇排布齐整疏朗，字距行距错落合宜，气息庄严肃穆，尽显抄写时的恭谨虔诚。\n\n笔下笔墨凝练，笔力内敛沉稳，起收顿挫皆恪守法度，既有写经书法的典型规整意趣，又蕴含着沉静平和的禅意。墨色匀停无燥笔枯痕，将经文的肃穆内核与书法清雅气韵相融，字字端然暗含禅心，尽显古朴庄重的写经美学意韵。",[51,232,70,121,233,234,151,52,235,25,7],"楷书","河流","典籍","长卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45937a352c6a710af15a65ed9cfc3276.jpg",[],"FF9800",{"id":240,"slug":241,"title":242,"dynasty":46,"author":19,"museum":48,"description":243,"tags":244,"thumbUrl":248,"material":105,"size":106,"collection":57,"collections":249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},253187,"han-bo-yu-ren-wu-chang-fang-zhuan-yi-ming-253187","“韩伯瑜”人物长方砖","这方砖雕取材韩伯瑜泣杖的经典孝行故事，以帷幕收拢出室内场景，上方题额点题。雕刻朴拙传神，跪地的韩伯瑜垂首含悲，执杖的老母停手探看，将伯瑜感念母亲年迈力衰，杖罚力道大不如前因而悲泣的至孝心境娓娓道来。\n\n整体线条凝练，以浅浮雕技法勾勒人物神态动作，将宋代世俗教化的内核，融于民间工艺的质感当中，把古典孝义的温情凝固在青砖之上，尽显宋代砖雕写实生动的特质，让孝德意涵借助方寸青砖流传，尽显民间匠人的巧思与传统教化的温度。",[245,246,247,27,215,7,222],"宋代","砖雕","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8477dea0f464c48745194cc636b7c509.jpg",[],1777535727715]