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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。",[23,55,185,186,187,25,54,7,188],"佛教","文殊菩萨","人物画","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6bee5b9cb582ea461ca75903fb25be.jpg",[],49,{"id":193,"slug":194,"title":195,"dynasty":172,"author":196,"museum":74,"description":197,"tags":198,"thumbUrl":201,"material":202,"size":203,"collection":39,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":118},221239,"song-ke-si-bao-sheng-ru-lai-zhou-song-ren-221239","宋缂丝宝生如来轴","宋人","当精微细致的宋画与缂丝相遇之后，一种集精美丝织工艺和极致绘画情趣为一体的缂丝画便产生了。缂丝画的出现，摆脱了宋之前缂丝实用品的束缚，使其有了较高的艺术观赏性，而其绘画性所展现的艺术格调，不仅再现了宋代绘画的绝美，也使缂丝艺术远远高出其他门类的丝绣艺术。",[23,105,52,199,55,25,27,185,200,7],"缂丝","宝生如来","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd216f580aaefd6dae4e2fbc07bec2c.jpg","绢本","84.8x57.2",[],48,{"id":207,"slug":208,"title":17,"dynasty":18,"author":19,"museum":20,"description":209,"tags":210,"thumbUrl":37,"material":39,"size":39,"collection":39,"collections":218,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":42},220573,"yu-gong-yi-shan-xu-bei-hong-220573","这幅长卷以群像铺展劳作盛景，左侧妇孺老者伴象静立，眉眼间带着质朴安然的烟火气；右侧赤膊力士肌肉虬结，或挥锄蓄力、躬身掘土，古铜色躯体迸发撼人力量。创作者揉合中西技法，以国画线条勾勒筋骨，用西洋写实晕染肌肉明暗，将劳动者的粗粝体魄与坚毅精神凝于笔端。没有刻意渲染神话玄奇，只落脚于凡人苦干，把古老寓言的坚韧意志，具象成一群勇者的躬身耕耘，让不移信念在充满烟火气的劳作场景中变得可感可触，尽显沉浑厚重的生命张力。",[23,24,25,26,27,7,211,212,213,34,29,214,215,216,217],"水牛","孩童","女性","田野","劳作","人体","篮子",[],{"id":220,"slug":221,"title":222,"dynasty":47,"author":223,"museum":49,"description":224,"tags":225,"thumbUrl":229,"material":39,"size":39,"collection":39,"collections":230,"showCount":231,"zanCount":133,"manualWeight":11,"mainColor":118},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","丁观鹏","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[24,52,54,25,27,7,226,56,61,109,227,228],"虎","山石","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],39,{"id":233,"slug":234,"title":235,"dynasty":90,"author":48,"museum":49,"description":236,"tags":237,"thumbUrl":241,"material":65,"size":66,"collection":39,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":42},289572,"huan-xi-tian-fo-xiang-yi-ming-289572","歡喜天佛像","这幅造像以象首与猪首护法为主体，二者身形丰腴饱满，遍身璎珞臂钏环身，装饰华丽精巧。画面线条古拙稚朴，带着民间画工的随性生动，设色厚重沉稳，虽历经岁月晕染褪色，依旧和谐耐看。\n\n二尊相向而立，姿态亲昵松弛，一人持卷似在念诵，一人托饼仿佛供养，打破传统佛造像的肃穆端庄，将密宗欢喜圆融的意趣融入其中，神性与世俗烟火气相融，传递出自在安乐的平和意蕴，尽显古朴灵动的异域宗教美术风情。",[23,55,185,238,27,56,7,239,25,240,126],"欢喜天","野猪","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01e603353edf1ea71753cc024af0a1a.jpg",[],38,{"id":245,"slug":246,"title":247,"dynasty":138,"author":248,"museum":49,"description":249,"tags":250,"thumbUrl":252,"material":65,"size":66,"collection":39,"collections":253,"showCount":254,"zanCount":133,"manualWeight":11,"mainColor":42},290933,"wen-shu-xi-xiang-tu-qian-xuan-290933","文殊洗象图","钱选","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[23,105,24,77,106,55,25,27,56,7,186,251,81],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7566961534675ffa5fae33026de3714.jpg",[],37,{"id":256,"slug":257,"title":258,"dynasty":182,"author":259,"museum":49,"description":260,"tags":261,"thumbUrl":263,"material":65,"size":66,"collection":39,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":118},288992,"pu-xian-pu-sa-xiang-lu-leng-qie-288992","普贤菩萨像","卢楞伽","卢楞伽，一作棱伽，长安（今陕西西安）人，生卒年不详，约8世纪人。自汴入蜀，为吴道子弟子。画风细致，咫尺间山水寥廓，形象精备。",[24,55,185,262,27,7,25,187],"普贤菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb79c02930f728c2118d095db9a8aa60.jpg",[],33,{"id":267,"slug":268,"title":258,"dynasty":182,"author":48,"museum":269,"description":270,"tags":271,"thumbUrl":272,"material":25,"size":39,"collection":164,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":118},219249,"pu-xian-pu-sa-xiang-yi-ming-219249","美国弗利尔美术馆","白象披挂华鞍，纹饰繁复间透着庄严气象。普贤端坐其上，衣袂轻扬，神态沉静超然，似于松云间体悟禅意。旁侧侍从躬身侍立，姿态恭谨，与菩萨的互动自然生动，流露世俗温情。双松虬枝挺拔，松针细密如织，云雾缭绕其间，晕染出缥缈仙境。线条流转如丝，衣纹褶皱毕现，大象肌理细腻，虽经岁月磨洗，仍见笔触精绝。整体画风古雅庄重，宗教肃穆与生活意趣相融，尽显明代佛画之神韵，观之令人心生敬畏与安宁。",[24,77,52,55,25,54,27,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279812a5974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创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,77,52,54,25,27,56,7,226,61,109,304],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],20,{"id":309,"slug":310,"title":311,"dynasty":182,"author":312,"museum":74,"description":313,"tags":314,"thumbUrl":315,"material":144,"size":316,"collection":39,"collections":317,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":42},218178,"chun-xiao-tu-3-chou-ying-218178","纯孝图-3","仇英","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[24,77,25,54,27,56,7,59,61,142,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bda439eb3eb85356e82377734aec1d.jpg","32.8x21.9",[],18,{"id":320,"slug":321,"title":322,"dynasty":138,"author":48,"museum":49,"description":323,"tags":324,"thumbUrl":329,"material":65,"size":66,"collection":39,"collections":330,"showCount":331,"zanCount":133,"manualWeight":11,"mainColor":118},290340,"tai-ping-you-xiang-tu-zhou-yi-ming-290340","太平有象图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,52,25,27,157,325,326,327,227,7,212,328],"小桥","亭","松树","太平祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03f728f1082d05d5e3c961e092042e.jpg",[],13,{"id":333,"slug":334,"title":335,"dynasty":47,"author":48,"museum":49,"description":336,"tags":337,"thumbUrl":344,"material":65,"size":66,"collection":39,"collections":345,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":96},268807,"pin-yue-se-duan-xiu-cai-yun-fu-zhe-zhi-hua-yin-tai-ping-you-xiang-wen-nan-mang-yi-ming-268807","品月色缎绣彩云蝠折枝花银太平有象纹男蟒","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[338,63,126,339,54,25,7,340,341,342,343],"蟒袍","刺绣","蝙蝠","花卉","彩云","太平有象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f176cb981793a0e98a5f7823c9a318.jpg",[],{"id":347,"slug":348,"title":349,"dynasty":182,"author":312,"museum":49,"description":350,"tags":351,"thumbUrl":355,"material":65,"size":66,"collection":39,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":42},290921,"qian-han-wen-di-chou-ying-290921","前汉文帝","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,78,54,25,27,7,59,61,352,283,353,354],"书法","孝行","历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363d78e5c1b4a06138d9ccc7768f88a7.jpg",[],11,{"id":359,"slug":360,"title":361,"dynasty":138,"author":48,"museum":49,"description":249,"tags":362,"thumbUrl":363,"material":65,"size":66,"collection":39,"collections":364,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":118},290901,"wen-shu-xi-xiang-tu-zhou-yi-ming-290901","文殊洗象图轴",[24,52,25,54,27,55,186,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd638ed4fd643803ed2572fff9144ee44.jpg",[],{"id":366,"slug":367,"title":368,"dynasty":182,"author":48,"museum":49,"description":369,"tags":370,"thumbUrl":381,"material":65,"size":66,"collection":39,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":384},238571,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238571","明人升平翊赞图并书赞册","这幅以黄帝泜水斩蚩尤为题，画面分野鲜明。右上黄帝行营安稳肃穆，甲兵环伺尽显王者威仪；左下翻涌水泽中蚩尤部众溃逃奔窜，云间仙神乘瑞驰援，杀伐之气扑面而来。\n\n设色浓丽明妍，石青、石黄、朱砂撞色强烈，金线勾勒云气衣纹，晕染仙魔对战的奇幻张力。战甲旌旗的繁复刻画，衬出兵戈乱战的喧嚣，静穆行营与纷乱战场形成鲜明对照，烘托出天命平乱的恢宏史诗感，尽显此画精工富丽的叙事表现力。",[24,78,25,54,27,371,372,373,374,375,376,377,378,7,379,380],"神话","黄帝","蚩尤","泜水斩蚩尤","战争","水泽","行营","仙神","甲兵","旌旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1388c380bbe88d810023e157ac20ec8d.jpg",[],7,"F48FB1",{"id":386,"slug":387,"title":388,"dynasty":47,"author":389,"museum":49,"description":390,"tags":391,"thumbUrl":406,"material":407,"size":39,"collection":39,"collections":408,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":42},216836,"zhan-zheng-tong-ban-hua-11-lang-shi-ning-216836","战争铜版画-11","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[392,393,375,61,227,109,27,57,80,7,394,395,396,397,398,399,400,228,401,402,403,404,405],"铜版画","清代","军队","丘陵","战场","山地","军队行进","动物","岩石","战争场景","铜制","版画技法","历史题材","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c367603fd518661a182a9b31ba22bc.jpg","水墨",[],{"id":410,"slug":411,"title":412,"dynasty":47,"author":48,"museum":49,"description":413,"tags":414,"thumbUrl":423,"material":65,"size":66,"collection":39,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":118},245519,"jin-an-jian-qing-jin-shi-tai-ping-you-xiang-yi-ming-245519","金鞍鞯青金石太平有象","以青金石雕作瑞象，石色匀净幽蓝，尽显憨朴威仪。象身披挂累丝金鞍鞯，镶满红蓝宝与松石，勾勒缠枝宝相花纹，细密华丽。金箔披帛錾刻暗纹，华贵雍容。莹润象牙下悬宝石坠角，添灵动意趣。象背立柱挑着累丝金华盖，罩顶嵌松石为饰，垂挂珠串流苏，摇曳间尽显皇家雅韵。\n\n它融玉雕、累丝、镶宝工艺于一体，将太平有象的吉祥寓意凝于一身，尽显清代宫廷重工技艺的卓绝，藏着盛世祈愿的奢华审美。",[393,415,56,7,416,417,418,419,420,421,422],"器","青金石","玉石","金器","镶嵌","錾刻","吉祥","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4244b435cb1baba5db30a9372efcbde9.jpg",[],5,{"id":427,"slug":428,"title":429,"dynasty":90,"author":430,"museum":49,"description":431,"tags":432,"thumbUrl":438,"material":65,"size":66,"collection":39,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":42},231731,"da-zheng-nian-xi-zhi-juan-jin-cun-zi-hong-231731","大正年 夕之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,433,25,27,7,326,109,434,435,436,437],"浮世绘","房屋","土丘","水池","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3691c67ea1f3ab10fba325b2c3239f.jpg",[],3,{"id":442,"slug":443,"title":444,"dynasty":47,"author":48,"museum":49,"description":445,"tags":446,"thumbUrl":452,"material":65,"size":66,"collection":39,"collections":453,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":42},274417,"tong-du-jin-si-xiang-tuo-le-xiang-pao-ren-xi-niu-zhuan-hua-biao-yi-ming-274417","铜镀金四象驮乐箱跑人犀牛转花表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[402,418,447,56,448,7,449,450,451,415],"雕刻","犀牛","钟表","乐箱","转花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f17174ab177674601315d0da2bcb68.jpg",[],2,{"id":456,"slug":457,"title":458,"dynasty":90,"author":48,"museum":49,"description":459,"tags":460,"thumbUrl":465,"material":65,"size":66,"collection":39,"collections":466,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":96},273098,"ti-hong-gong-shan-yi-ming-273098","剔红宫扇","此宫扇以雀羽铺展扇面，深浅羽色层叠出灵动尾翼，肌理复刻天然雀羽纹路，鎏金花饰承托扇面，錾刻缠枝卷叶，嵌松石点翠晕染雅致光泽。朱红扇杆匀净鲜亮，下接剔红瑞象底座。瑞象身披嵌宝鞍鞯，长鼻垂卷神态温驯，象身髹朱红漆层，剔刻纹饰饱满圆润，底座缠枝回纹刀工细腻。整器集多类工艺所长，将仪仗器物的庄重华贵与工艺美学相融，尽显古典礼仪器物的匠心巧思。",[461,462,463,447,7,464],"宫扇","扇面","漆器","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89c5da0929e741fad6b231381b07e85.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":47,"author":48,"museum":49,"description":471,"tags":472,"thumbUrl":477,"material":65,"size":66,"collection":39,"collections":478,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":384},274512,"tong-du-jin-fa-lang-zhuan-hua-pao-ren-zhong-yi-ming-274512","铜镀金珐琅转花跑人钟","最早的钟原本是指古代汉族 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。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[502,473,415,56,7],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7f8c0933bfb2685953f56782a95d49.jpg",[],{"id":506,"slug":507,"title":508,"dynasty":47,"author":48,"museum":49,"description":500,"tags":509,"thumbUrl":512,"material":65,"size":66,"collection":39,"collections":513,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":118},249874,"qia-si-fa-lang-qian-bo-li-tai-ping-you-xiang-yi-ming-249874","掐丝珐琅嵌玻璃太平有象",[473,502,7,56,510,511],"礼器","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c66ff1d16f8b57c4005a0e4b54000ee.jpg",[],{"id":515,"slug":516,"title":517,"dynasty":90,"author":48,"museum":49,"description":518,"tags":519,"thumbUrl":524,"material":65,"size":66,"collection":39,"collections":525,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":42},225468,"fu-shi-hui-226-yi-ming-225468","浮世绘226","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。",[433,520,25,27,56,7,521,522,523],"木刻","和服","栅栏","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02b41e9a4eb4cab846f7194f0d815f0.jpg",[],{"id":527,"slug":528,"title":529,"dynasty":47,"author":48,"museum":49,"description":530,"tags":531,"thumbUrl":535,"material":39,"size":39,"collection":39,"collections":536,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":118},223651,"gong-xiang-tu-zhou-yi-ming-223651","贡象图轴","褐绢底色晕着柔淡云气，温敦浑厚的巨象静立，肌肤晕染细腻，肌理褶皱宛然可见。象身鞍鞯华彩四溢，朱红地子缠枝宝相花繁复绮丽，青绿驮座错饰金彩，顶间宝龛玲珑剔透，珊瑚垂饰映出华贵气象。\n\n牵象胡商卷发虬髯，赤足而立，猩红披风衬着纹饰精美的革甲，神情恭谨肃穆，牵绳微绷，将驯顺的大象与肃穆仪礼融为一体。全作用笔工细，设色古雅沉厚，既带着端严规整的宫廷绘事特质，又以晕染之法晕出物象鲜活质感，将朝贡的礼制内涵，藏进一笔一彩的精致细节之中。",[23,24,77,52,25,54,27,7,56,532,533,534],"鞍鞯","器物","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d20d2dda1d7683ac3ee13bb23363b19.jpg",[],{"id":538,"slug":539,"title":540,"dynasty":47,"author":48,"museum":49,"description":541,"tags":542,"thumbUrl":545,"material":65,"size":66,"collection":39,"collections":546,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},274921,"yin-du-jin-zan-qi-zhen-yi-ming-274921","银镀金攒七珍","此器以银为骨，鎏金点饰，分层架构精巧肃穆。敞口银盘稳为基座，上承五组云纹柱座，柱身透雕缠枝卷草，层叠舒展，莲苞覆顶托起须弥云台。云台之上，鎏金神佛端严安然，瑞象敦和伫立，金银色泽冷暖相映，明暗交错间尽显清工细作之精妙。藏地造像的庄严神圣与宫廷制器的考究工法相融，将礼佛重器的肃穆气场与匠心美学合而为一，是宗教意涵与工艺巧思凝练的上乘珍作。",[543,418,510,447,55,544,7],"银器","佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56da01aee44d5cf4fcea183c294f066c.jpg",[],{"id":548,"slug":549,"title":550,"dynasty":47,"author":48,"museum":49,"description":551,"tags":552,"thumbUrl":553,"material":65,"size":66,"collection":39,"collections":554,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},274888,"tong-xiang-yin-qi-zhen-xiang-bao-yi-ming-274888","铜镶银七珍-象宝","此供器以莲台高擎主饰，宝象身躯敦实厚重，背负宝幢鞍鞯，周身纹饰錾刻细腻入微，尽显祥瑞威仪。外缘缠枝纹盘绕环护，鎏金与素银错色分明，勾勒出饱满华丽的视觉层次。\n\n底座镂空卷草舒展灵动，仰覆莲瓣与莲台上下呼应，下承浮雕莲纹基座，整体庄雅典重。手工錾刻的肌理尽显匠心，将宗教器物的神圣感与金属细作的精妙融合一体，静穆间流露庄重质感，尽显传统工艺的凝练巧思。",[55,402,543,447,415,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6a6403e3778be29a4aa707404fcfca.jpg",[],{"id":556,"slug":557,"title":558,"dynasty":47,"author":48,"museum":49,"description":559,"tags":560,"thumbUrl":562,"material":65,"size":66,"collection":39,"collections":563,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},274759,"tong-xiang-zun-yi-ming-274759","铜象尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[561,402,447,56,7,510,415],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65e57b7dfc69b07661cb9ef13fe139f.jpg",[],{"id":565,"slug":566,"title":567,"dynasty":47,"author":48,"museum":49,"description":471,"tags":568,"thumbUrl":572,"material":65,"size":66,"collection":39,"collections":573,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},274551,"mu-lou-qian-bo-li-shi-zhuan-hua-zhong-yi-ming-274551","木楼嵌玻璃石转花钟",[415,449,569,570,451,7,571,447,486],"木质","嵌玻璃","金属饰件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213de54cc90bbabb2a6e77551516ffe2.jpg",[],{"id":575,"slug":576,"title":577,"dynasty":47,"author":48,"museum":49,"description":471,"tags":578,"thumbUrl":579,"material":65,"size":66,"collection":39,"collections":580,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":96},274549,"tong-du-jin-si-xiang-tuo-san-tao-zhong-yi-ming-2745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