[{"data":1,"prerenderedAt":186},["ShallowReactive",2],{"subject-da-mo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9933,"da-mo","达摩","达摩画高清赏析","精选中国历代达摩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf48c25486841eaa0c71dbac61cd3565.jpg",0,15,[14,40,56,68,79,92,105,114,123,134,145,152,161,172,179],{"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":38,"zanCount":11,"manualWeight":11,"mainColor":39},289653,"da-mo-ming-xiang-jin-nong-289653","达摩冥想","清","金农","藏地不详","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[23,24,25,26,27,28,29,30,7,31,32],"国画","名画","书画","立轴","宗教","水墨","设色","人物","孤石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d5d61c05ffae860bb0c53c96985fb9.jpg","未知","Xcm*Xcm","",[],33,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":52,"material":34,"size":35,"collection":36,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像","元","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,24,25,26,29,30,27,48,7,49,50,51],"佛教","古松","枯藤","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],29,"795548",{"id":57,"slug":58,"title":59,"dynasty":18,"author":60,"museum":20,"description":61,"tags":62,"thumbUrl":65,"material":34,"size":35,"collection":36,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":39},290075,"da-mo-tu-wu-chang-shuo-290075","达摩图","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,25,63,27,48,7,64,28,29],"人物画","面壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56dc7db29614efa358c88642793f57a9.jpg",[],12,{"id":69,"slug":70,"title":71,"dynasty":44,"author":72,"museum":20,"description":73,"tags":74,"thumbUrl":76,"material":34,"size":35,"collection":36,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":55},290792,"da-mo-xiang-zhou-yi-ming-290792","达摩像轴","佚名","《达摩像图轴》中达摩坐于象背上，宝像庄严，有五名僧众围绕其间，边上花木围绕使得人物形象更具端庄肃穆。此图设色清雅，线条流畅。款题：枝隐口头陀吴彬斋心拜写。钤吴彬之印、吴文中氏。吴彬笔下的罗汉像十分奇特怪异，每出新奇，迥别旧人，以往常见的仙风道骨的想象被五官夸张扭曲的形象所取代。然而这种丑，并非一般意义上的丑陋，而有着化腐朽为神奇的魅力。",[23,26,27,29,30,31,32,75,48,7],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8da4ca089dc4f730930588cf09e755.jpg",[],5,{"id":80,"slug":81,"title":82,"dynasty":18,"author":72,"museum":20,"description":83,"tags":84,"thumbUrl":88,"material":34,"size":35,"collection":36,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},274679,"tian-huang-shi-du-hai-da-mo-yi-ming-274679","田黄石渡海达摩","此作取田黄为材，石质凝润匀净，色泽醇和内敛。圆雕达摩光头虬髯，面容古拙慈悲，宽袍褶皱舒卷灵动，宛如海风拂过。他手持法器缓步徐行，神态淡然自若，尽显东渡弘法的从容笃定。\n\n底座巧借俏色，以贝白带雕琢浪涛苇叶，将达摩渡海的意境含蓄点明，天然石色与工艺融为一体。匠人依石施艺，刀法写意朴拙，把禅者沉静超脱的气质刻画入微，禅意与匠心浑然交融，尽显清代寿山石雕的雅致意趣。",[85,86,27,7,30,87],"玉石","雕刻","田黄石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d6a935fabe8fc17606c36917aa3967.jpg",[],1,"37474F",{"id":93,"slug":94,"title":95,"dynasty":96,"author":72,"museum":20,"description":97,"tags":98,"thumbUrl":102,"material":34,"size":35,"collection":103,"collections":104,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},260658,"de-hua-yao-bai-you-da-mo-zuo-xiang-yi-ming-260658","德化窑白釉达摩坐像","明","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[99,100,86,7,48,27,101],"陶瓷","白釉","人物雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87620802c4ccfa33a94bc65c4d37b12.jpg","瓷器精选",[103],{"id":106,"slug":107,"title":108,"dynasty":18,"author":72,"museum":20,"description":109,"tags":110,"thumbUrl":112,"material":34,"size":35,"collection":103,"collections":113,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},259674,"yao-bian-you-da-mo-yi-ming-259674","窑变釉达摩","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[99,86,27,7,30,111],"窑变釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3583f76948427408af7e19a6d300aa96.jpg",[103],{"id":115,"slug":116,"title":117,"dynasty":18,"author":72,"museum":20,"description":118,"tags":119,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":122,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":55},255580,"ci-shan-shi-song-shu-da-mo-zuo-xiang-yi-ming-255580","瓷山石松树达摩坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[99,120,27,7,121,51],"雕塑","松树",[],{"id":124,"slug":125,"title":126,"dynasty":127,"author":72,"museum":20,"description":128,"tags":129,"thumbUrl":132,"material":34,"size":35,"collection":36,"collections":133,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},270908,"tao-he-shi-da-mo-du-hai-tuo-yuan-yan-yi-ming-270908","洮河石达摩渡海椭圆砚","宋","此洮河石温润凝腻，椭圆形制饱满敦实，砚心方正内敛，方圆相衬暗合中式审美哲思。周身以阴刻手法勾勒达摩渡海图景，刀笔细腻流畅，将祖师踏浪而行的沉静禅意徐徐铺展。线条洗练传神，不见冗余修饰，把宋人简雅的审美意趣藏于刀痕之中，文房雅器的实用属性与工艺美学融为一体，尽显内敛沉静的宋式格调，是文案清供间的风雅之品。",[130,131,86,7,27,30],"砚","洮河石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4429146f00ec7aeb64ccd038f0e002ca.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":18,"author":72,"museum":20,"description":138,"tags":139,"thumbUrl":143,"material":34,"size":35,"collection":36,"collections":144,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},269837,"huang-yang-mu-diao-da-mo-li-xiang-yi-ming-269837","黄杨木雕达摩立像","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[86,140,141,7,27,30,142],"木雕","木质","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0bfe4e2eef0b59fd34d370e70a0e78.jpg",[],{"id":146,"slug":147,"title":148,"dynasty":18,"author":72,"museum":20,"description":138,"tags":149,"thumbUrl":150,"material":34,"size":35,"collection":36,"collections":151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},269786,"huang-yang-mu-diao-da-mo-yi-ming-269786","黄杨木雕达摩",[140,86,141,7,48,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aafb92fc6973f8b38c48059688a3df9.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":18,"author":72,"museum":20,"description":138,"tags":156,"thumbUrl":159,"material":34,"size":35,"collection":36,"collections":160,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},269435,"tian-ran-hua-mu-diao-da-mo-yi-ming-269435","天然桦木雕达摩",[141,86,157,7,27,158],"木刻","佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f623e0e6256881f03427905920f23ac.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":72,"museum":20,"description":165,"tags":166,"thumbUrl":170,"material":34,"size":35,"collection":36,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},261593,"qing-hua-da-mo-tu-jing-shui-wan-yi-ming-261593","青花达摩图净水碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[99,167,27,30,7,168,169],"青花","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1745380f6cf4cf143ad914c4a68ea9.jpg",[],{"id":173,"slug":174,"title":175,"dynasty":96,"author":72,"museum":20,"description":97,"tags":176,"thumbUrl":177,"material":34,"size":35,"collection":103,"collections":178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":55},260626,"de-hua-yao-bai-you-da-mo-xiang-yi-ming-260626","德化窑白釉达摩像",[99,86,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3089be14ee3c13483b8bd6074b523f1.jpg",[103],{"id":180,"slug":181,"title":175,"dynasty":18,"author":72,"museum":20,"description":97,"tags":182,"thumbUrl":184,"material":34,"size":35,"collection":103,"collections":185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},260176,"de-hua-yao-bai-you-da-mo-xiang-yi-ming-260176",[99,86,158,7,100,183],"瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadf397d6f960b52e5cf6adcceb3357d.jpg",[103],1777535725232]