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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。",[174,140,25,57,58,7,175,176,177],"壁画","牛","装饰纹样","建筑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4891b46a78d4abcdaee6dc4824bd9eb.jpg","未知","Xcm*Xcm",[],47,{"id":184,"slug":185,"title":186,"dynasty":99,"author":187,"museum":188,"description":189,"tags":190,"thumbUrl":196,"material":38,"size":197,"collection":91,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":44},218364,"mu-tong-tu-dai-song-218364","牧童图","戴嵩","大英博物馆","它描绘了一头牛和一个人，牛很强壮，头很高，用蹄子向前走，男孩拿着一根树枝，骑在牛身上，斜着眼睛向左看，显然是被有趣的东西吸引了。",[54,24,55,191,25,58,175,192,193,65,194,7,195],"水墨","枯树","书法","唐代风格","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg","26.40x23",[91],43,{"id":201,"slug":202,"title":203,"dynasty":204,"author":19,"museum":101,"description":205,"tags":206,"thumbUrl":210,"material":25,"size":211,"collection":116,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":94},219363,"dong-hai-xun-lu-tu-zhou-yi-ming-219363","东海驯鹿图轴","清","依据乾隆乙丑（1745）的御题，此画为宁古塔将军进献的东海所产驯鹿。体型如牛，性情温驯，与麋鹿非常接近。从画的尺幅看来，有描绘动物原寸大小的意图，与其他郎世宁所画的骏马、骏犬等以原寸表现的作法一样。画中驯鹿的眼睛有细腻的高光处理，另外对于毛色也有微妙地掌握，特别是驯鹿脸部神情的表达，似乎也让观者能感受它的驯良可爱性格。本图无款，然画法水准可能出自郎世宁。",[24,25,26,207,208,27,209,162,7],"兽","鹿","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d52e7b832daa560d07e49a96985f005.jpg","211.8x215.4",[116],38,{"id":215,"slug":216,"title":217,"dynasty":122,"author":19,"museum":101,"description":218,"tags":219,"thumbUrl":224,"material":38,"size":39,"collection":40,"collections":225,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":44},218398,"hua-ma-hu-dou-tu-yi-ming-218398","画马虎斗图","荒野沙坡间，一场生死搏杀凝于绢素。虎身弓如满月，爪牙凌厉前探，斑纹随扑跃之势流转，鬃毛贲张似怒涛翻卷；马则后蹄蹬沙欲退，前蹄奋起抵敌，尾鬃狂甩如惊风乍起，目露惊惶却未失悍勇。稀疏草木点缀沙碛，更显对峙的孤绝与激烈。笔墨刚劲利落，线条勾勒出兽类健硕肌理，设色古朴沉郁，绢本棕褐底色衬得野性碰撞愈发动魄。画家精准捕捉瞬间动态，每一处毛发颤动、蹄爪着力，都藏着惊心动魄的力量，令观者如临其境，屏息凝视这场荒野中的悍勇对决。",[23,54,24,55,25,26,220,105,207,221,222,223,7],"虎","孤石","荒草","灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[40],{"id":227,"slug":228,"title":229,"dynasty":204,"author":230,"museum":77,"description":231,"tags":232,"thumbUrl":237,"material":179,"size":180,"collection":39,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":94},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴","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。",[24,55,27,25,191,57,58,233,234,7,36,209,235,236],"竹","鹅","传统","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],37,{"id":241,"slug":242,"title":243,"dynasty":49,"author":244,"museum":77,"description":245,"tags":246,"thumbUrl":249,"material":39,"size":39,"collection":39,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":94},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,54,24,55,56,26,191,25,247,248,65,7],"鱼","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],27,{"id":253,"slug":254,"title":255,"dynasty":49,"author":256,"museum":101,"description":257,"tags":258,"thumbUrl":264,"material":38,"size":265,"collection":91,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":44},219692,"bu-na-tu-liu-song-nian-219692","补衲图","刘松年","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之「画院待诏赐金带刘松年敬赠」及钤印疑伪。宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。",[24,55,259,26,25,58,260,7,261,262,62,263],"宋代","老者","室内陈设","屏风","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ba4f263b90c0dc3a1bf10c1a619858.jpg","141.9x59.8cm",[91],26,{"id":269,"slug":270,"title":271,"dynasty":76,"author":19,"museum":77,"description":272,"tags":273,"thumbUrl":277,"material":39,"size":39,"collection":39,"collections":278,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":94},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,24,25,26,274,275,276,28,36,7],"鸳鸯","牡丹","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],15,{"id":281,"slug":282,"title":283,"dynasty":204,"author":284,"museum":77,"description":285,"tags":286,"thumbUrl":294,"material":179,"size":180,"collection":39,"collections":295,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":44},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷","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》。",[23,24,55,56,25,26,287,65,58,140,288,220,207,105,289,208,63,276,290,291,292,293,7],"临摹","龙","象","祥云","侍从","车辇","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],14,{"id":298,"slug":299,"title":300,"dynasty":99,"author":19,"museum":77,"description":301,"tags":302,"thumbUrl":307,"material":179,"size":180,"collection":39,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":44},223839,"yue-po-jing-yi-ming-223839","月魄镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[194,303,161,304,305,58,63,7,306],"铜制","纹饰","器","流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd9c514701acd0ac1aea7ecd529b03c.jpg",[],12,{"id":311,"slug":312,"title":313,"dynasty":204,"author":284,"museum":314,"description":315,"tags":316,"thumbUrl":324,"material":325,"size":326,"collection":39,"collections":327,"showCount":328,"zanCount":11,"manualWeight":11,"mainColor":94},223311,"fa-jie-yuan-liu-tu-juan-5-ding-guan-peng-223311","法界源流图卷-5","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,26,25,56,140,57,58,143,290,63,317,7,318,319,320,321,322,293,323,276],"流水","佛造像","菩萨","罗汉","护法神","亭台","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1ab9da00eefabea7e3c33830c3033f.jpg","纸本，设色","纵33厘米、横1635厘米",[],10,{"id":330,"slug":331,"title":332,"dynasty":136,"author":19,"museum":77,"description":333,"tags":334,"thumbUrl":338,"material":179,"size":180,"collection":39,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":94},239491,"ji-zhu-luo-han-du-hai-tu-juan-yi-ming-239491","寂住罗汉渡海图卷","以清隽白描铺展长卷，起首古松下众贤聚晤，神态悠然。继而浩渺烟波之中，诸仙或乘异兽、或踏云涛渡海，人物形神各异，或安坐凝神，或驭物踏浪，线条挺秀灵动，将仙逸风骨尽显。苍崖虬松点缀云海之间，云水皴法婉转流动，晕染出沧溟浩渺之态，把渡海的超凡奇谲铺陈开来。整体笔墨空灵雅致，将宗教的庄严与文人意趣相融，笔韵悠长，把群贤渡海的逍遥悠远意境刻画得淋漓尽致。",[23,24,57,56,140,58,320,32,335,336,276,7,337],"云","树","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08e19ff1f56ccc278fabc7830a42577.jpg",[],8,{"id":342,"slug":343,"title":344,"dynasty":204,"author":19,"museum":77,"description":345,"tags":346,"thumbUrl":349,"material":179,"size":180,"collection":39,"collections":350,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":94},234459,"quan-heng-san-jie-guan-shi-yin-pu-sa-tang-ka-yi-ming-234459","权衡三界观世音菩萨唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[209,347,140,26,145,25,58,319,290,348,7,176],"唐卡","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25270007f4f06c10b9c8ceaaf59d938e.jpg",[],{"id":352,"slug":353,"title":354,"dynasty":204,"author":355,"museum":356,"description":357,"tags":358,"thumbUrl":360,"material":361,"size":362,"collection":39,"collections":363,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":94},222649,"zhi-hua-xi-lie-zhi-hua-bai-ma-gao-qi-pei-222649","指画系列-指画·白马","高其佩","美国纳尔逊阿特金斯艺术博物馆","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,359,191,7,105],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a77b744234cff2586363df5d0d2d7e.jpg","浅设色","35.88x57.31cm",[],{"id":365,"slug":366,"title":367,"dynasty":204,"author":368,"museum":369,"description":370,"tags":371,"thumbUrl":376,"material":38,"size":377,"collection":39,"collections":378,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":94},219840,"shan-shui-tu-ce-7-xie-sun-219840","山水图册-7","谢荪","上海博物馆","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,372,373,348,374,63,58,7,375],"册","皴法","岩石","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237665922e3fdc54ce078db700a98496.jpg","14.2x19.2",[],{"id":380,"slug":381,"title":382,"dynasty":76,"author":383,"museum":77,"description":384,"tags":385,"thumbUrl":391,"material":179,"size":180,"collection":39,"collections":392,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},232361,"he-er-bai-yin-20-he-er-bai-yin-232361","荷尔拜因20","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[54,386,387,162,207,388,7,389,390],"素描","淡彩","羊","写生","纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d666903e2b7290a950aad45d2e9943.jpg",[],7,{"id":395,"slug":396,"title":397,"dynasty":204,"author":398,"museum":77,"description":399,"tags":400,"thumbUrl":415,"material":191,"size":39,"collection":39,"collections":416,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},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。",[401,209,402,348,276,63,58,105,403,404,405,406,407,408,409,7,374,410,411,303,412,413,414],"铜版画","战争","骆驼","大象","军队","丘陵","战场","山地","军队行进","植被","战争场景","版画技法","历史题材","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c367603fd518661a182a9b31ba22bc.jpg",[],{"id":418,"slug":419,"title":420,"dynasty":204,"author":19,"museum":77,"description":421,"tags":422,"thumbUrl":427,"material":179,"size":180,"collection":39,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":94},256542,"kang-xi-kuan-wu-cai-ma-gu-xian-shou-tu-pan-yi-ming-256542","康熙款五彩麻姑献寿图盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[423,424,25,58,425,7,426],"陶瓷","五彩","美人","寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1336f22edfccb59a0701d39deaa2694.jpg",[],6,{"id":431,"slug":432,"title":433,"dynasty":76,"author":434,"museum":77,"description":435,"tags":436,"thumbUrl":442,"material":179,"size":180,"collection":39,"collections":443,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":94},231660,"ri-da-zheng-nian-jin-jiang-ba-jing-jin-cun-zi-hong-231660","日大正年 近江八景","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）。",[23,25,373,24,348,437,438,439,63,440,7,441],"雪山","云雾","湖泊","飞鸟","木栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084e35ef2972f17e1b2ae1b40e797869.jpg",[],{"id":445,"slug":446,"title":447,"dynasty":204,"author":448,"museum":77,"description":449,"tags":450,"thumbUrl":451,"material":39,"size":39,"collection":39,"collections":452,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":94},236085,"hua-luo-han-ce-leng-mei-236085","画罗汉册","冷枚","此作工致秀雅，右侧绘罗汉踞案说法，神态安和肃穆，侍者恭立身侧，猿、狐、蛇与一众异像环围静听，将灵怪受佛法感召的情态刻画入微，衣纹线条流畅劲挺，敷色清浅柔和。左侧题书笔墨隽秀，诗中禅意悠长，书画相映成趣。整体画面以群灵闻道的场景，渲染出佛法普泽的静谧禅境，尽显清雅空灵的意蕴，兼具精妙的造型能力与深邃的禅门意趣。",[24,55,209,140,26,372,58,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ce15241b91041e5a4035472d82ac3.jpg",[],{"id":454,"slug":455,"title":456,"dynasty":49,"author":19,"museum":77,"description":457,"tags":458,"thumbUrl":461,"material":179,"size":180,"collection":39,"collections":462,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":153},221637,"yu-mu-ji-yi-ming-221637","玉母鸡","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[160,161,459,7,460],"圆雕","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f40a8198c6a5d84dc45e62416343d5d.jpg",[],{"id":464,"slug":465,"title":466,"dynasty":76,"author":467,"museum":77,"description":468,"tags":469,"thumbUrl":476,"material":179,"size":180,"collection":39,"collections":477,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":94},232535,"mi-lai-si-79-yue-han-ai-fu-li-te-mi-lai-si-232535","米莱斯79","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[386,470,162,471,472,7,473,474,475],"速写","炭笔","兽群","草地","野外","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89ec42e12202c8e8cbd776087157721b.jpg",[],{"id":479,"slug":480,"title":481,"dynasty":204,"author":19,"museum":51,"description":482,"tags":483,"thumbUrl":485,"material":25,"size":39,"collection":39,"collections":486,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":94},217290,"gu-xiu-wu-shi-san-can-tu-ce-25-yi-ming-217290","顾绣·五十三参图册-25","画面分两帧，左帧黄衣者衣袂翩跹，手持器物，稚童仰立，灵物伴侧，疏树依石，草色轻笼，清宁生趣毕现；右帧人物负叶徐行，孩童嬉逐于野，枯木横斜，寒汀远阔，野意盎然。笔墨细腻，设色淡雅，将善财童子参访善知识的片段凝于尺幅。人物神态鲜活，或从容或嬉闹；景致简远有致，或疏朗或旷远。于细微处见匠心，草木石水皆含韵，尽显古典雅韵与人文深味，似将修行途中的点滴意趣，悄然铺展于眼前。",[484,25,26,58,63,473,276,7],"顾绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4fbd2770cc10ccc71c1a7acb44b022.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":99,"author":19,"museum":77,"description":491,"tags":492,"thumbUrl":495,"material":179,"size":180,"collection":39,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":153},253813,"tao-gou-yi-ming-253813","陶狗","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[99,423,493,207,494,162,7],"陶塑","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ce3e9841b70c7d47da1ca9e4c7043b.jpg",[],3,{"id":499,"slug":500,"title":501,"dynasty":502,"author":19,"museum":77,"description":503,"tags":504,"thumbUrl":507,"material":179,"size":180,"collection":39,"collections":508,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":153},252227,"qing-yu-zhu-yi-ming-252227","青玉猪","汉","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。",[160,161,207,305,505,506,162,7],"汉代","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8d9455d951d521750a9d49bd744152.jpg",[],{"id":510,"slug":511,"title":512,"dynasty":204,"author":19,"museum":77,"description":503,"tags":513,"thumbUrl":516,"material":179,"size":180,"collection":39,"collections":517,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":94},251198,"qing-yu-shi-er-chen-zhu-yi-ming-251198","青玉十二辰-猪",[209,160,161,514,515,7,58,459],"十二生肖","猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f75270d92f4e0665f986fdabe3523e.jpg",[],{"id":519,"slug":520,"title":521,"dynasty":76,"author":467,"museum":77,"description":468,"tags":522,"thumbUrl":531,"material":179,"size":180,"collection":39,"collections":532,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":153},232559,"mi-lai-si-103-yue-han-ai-fu-li-te-mi-lai-si-232559","米莱斯103",[523,162,58,524,525,526,527,528,7,335,529,530,140],"油画","老人","红袍","赤脚","土地","蛇","夕阳","荒野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0885a742d4dba4c178eec4855768420a.jpg",[],{"id":534,"slug":535,"title":536,"dynasty":76,"author":383,"museum":77,"description":384,"tags":537,"thumbUrl":552,"material":179,"size":180,"collection":39,"collections":553,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":44},232367,"he-er-bai-yin-26-he-er-bai-yin-232367","荷尔拜因26",[140,386,162,58,538,539,540,541,542,7,543,544,545,546,177,547,548,549,550,551],"圣婴","天使","建筑","拱门","柱子","明暗","线条","宗教题材","人物画","动物形象","素描技法","写实风格","明暗对比","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4676d663b776b167a0f3f629e31a1f3a.jpg",[],{"id":555,"slug":556,"title":557,"dynasty":204,"author":347,"museum":77,"description":345,"tags":558,"thumbUrl":560,"material":179,"size":180,"collection":39,"collections":561,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":44},224129,"vajriputra-tang-ka-224129","Vajriputra",[209,347,140,25,26,58,559,440,36,276,7,62,35,110],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fbd60f24945236742f9612f6f0103a.jpg",[],{"id":563,"slug":564,"title":565,"dynasty":49,"author":19,"museum":77,"description":566,"tags":567,"thumbUrl":570,"material":179,"size":180,"collection":39,"collections":571,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":94},223885,"yu-e-yi-ming-223885","玉鹅","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[259,160,161,568,7,569],"线刻","卷云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94128ec5f3ed9c2728d197008fef651.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":204,"author":19,"museum":77,"description":576,"tags":577,"thumbUrl":586,"material":38,"size":39,"collection":39,"collections":587,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":153},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 罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,55,140,25,26,209,320,58,578,579,580,581,582,583,276,584,585,7,36],"童子","猴","鹤","松","荷","花草","传统服饰","佛画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":589,"slug":590,"title":591,"dynasty":502,"author":19,"museum":77,"description":592,"tags":593,"thumbUrl":597,"material":179,"size":180,"collection":39,"collections":598,"showCount":599,"zanCount":11,"manualWeight":11,"mainColor":44},254976,"san-yan-wen-wa-dang-yi-ming-254976","三雁纹瓦当","瓦当，是指古代中国建筑中覆盖建筑檐头筒瓦前端的遮挡。特指东汉和西汉时期，用以装饰美化和蔽护建筑物檐头的建筑附件。瓦当上刻有文字、图案，也有用四方之神的“朱雀”“玄武”“青龙”“白虎”做图案的， [1] 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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[641,642,643,470,25,58,644,105,645,646,647,648,7],"印象派","粉彩","水彩","骑手","红色衣物","动态捕捉","动态表现","人物动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bfa97843759e5dbc86a22159d42f34.jpg",[],"F48FB1",{"id":653,"slug":654,"title":655,"dynasty":122,"author":19,"museum":77,"description":656,"tags":657,"thumbUrl":664,"material":179,"size":180,"collection":39,"collections":665,"showCount":599,"zanCount":11,"manualWeight":11,"mainColor":633},226664,"dai-gai-de-sang-zang-guan-yi-ming-226664","带盖的丧葬罐","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[122,423,658,659,608,660,58,7,661,662,663],"丧葬","堆塑","青瓷","葬具","带盖","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d76d30c4acee5fef161bff993f8db4.jpg",[],{"id":667,"slug":668,"title":669,"dynasty":76,"author":19,"museum":77,"description":670,"tags":671,"thumbUrl":673,"material":179,"size":180,"collection":39,"collections":674,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":633},289196,"goya-a-young-woman-and-a-bull-yi-ming-289196","Goya--A 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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[505,423,701,493,7],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3185bda3ae02e8bc559ac880255f9c4.jpg",[],{"id":705,"slug":706,"title":707,"dynasty":502,"author":19,"museum":77,"description":708,"tags":709,"thumbUrl":711,"material":179,"size":180,"collection":39,"collections":712,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":153},254793,"tao-lv-you-gou-yi-ming-254793","陶绿釉狗","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[505,423,710,207,161,493,7],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe67359c09dedcd01128c9c0c449caa30.jpg",[],{"id":714,"slug":715,"title":716,"dynasty":717,"author":19,"museum":77,"description":708,"tags":718,"thumbUrl":719,"material":179,"size":180,"collection":39,"collections":720,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":44},254577,"tao-ji-yi-ming-254577","陶鸡","南北朝",[717,423,460,161,493,7,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b00a5bd98cd375874c23a08b8479d9.jpg",[],{"id":722,"slug":723,"title":716,"dynasty":717,"author":19,"museum":77,"description":708,"tags":724,"thumbUrl":725,"material":179,"size":180,"collection":39,"collections":726,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":94},254480,"tao-ji-yi-ming-254480",[717,493,423,460,161,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017a37be5966401ee91c91861aeac36b.jpg",[],{"id":728,"slug":729,"title":730,"dynasty":502,"author":19,"museum":77,"description":699,"tags":731,"thumbUrl":734,"material":179,"size":180,"collection":39,"collections":735,"showCount":152,"zanCount":152,"manualWeight":11,"mainColor":153},254405,"tao-hua-cai-gou-yi-ming-254405","陶画彩狗",[502,493,732,207,64,423,7,594,733],"彩绘","画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06595ae66f1b159464db8c83e2137ba.jpg",[],{"id":737,"slug":738,"title":739,"dynasty":740,"author":19,"museum":77,"description":741,"tags":742,"thumbUrl":745,"material":179,"size":180,"collection":39,"collections":746,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":44},254264,"qing-you-zhu-yi-ming-254264","青釉猪","晋","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[743,423,744,207,515,608,7,660],"晋代","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F721d39cc64701390a46953dfb7570a8b.jpg",[],{"id":748,"slug":749,"title":716,"dynasty":502,"author":19,"museum":77,"description":699,"tags":750,"thumbUrl":753,"material":179,"size":180,"collection":39,"collections":754,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":153},254152,"tao-ji-yi-ming-254152",[502,423,751,752,493,7,460],"家禽","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694d038f52cec7f0ae1db331ff435960.jpg",[],{"id":756,"slug":757,"title":716,"dynasty":502,"author":19,"museum":77,"description":699,"tags":758,"thumbUrl":759,"material":179,"size":180,"collection":39,"collections":760,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":44},253674,"tao-ji-yi-ming-253674",[502,423,493,7,460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a36d424dd179ea3be74eacab92612f9.jpg",[],{"id":762,"slug":763,"title":716,"dynasty":502,"author":19,"museum":77,"description":699,"tags":764,"thumbUrl":765,"material":179,"size":180,"collection":39,"collections":766,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":44},253553,"tao-ji-yi-ming-253553",[505,493,423,460,7,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73e84ac936652606f8797c08023543.jpg",[],{"id":768,"slug":769,"title":716,"dynasty":502,"author":19,"museum":77,"description":699,"tags":770,"thumbUrl":772,"material":179,"size":180,"collection":39,"collections":773,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":153},253552,"tao-ji-yi-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