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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。",[106,25,63,26,28,107,7,108,109,110,111],"壁画","唐代风格","胁侍","力士","彩绘塑像","石窟壁面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc80158f37563a16a6f8c77e26bbaf3e.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":102,"author":19,"museum":103,"description":104,"tags":118,"thumbUrl":126,"material":81,"size":82,"collection":48,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":53},226466,"ku-qian-shi-ding-bu-yi-ming-226466","窟前室顶部",[119,106,25,26,28,120,121,122,7,41,123,124,125],"唐代","飞天","纹饰","华盖","建筑元素","卷草纹","莲花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5ea8e92db7c1aacd4220fc12109bd.jpg",[],16,{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":59,"description":134,"tags":135,"thumbUrl":140,"material":81,"size":82,"collection":48,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":73},255843,"tong-liu-jin-qian-shou-qian-yan-guan-yin-xiang-yi-ming-255843","铜鎏金千手千眼观音像","宋","鎏金虽有斑驳褪散，仍难掩宝相庄严。主尊垂眸含笑，神情悲悯柔慈，主掌合十，尽显恭谨肃穆。身后千手层叠舒展，各执法器，排布错落有致，既有慑服寰宇的威严，又不失普济众生的温和。\n\n躯体比例匀停合度，衣褶垂坠自然流畅，周身纹饰细密精巧。鎏金残损处露出沉实铜胎，凝着岁月的厚重痕迹，尽显写实与神性兼具的造像特质，将观音慈悲圆融的神性诠释得淋漓尽致，是造像工艺与佛教美学相融的精妙之作。",[136,137,63,25,28,138,139,7],"铜制","鎏金","千手千眼","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbce962042c0309409eaa879936159f6.jpg",[],13,{"id":144,"slug":145,"title":146,"dynasty":58,"author":19,"museum":59,"description":147,"tags":148,"thumbUrl":152,"material":81,"size":82,"collection":48,"collections":153,"showCount":154,"zanCount":72,"manualWeight":11,"mainColor":97},230525,"fu-hua-zhen-yan-tu-xiang-man-tu-luo-juan-quan-tu-yi-ming-230525","佛画真言图像曼荼罗卷全图","此卷以素绢为地，朱红、石青、泥金敷色，满铺神佛诸天、护法印相与卷草云纹，经文题识错落点缀其间。构图绵密却秩序分明，将密宗曼荼罗的严整仪轨，融入唐绘绮丽笔致之中。神佛形象饱满灵动，衣袂线条柔婉劲细，设色调和古雅，神圣的宗教氛围与装饰美感相融。繁复造像排布不显拥塞，云气纹串联画面，既有密教仪轨的庄严规整，又不失中古绘画的秀逸古雅，尽显宗教绘画的精致法度与肃穆气韵。",[23,149,25,26,27,28,150,7,151],"长卷","曼荼罗","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d244be1b25048fd6371229130cb0f5b.jpg",[],12,{"id":156,"slug":157,"title":158,"dynasty":102,"author":19,"museum":103,"description":104,"tags":159,"thumbUrl":162,"material":81,"size":82,"collection":48,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":73},226337,"ku-zhu-shi-zhong-xin-zhu-nan-xiang-mian-yi-ming-226337","窟主室中心柱南向面",[119,106,63,25,28,26,160,7,107,161],"石窟","泥塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9cbe146c9b9ed7e38877224435e1ba.jpg",[],8,{"id":166,"slug":167,"title":168,"dynasty":169,"author":19,"museum":59,"description":170,"tags":171,"thumbUrl":177,"material":81,"size":82,"collection":178,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":53},261355,"de-hua-yao-bai-you-guan-yin-zuo-xiang-yi-ming-261355","德化窑白釉观音坐像","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。",[172,63,25,173,174,175,7,176],"陶瓷","观音","荷花","白釉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955840dae71be72db323360031764a1c.jpg","瓷器精选",[178],5,{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":59,"description":185,"tags":186,"thumbUrl":188,"material":81,"size":82,"collection":48,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":97},274692,"bo-re-pin-tong-du-jin-fu-ci-di-pu-sa-yi-ming-274692","般若品铜镀金佛-慈氐菩萨","这尊造像鎏金莹亮饱满，菩萨自在安坐于仰覆莲台之上，宝冠饰蓝彩点缀，面容丰润柔和，笑意沉静和煦。右手结印，左手自然垂搭膝头，身姿舒展松弛，衣纹贴体流畅，璎珞环身精巧华贵，背光卷草灵动舒展，尽显柔媚雅致的气韵。\n\n整体铸造工艺精湛，细节打磨细腻，既恪守藏传造像的庄严法度，又兼具清代造像的柔美意趣，将菩萨慈悲安和的神性特质，融于鲜活灵动的造像之中，尽显雅致精巧的工艺水准。",[7,136,63,25,187,62],"菩萨像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb76b09b0a12fef9c7efbb36697c370.jpg",[],4,{"id":192,"slug":193,"title":194,"dynasty":195,"author":19,"museum":59,"description":196,"tags":197,"thumbUrl":202,"material":81,"size":82,"collection":48,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":73},254516,"tong-guan-shi-yin-pu-sa-li-xiang-yi-ming-254516","铜观世音菩萨立像","南北朝","这尊造像以古铜凝萃岁月质感，尖顶背光满刻火焰纹，翻卷灵动如佛光炽盛，将菩萨身形温柔托举。\n\n菩萨面容圆和，垂目含慈，衣纹简练古拙，随身形舒展沉稳静穆，举手间自带沉静悲悯的气度。下方莲台饱满，方座敦实沉稳，整体造型朴拙厚重，尽显浑融沉静的宗教意韵。古铜包浆厚重温润，将千余年的信仰温度封存其中，形制虽简，却带着独有的浑朴庄严，于无声处传递出澄澈安宁的力量。",[136,198,63,25,28,199,200,7,67,201],"青铜器","南北朝风格","立像","传统雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ccfacd83e7431b2c1df6790ddb8d75.jpg",[],3,{"id":206,"slug":207,"title":208,"dynasty":209,"author":19,"museum":59,"description":210,"tags":211,"thumbUrl":215,"material":81,"size":82,"collection":48,"collections":216,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":73},253589,"shi-zhang-hui-fei-deng-zao-shuang-guan-yin-xiang-yi-ming-253589","石张晖妃等造双观音像","隋","这尊造像虽有残损，却依旧气韵沉静端严。两尊观音身姿挺秀，衣褶线条古雅简约，神情温婉恬和，带着独有的温润质感。石表斑驳的风霜痕迹，凝着千余年的时光印记。宝冠、璎珞细节虽经磨蚀，仍可窥见当年工匠的细腻用心。\n双像对称排布，褪去浮华修饰，尽显石雕质朴厚重的肌理，将古远的信仰虔诚凝刻于石上，静静晕开平和肃穆的氛围，让观者触摸到跨越岁月的沉静力量。",[212,63,25,28,213,214,7],"石刻","石质","隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac528fc7f14945756e1ee43e10618e22.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":18,"author":19,"museum":59,"description":221,"tags":222,"thumbUrl":225,"material":81,"size":82,"collection":48,"collections":226,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},274683,"bo-re-pin-tong-du-jin-fu-shan-you-bu-fu-yi-ming-274683","般若品铜镀金佛-善游步佛","此尊造像结触地印安坐，身姿舒展匀称，比例精妙得当。面容圆润柔和，眼睑低垂，神情静谧含笑，尽显佛陀慈悲温煦的法相神采。\n\n造像采用分色铸饰工艺，肌肤鎏金明丽鲜亮，衣饰呈深褐古朴厚重，螺发以宝蓝覆色点缀，色彩层次分明雅致耐看。台座镌刻铭文工整细致，整体雕铸工艺精湛入微，凝练展现出独到的造像特质，将宗教的肃穆庄严与匠心工艺完美融合，兼具信仰价值与审美意趣。",[25,223,136,224,63,7],"佛像","镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb082634b867cfb68018e57b4848c05.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":195,"author":19,"museum":59,"description":231,"tags":232,"thumbUrl":234,"material":81,"size":82,"collection":48,"collections":235,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":73},254688,"tong-lian-hua-shou-guan-shi-yin-pu-sa-xiang-yi-ming-254688","铜莲花手观世音菩萨像","此造像浑朴古雅，尽显雄浑厚重的北朝气质。菩萨身形挺拔刚健，右手高挑执莲，左手轻握净瓶，衣褶线条简练硬朗，带着游牧审美浸染下的豪迈质感。\n\n背光以层叠涡旋纹铺展，似佛光漫溢周身，粗犷刻痕里藏着细腻巧思。三足方台以柔婉纹饰点缀，与造像的刚健形成视觉反差，平衡整体层次。沉郁的青铜包浆凝住岁月摩挲的痕迹，虽无繁缛细节，却将早期造像的肃穆威仪诠释尽致，褪去纤柔浮华，以质朴大气定格了那个时代的宗教审美底色。",[198,63,25,7,199,28,233],"菩萨造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4092bcdfaf80637802996bbead807e.jpg",[],{"id":237,"slug":238,"title":158,"dynasty":102,"author":19,"museum":103,"description":104,"tags":239,"thumbUrl":10,"material":81,"size":82,"collection":48,"collections":241,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":73},226324,"ku-zhu-shi-zhong-xin-zhu-nan-xiang-mian-yi-ming-226324",[106,25,26,28,63,120,107,7,41,240],"石窟艺术",[],{"id":243,"slug":244,"title":245,"dynasty":18,"author":19,"museum":59,"description":246,"tags":247,"thumbUrl":249,"material":81,"size":82,"collection":48,"collections":250,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":53},275049,"tong-du-jin-qi-zhen-jiang-jun-bao-yi-ming-275049","铜镀金七珍-将军宝","此造像为护法将军形象，蹲踞于双层莲台之上，身姿雄健挺拔。通体鎏金灿然，衣甲纹饰细密写实，将武将的英武之气尽数彰显。\n\n头戴宝冠顶饰幡旗，左手握持法器，右手结印，眉眼锐利，面容威严沉静，周身铠甲纹饰层次分明，浮雕精细入微，尽显工艺精湛。莲台上下层纹饰各异，上层仰莲饱满舒展，下层缠枝纹样婉转华丽，与造像雄劲气质相得益彰。整体鎏金匀净亮泽，凝练出护法神祇的刚正威仪，尽显古雅庄重的工艺美学。",[136,62,63,25,7,248,93],"七珍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe137598dfe4b6e299287b289f7fa74ac.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":18,"author":19,"museum":59,"description":255,"tags":256,"thumbUrl":257,"material":81,"size":82,"collection":48,"collections":258,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":53},275048,"tong-du-jin-qi-zhen-nv-bao-yi-ming-275048","铜镀金七珍-女宝","头戴累丝宝冠，嵌饰点缀其间，面容温婉含笑，眉眼间尽显柔静端严。结跏趺坐于双层仰覆莲台，衣纹如流水轻垂，鎏金通体莹亮厚重，光泽凝润如凝脂。双手一托法器、一结印胸前，姿态安和沉静。\n\n它承载着王族辅弼的美好寓意，造工处处见匠心，冠饰细节繁复却不失规整，衣褶起伏自然生动，将神性的肃穆与女性的柔美相融，尽显精湛工法，静穆之中自有慈悲端庄的气韵，藏着独有的宗教造像审美意趣。",[25,7,136,62,63,28,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3b7f17b04ac16ef42ee72f669e2205.jpg",[],{"id":260,"slug":2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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。",[313,136,63,137,92,25,7,314,315],"清代风格","铸造","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc576a5c336b823dc380c3655384a54.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":18,"author":19,"museum":59,"description":322,"tags":323,"thumbUrl":325,"material":81,"size":82,"collection":48,"collections":326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},274881,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274881","银胎嵌珐琅供养","银胎包浆古雅沉静，层叠莲瓣舒展承托佛龛，立柱缠云纹盘旋萦绕，底足浮雕莲苞，细节朴拙厚重。佛龛嵌珐琅面板，宝蓝地色明丽鲜亮，中央尊像安坐须弥台，衣饰华艳、法相端严，设色浓郁饱满。金属的沉敛与珐琅的明润相映成趣，藏地佛供的庄严雅致凝于一身，细金工艺与珐琅彩饰精妙融合，静穆间流露信仰的沉静力量，是独具匠心的宗教工艺佳制。",[265,324,25,267,63,266,7],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160215f97714a22618f92e27ea9090d6.jpg",[],{"id":328,"slug":329,"title":330,"dynasty":18,"author":19,"museum":59,"description":331,"tags":332,"thumbUrl":333,"material":81,"size":82,"collection":48,"collections":334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},274663,"tong-bai-jiu-du-fu-mu-yi-ming-274663","铜白救度佛母","此像铜身金面，面庞丰润柔和，双目垂敛含笑，神态静谧慈柔。高发髻遍饰华冠花饰，耳珰垂坠，璎珞环身，尽显雍容仪范。\n\n结莲跏趺端坐莲台，左手当胸拈莲茎，右手垂落施与愿印，莲枝沿身舒展绽花，灵动雅致。衣纹贴体流畅，勾勒出柔婉身形，兼具法度规整与柔美韵致，工艺精细考究，藏地造像的审美意趣尽显，是融宗教仪轨与艺术美感于一身的上乘之作。",[136,63,25,7,198,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49a4233a86fcc32a461ab53b7b1352e.jpg",[],{"id":336,"slug":337,"title":338,"dynasty":169,"author":19,"museum":59,"description":339,"tags":340,"thumbUrl":342,"material":81,"size":82,"collection":178,"collections":343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},261201,"long-quan-yao-qing-you-guan-yin-zuo-xiang-yi-ming-261201","龙泉窑青釉观音坐像","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[172,173,341,315,25,63,7],"青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07dc47fd39a63d865baba3e337abcf18.jpg",[178],{"id":345,"slug":346,"title":347,"dynasty":195,"author":19,"museum":59,"description":311,"tags":348,"thumbUrl":350,"material":81,"size":82,"collection":48,"collections":351,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},254333,"tong-shuang-mian-chan-ding-fu-zuo-xiang-yi-ming-254333","铜双面禅定佛坐像",[199,136,63,25,7,349,28,198],"禅定坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca4cd2946e75ce1101df8c73c112a90.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":195,"author":19,"museum":59,"description":311,"tags":356,"thumbUrl":358,"material":81,"size":82,"collection":48,"collections":359,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},254321,"tong-fu-zuo-xiang-yi-ming-254321","铜佛坐像",[195,136,63,25,315,7,28,198,357],"青铜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339c48fe78e69f1e25d597424e08805f.jpg",[],{"id":361,"slug":362,"title":363,"dynasty":364,"author":19,"museum":59,"description":365,"tags":366,"thumbUrl":367,"material":81,"size":82,"collection":48,"collections":368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},253046,"tong-liu-jin-song-shui-sheng-zao-fu-li-xiang-yi-ming-253046","铜鎏金宋水生造佛立像","元","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[25,198,137,63,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e15837dc8281ccd3005046134ad56.jpg",[],{"id":370,"slug":371,"title":372,"dynasty":102,"author":19,"museum":59,"description":311,"tags":373,"thumbUrl":374,"material":81,"size":82,"collection":48,"collections":375,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":97},252912,"shi-fu-zuo-xiang-yi-ming-252912","石佛坐像",[119,25,28,63,213,7,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b6e75a460b25df755ac1556107271.jpg",[],1777535714816]