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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。",[23,24,25,26,27,7,28,29,30],"国画","彩绘","设色","人物","宗教","地藏菩萨","莲花","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d01f9871874d39add34560f2264bbe.jpg","未知","Xcm*Xcm","",[],196,0,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":44,"tags":45,"thumbUrl":51,"material":32,"size":33,"collection":34,"collections":52,"showCount":53,"zanCount":11,"manualWeight":37,"mainColor":54},226347,"ku-zhu-shi-bei-bi-yi-ming-226347","窟主室北壁","唐","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 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。",[46,7,20,47,48,49,50],"壁画","佛窟","彩塑","佛教人物","石窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829ca63ceee20b8aa27e0768563d6271.jpg",[],164,"F48FB1",{"id":56,"slug":57,"title":58,"dynasty":59,"author":19,"museum":60,"description":61,"tags":62,"thumbUrl":71,"material":46,"size":72,"collection":34,"collections":73,"showCount":74,"zanCount":75,"manualWeight":37,"mainColor":38},222146,"di-shi-tian-tu-xi-bi-yi-ming-222146","帝释天图西壁","明","法海寺","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[63,46,23,64,65,7,25,66,67,68,69,70],"高清","人物画","宗教画","帝释天","梵天","二十诸天","礼佛护法","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0d0a32476aca8e67a68883cf52a49c.jpg","高3.2米,长14米",[],163,2,{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":80,"description":81,"tags":82,"thumbUrl":87,"material":25,"size":88,"collection":89,"collections":90,"showCount":91,"zanCount":11,"manualWeight":37,"mainColor":38},216776,"ri-ben-shi-jia-jin-guan-chu-xian-tu-yi-ming-216776","日本· 释迦金棺出现图","日本东京国立博物馆","这幅画描绘了释迦牟尼佛躺在金棺材里，进入涅槃，这时他以巨大的神力复活，并对他的母亲说话，他的母亲从天上来，但还没有看到他。",[63,83,25,26,27,7,84,85,86],"名画","释迦牟尼","涅槃","金棺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb770ce3cc7a39753b7dfa8bac03fa17b.jpg","160x229.5","人物画精选",[89],146,{"id":93,"slug":94,"title":95,"dynasty":96,"author":97,"museum":98,"description":99,"tags":100,"thumbUrl":115,"material":116,"size":117,"collection":89,"collections":118,"showCount":120,"zanCount":121,"manualWeight":37,"mainColor":122},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","清","郎世宁","北京故宫博物院","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[63,23,25,101,64,102,7,103,104,105,106,107,108,109,110,111,112,113,114],"工笔","画中画","普贤菩萨","文殊菩萨","松树","竹子","小桥","流水","山石","帝王","侍从","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纸本，设色","纵136.4厘米，横62厘米",[89,119],"设色画精选",120,3,"BDBDBD",{"id":124,"slug":125,"title":126,"dynasty":96,"author":19,"museum":127,"description":128,"tags":129,"thumbUrl":135,"material":32,"size":33,"collection":34,"collections":136,"showCount":137,"zanCount":11,"manualWeight":37,"mainColor":122},267356,"zhi-jin-jin-xian-wu-liang-shou-fu-tang-ka-yi-ming-267356","织锦金线无量寿佛唐卡","藏地不详","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。",[130,131,132,27,7,133,64,134],"唐卡","织锦","金线","无量寿佛","宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bda3ab67716805e769810a8eba6df05.jpg",[],119,{"id":139,"slug":140,"title":141,"dynasty":142,"author":19,"museum":127,"description":143,"tags":144,"thumbUrl":145,"material":34,"size":34,"collection":34,"collections":146,"showCount":147,"zanCount":37,"manualWeight":37,"mainColor":38},227564,"shui-yue-guan-yin-yi-ming-227564","水月观音","宋","水月观音佛经谓观音菩萨有三十三个不同形象的法身，画作观水中月影状的称水月观音。见《法华经普门品》。后用以喻人物仪容清。",[83,23,27,26,25,7,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5104d21de40843aa626a5a833467fa9.jpg",[],99,{"id":149,"slug":150,"title":151,"dynasty":96,"author":19,"museum":127,"description":128,"tags":152,"thumbUrl":157,"material":32,"size":33,"collection":89,"collections":158,"showCount":159,"zanCount":11,"manualWeight":37,"mainColor":122},234453,"bu-kong-juan-suo-guan-shi-yin-pu-sa-tang-ka-yi-ming-234453","不空羂索观世音菩萨唐卡",[130,7,153,25,154,64,155,70,156],"宗教绘画","铺金描银","不空羂索观世音菩萨","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33646f9b1c0dd82929dab59dbb9202dd.jpg",[89],89,{"id":161,"slug":162,"title":163,"dynasty":43,"author":19,"museum":20,"description":44,"tags":164,"thumbUrl":166,"material":32,"size":33,"collection":34,"collections":167,"showCount":168,"zanCount":37,"manualWeight":37,"mainColor":38},226207,"ku-yong-dao-ding-bu-yi-ming-226207","窟甬道顶部",[46,20,7,25,134,165],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe413a83ca1579776f58e50df3d2b3048.jpg",[],77,{"id":170,"slug":171,"title":172,"dynasty":43,"author":173,"museum":127,"description":174,"tags":175,"thumbUrl":179,"material":32,"size":33,"collection":34,"collections":180,"showCount":181,"zanCount":37,"manualWeight":37,"mainColor":38},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像","吴道子","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） 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清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。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》。",[63,23,101,25,754,65,424,7,1105,165,26,394,1160],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],{"id":1165,"slug":1166,"title":1167,"dynasty":59,"author":1168,"museum":127,"description":1169,"tags":1170,"thumbUrl":1171,"material":32,"size":33,"collection":34,"collections":1172,"showCount":1173,"zanCount":37,"manualWeight":37,"mainColor":38},290854,"wei-mo-shuo-fa-tu-zhou-tang-yin-290854","维摩说法图轴","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[83,23,177,359,385,27,7,26,309,105,109,178,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207a0ac03e7bdb86e7f0969f3dcd6301.jpg",[],12,{"id":1175,"slug":1176,"title":1177,"dynasty":142,"author":1178,"museum":127,"description":1179,"tags":1180,"thumbUrl":1181,"material":32,"size":33,"collection":34,"collections":1182,"showCount":1173,"zanCount":37,"manualWeight":37,"mainColor":38},290329,"hua-luo-han-zhou-li-song-290329","画罗汉轴","李嵩","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,83,177,27,7,26,384,502,815,109,25,101,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51594b9dddcd6e6e0a5bfb102e8e42f7.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":96,"author":1187,"museum":127,"description":1188,"tags":1189,"thumbUrl":1191,"material":32,"size":33,"collection":34,"collections":1192,"showCount":1173,"zanCount":37,"manualWeight":37,"mainColor":122},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。 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的风霜痕迹，褪去旧时妆彩，素净的石色更衬出造像的沉静内敛。整体造型洗练克制，无过多繁复修饰，却将那份超脱世俗的安然凝刻其中，静静伫立间，便让观者触摸到跨越岁月的平和禅意。",[1683,1697,7,26,635,594],"石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4aaf4c96a748f6592d4e2b62f2f2f20.jpg",[],{"id":1701,"slug":1702,"title":1703,"dynasty":1683,"author":19,"museum":127,"description":1704,"tags":1705,"thumbUrl":1707,"material":32,"size":33,"collection":34,"collections":1708,"showCount":1580,"zanCount":37,"manualWeight":37,"mainColor":266},252903,"di-xun-sheng-zao-shi-guan-yin-xiang-yi-ming-252903","邸荀生造石观音像","尖形背光舒展如叶，浅刻卷纹晕出朦胧佛光。观音面容温婉沉静，宝冠整饬，发丝层叠，右手轻抬似在予人慰藉，身形秀挺立于莲台。饱满莲瓣层层舒展，稳稳承托出圣洁身形。\n\n经年风化让石面晕开斑驳肌理，方座刻痕虽漫漶，却沉淀下岁月的厚重。造像刀法洗练克制，将神性的端宁与手工的温度相融，褪去鲜亮的石色间，仍能窥见往昔造像时的虔诚，静穆之中尽显东方造像含蓄雅致的审美意趣。",[1683,1706,594,27,7,26,637],"石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd299f8d4b9d8822faa8790edaf01ff65.jpg",[],{"id":1710,"slug":1711,"title":1712,"dynasty":96,"author":19,"museum":127,"description":128,"tags":1713,"thumbUrl":1715,"material":32,"size":33,"collection":34,"collections":1716,"showCount":1580,"zanCount":37,"manualWeight":37,"mainColor":122},234458,"hu-pi-qun-guan-shi-yin-pu-sa-tang-ka-yi-ming-234458","虎皮裙观世音菩萨唐卡",[130,65,7,1242,260,25,64,1714],"传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff835c5cc12241a92005c4a99754a1d36.jpg",[],{"id":1718,"slug":1719,"title":537,"dynasty":96,"author":19,"museum":127,"description":346,"tags":1720,"thumbUrl":1722,"material":32,"size":33,"collection":34,"collections":1723,"showCount":1580,"zanCount":37,"manualWeight":37,"mainColor":122},234431,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234431",[130,27,7,104,25,64,646,1721,213,156],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e06949b251abea9d27b16a30643646.jpg",[],{"id":1725,"slug":1726,"title":1727,"dynasty":96,"author":19,"museum":98,"description":1728,"tags":1729,"thumbUrl":1736,"material":25,"size":34,"collection":34,"collections":1737,"showCount":1580,"zanCount":11,"manualWeight":37,"mainColor":122},217288,"gu-xiu-wu-shi-san-can-tu-ce-27-yi-ming-217288","顾绣·五十三参图册-27","柳丝垂拂间，老者倚树闲坐，衣袂染着暖黄的光，似在静待来访者。童子持物趋前，身影透着恭谨，仿佛将善财求法的虔诚凝在步履间。顾绣的针脚藏着巧思，丝线勾出柳枝的柔、衣纹的缓，淡彩晕染出天地的清宁。绣与绘相融，让这幕参访的场景脱离了刻板的叙事，多了份悠然的禅意。每一处针迹都似在低语，诉说着求法路上的谦卑与笃定，也藏着闺阁绣者对佛法的细腻体悟。画面虽简，却将禅意与绣艺的精妙揉成了一段静美的时光，让人见之忘俗。",[1730,1731,176,7,1732,26,817,1733,25,1734,1735,287],"顾绣","册页","禅意","柳枝","求法","心经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9f1f4a847c79cbfb1478688870cfc6.jpg",[],{"id":1739,"slug":1740,"title":1741,"dynasty":43,"author":19,"museum":1121,"description":1742,"tags":1743,"thumbUrl":1745,"material":1746,"size":34,"collection":34,"collections":1747,"showCount":1580,"zanCount":37,"manualWeight":37,"mainColor":38},217276,"jiang-mo-bian-dun-huang-tu-juan-12-yi-ming-217276","降魔变·敦煌图卷-12","绢素蒙尘却难掩笔墨神彩，线条如铁线般刚劲又似兰叶般婉转，勾画出佛陀的慈悲庄严与妖魔的狰狞百态。图文相契的叙事里，降魔的张力呼之欲出——外道的张牙舞爪与佛陀的静定如山形成强烈对比，动态的冲突感在方寸之间流转。残存的矿物颜料依稀显露出当年的浓艳，西域的瑰丽纹饰与中原的写意笔墨交织，晕染出唐代宗教艺术的雄浑与细腻。这幅图卷不仅是佛教故事的视觉化呈现，更是丝路文化交融的见证，每一处斑驳都藏着敦煌艺术的灵动与厚重，让千年后的目光仍能触碰那份跨越时空的信仰温度与艺术震撼。",[20,208,176,83,27,7,26,359,25,1744],"降魔故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980ec1b9d2ead0b9be2ddb3560f42eca.jpg","设色,拓本",[],{"id":1749,"slug":1750,"title":1751,"dynasty":186,"author":19,"museum":127,"description":1752,"tags":1753,"thumbUrl":1755,"material":32,"size":33,"collection":34,"collections":1756,"showCount":1757,"zanCount":37,"manualWeight":37,"mainColor":38},290792,"da-mo-xiang-zhou-yi-ming-290792","达摩像轴","《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。",[23,177,27,25,26,1754,178,287,7,558],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8da4ca089dc4f730930588cf09e755.jpg",[],5,{"id":1759,"slug":1760,"title":1761,"dynasty":18,"author":19,"museum":127,"description":1762,"tags":1763,"thumbUrl":1765,"material":32,"size":33,"collection":34,"collections":1766,"showCount":1757,"zanCount":37,"manualWeight":37,"mainColor":122},290695,"tan-kuang-jin-gang-bo-re-jing-zhi-zan-juan-shang-yi-ming-290695","昙旷 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P2252插圖版 佛說佛名經卷第十三 手稿 下部","用笔敦实凝练，结体端稳又暗含灵动意趣，通篇字距排布匀净齐整，苍润厚重的墨色晕染在泛黄古纸之上，自带沉静肃穆的禅意。书写者以虔诚心境落墨，字字饱含恭敬，带着写经特有的规整法度，却又不失手写的温度。边角晕开的岁月旧痕与朱印相映，晕开时光沉淀的古雅意蕴，将宗教仪轨的庄严与书写的质朴温情相融，尽显这份古旧写本的沉静质感与虔诚底色。",[20,287,286,491,27,7,490,178,1077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05a6be8b4e52381a24a474e2ab72da4.jpg",[],{"id":2496,"slug":2497,"title":2077,"dynasty":18,"author":19,"museum":487,"description":2498,"tags":2499,"thumbUrl":2500,"material":32,"size":33,"collection":34,"collections":2501,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},287631,"fu-shuo-wu-liang-shou-zong-yao-jing-shou-gao-yi-ming-287631","通篇以精整小楷书就，笔墨匀净秀雅，字字排布齐整森严，行气舒朗贯通，尽显抄经人恭谨澄澈的心境。笔锋清劲内敛，点画温润饱满，无过度锋芒张扬，暗合佛家内敛平和的气韵。整卷绵长不绝，数千字一气呵成，古旧泛黄的纸面晕开时光沉淀的沉静质感。字里行间既有法度严谨的书写功底，亦藏着抄写时的清净禅意，将宗教的肃穆与书法的雅致相融，静静诉说着往昔抄经时的虔诚岁月。",[208,287,286,491,1077,7,848,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e26679fe02769653cf330ded417a39.jpg",[],{"id":2503,"slug":2504,"title":2505,"dynasty":18,"author":19,"museum":487,"description":2506,"tags":2507,"thumbUrl":2508,"material":32,"size":33,"collection":34,"collections":2509,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},287630,"da-ban-nie-pan-jing-juan-shi-liu-shou-gao-yi-ming-287630","大般涅槃經卷十六手稿","这卷写本以泛黄古纸为底，小楷密密排布，铺满整幅长卷。墨色沉郁朴拙，虽历经岁月有着虫蛀墨损，却更添沧桑古意。笔锋秀劲内敛，字字端稳清隽，排布紧凑却无壅塞之感，尽显写经书法的沉静肃穆之美。\n写经人以虔诚贯注笔端，笔画匀净凝练，带着写经书法的典型风貌，将宗教的庄严感融入笔墨筋骨之中，质朴无华却动人心神。它是信仰与书法艺术的融合遗存，每一处墨迹都留存着千年前的虔敬气息，静穆之中藏着沉静的力量，尽显古写本的质朴美学意蕴。",[208,287,286,7,491,490,1077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1cb49db18a9b0a48d9b91fde333bcf7.jpg",[],{"id":2511,"slug":2512,"title":2513,"dynasty":18,"author":19,"museum":127,"description":2514,"tags":2515,"thumbUrl":2516,"material":32,"size":33,"collection":34,"collections":2517,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},287322,"da-fang-deng-da-ji-jing-da-ji-jing-juan-ti-nian-si-shou-gao-yi-ming-287322","大方等大集經 大集經卷苐廿四手稿","此卷书法为典型写经楷书，墨色匀净沉和，笔致恭谨端严。点画精劲凝练，起收有度，结体方正匀整，字字排布齐整肃穆，通篇气息沉静安和。行款排布匀停，虽字字恪守法度，却无刻板滞涩之感，灵动笔意隐于规整之中，可见抄经者不俗的书法功底。笔墨之间，饱含抄写时的敬奉之心，在平铺直叙的抄录里，尽显早期写经书法的典型风貌，虔诚的气韵浸透在每一处笔锋起落之中，是佛教写本书法里平实却精湛的佳作。",[208,287,491,286,27,490,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6baa531fc76363217f2dd24290e8c259.jpg",[],{"id":2519,"slug":2520,"title":2521,"dynasty":96,"author":19,"museum":127,"description":2522,"tags":2523,"thumbUrl":2527,"material":32,"size":33,"collection":34,"collections":2528,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},274977,"tong-du-jin-xiang-song-shi-ru-yi-lun-yi-ming-274977","铜镀金镶松石如意轮","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[27,7,372,633,592,2524,2525,594,2526],"镶松石","木质","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cb4c11631ed550d29d7f6e1919b8463.jpg",[],{"id":2530,"slug":2531,"title":2532,"dynasty":96,"author":19,"museum":127,"description":2533,"tags":2534,"thumbUrl":2536,"material":32,"size":33,"collection":34,"collections":2537,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":266},274912,"tao-si-fa-lang-ba-gong-yang-yi-ming-274912","搯丝珐琅八供养","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。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”。",[1923,2535,27,2087,7],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121e2f7d9b78c088074fe03525a1db20.jpg",[],{"id":2539,"slug":2540,"title":2541,"dynasty":96,"author":19,"museum":127,"description":2542,"tags":2543,"thumbUrl":2544,"material":32,"size":33,"collection":34,"collections":2545,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},267351,"man-xiu-pi-lu-fo-xiang-zhou-yi-ming-267351","满绣毗卢佛像轴","此作以满绣工艺织就，边框万字回环，寄寓绵长祈愿。主尊面容慈悲端严，结印托器，朱红法衣绣纹细密层叠，宝晕环身，尽显佛尊肃穆威仪。背景以蓝底衬出卷舒云海，苍劲雪山松石错落晕染，明丽配色糅合沉静禅意。两侧胁侍神态灵动，衣袂轻扬，与主尊浑然呼应。绣面平齐细腻，金蓝朱红撞色鲜明却相融无间，将汉地刺绣精工与藏地造像仪轨精妙融合，尽显宗教艺术的庄严气韵，于针脚间见匠心巧思，是宗教绣品中的上乘之作。",[177,307,30,27,7,165,209,25,26,309,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7c9757c03c74db18879a2fabd746a4.jpg",[],{"id":2547,"slug":2548,"title":2549,"dynasty":96,"author":19,"museum":127,"description":739,"tags":2550,"thumbUrl":2553,"material":32,"size":33,"collection":34,"collections":2554,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},263651,"ke-si-jia-xiu-zun-sheng-fu-mu-xiang-zhou-yi-ming-263651","缂丝加绣尊胜佛母像轴",[177,320,307,27,7,2551,26,25,213,2552,178,30],"尊胜佛母","宝盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c01f817a2a40794533074644172270.jpg",[],{"id":2556,"slug":2557,"title":2558,"dynasty":96,"author":19,"museum":127,"description":2559,"tags":2560,"thumbUrl":2562,"material":32,"size":33,"collection":2563,"collections":2564,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":266},259967,"de-hua-yao-bai-you-fo-xiang-yi-ming-259967","德化窑白釉佛像","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。",[1522,594,7,165,2561,1935],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd4e01b1143fb27c4013dae6e639106.jpg","瓷器精选",[2563],{"id":2566,"slug":2567,"title":2568,"dynasty":96,"author":19,"museum":127,"description":2569,"tags":2570,"thumbUrl":2574,"material":32,"size":33,"collection":2563,"collections":2575,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},259148,"yao-bian-you-tie-jin-ru-lai-fo-yi-ming-259148","窑变釉贴金如来佛","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。",[1522,2571,2572,165,2573,7,27],"贴金","窑变釉","如来佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34b8a6d69727db2ce6f633ead5fd5fa.jpg",[2563],{"id":2577,"slug":2578,"title":2579,"dynasty":59,"author":19,"museum":127,"description":21,"tags":2580,"thumbUrl":2581,"material":32,"size":33,"collection":34,"collections":2582,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":122},255827,"tong-liu-jin-mi-le-zuo-xiang-yi-ming-255827","铜鎏金弥勒坐像",[7,26,633,634,594,2097,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3ccecb408075184f05d7ec275e0059.jpg",[],{"id":2584,"slug":2585,"title":2586,"dynasty":2587,"author":19,"museum":127,"description":2588,"tags":2589,"thumbUrl":2592,"material":32,"size":33,"collection":34,"collections":2593,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},253384,"tong-liu-jin-fu-li-xiang-yi-ming-253384","铜鎏金佛立像","隋","此造像身形修挺，莲瓣背光清简雅致，衬得佛颜愈发安和端方。面相圆润饱满，垂眸敛神，自带慈悲静定的气韵。右手施无畏印，予人安定力量，左手轻托法器，衣袂褶皱婉转流畅，贴合身形，尽显清隽秀雅的风骨。\n\n鎏金虽经岁月经年斑驳褪去，古铜包浆晕染出厚重古韵，将佛教造像的神圣感与中古工艺的朴拙凝练相融，静静伫立间，便流转着千年前的虔敬与平和。",[2590,27,2591,633,634,594,26,635,7],"隋代","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58dde1c1da0f1f4f77b4411ab08ff28f.jpg",[],{"id":2595,"slug":2596,"title":2586,"dynasty":43,"author":19,"museum":127,"description":2597,"tags":2598,"thumbUrl":2599,"material":32,"size":33,"collection":34,"collections":2600,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":266},253366,"tong-liu-jin-fu-li-xiang-yi-ming-253366","此像身姿挺拔秀逸，右手轻扬施无畏印，予人安宁力量，左手托握法器，神情恬然慈悲，尽显沉静端雅的神性气韵。衣纹贴体流畅，衬出身姿舒展柔和，尽显写实温润的特质。火焰背光层叠环绕，顶饰莲蕾，轮廓灵动华美。鎏金虽斑驳褪色，却晕染出岁月沉淀的华贵质感，下方台座铜锈苍古，与金身相映，将典雅庄重与跨越时光的沉静之美融为一体。",[695,633,634,594,27,7,26,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8640cd9dec8d045a5988a3ae51cdda.jpg",[],{"id":2602,"slug":2603,"title":2604,"dynasty":2587,"author":19,"museum":127,"description":2605,"tags":2606,"thumbUrl":2608,"material":32,"size":33,"collection":34,"collections":2609,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":266},252945,"shi-pu-sa-xiang-tou-yi-ming-252945","石菩萨像头","发髻高绾，虽残损却难掩端然气度。面相丰圆饱满，是时代审美递变的鲜活注脚。眉眼弯长如新月，眼睑低垂似在静思观照，唇角噙着浅浅笑意，将慈悲温婉的神性与含蓄柔美的气韵融为一体。\n\n刀工舒展柔和，线条圆润细腻，把菩萨安然沉静的神态勾勒得淋漓尽致。残躯之上，依旧留存着千年以前的沉静禅意，让观者于无声中共情那份平和肃穆的东方神性之美，触摸到古石雕精湛的工艺温度。",[2590,27,594,26,209,2607,7,1706,1714],"石像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0707cd5b14c3e4fbdfef80bdd81e389.jpg",[],{"id":2611,"slug":2612,"title":2613,"dynasty":96,"author":19,"museum":127,"description":2614,"tags":2615,"thumbUrl":2617,"material":32,"size":33,"collection":34,"collections":2618,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},245518,"jin-qian-bao-shi-shi-jia-mu-ni-xiang-yi-ming-245518","金嵌宝石释迦牟尼像","此像通体鎏金，宝光温润华贵。结跏趺坐于饱满层叠的束腰莲台，下承镂空缠枝花底座，纹饰繁丽精巧，尽显匠思。\n\n本尊面容圆润慈悲，双目垂敛含笑，通肩法衣随形垂落，衣纹流畅舒展。双手结说法印，仪态庄重肃穆。尖拱形背光錾刻卷草缠枝，外缘火焰纹层叠烘托，衬得佛身愈发神圣高洁。\n\n整体造型规整端方，金水厚重匀净，细节处一丝不苟，将佛陀沉静庄严的神性，与造像极致华丽的工艺融合，尽显信仰之美与工巧之精。",[591,27,7,26,637,592,594,593,2616],"宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc384a9819d5c800be161b1c0b2b06069.jpg",[],{"id":2620,"slug":2621,"title":2622,"dynasty":96,"author":2623,"museum":127,"description":2624,"tags":2625,"thumbUrl":2628,"material":34,"size":34,"collection":34,"collections":2629,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":122},236093,"hua-luo-han-ce-leng-mei-236093","画罗汉册","冷枚","此作设色柔淡雅致，右侧袒胸露腹的弥勒笑坐榻上，神态憨然和煦。数名童子环绕嬉闹，或扯拽衣袍，或攀爬肩头，稚态灵动鲜活，将童真嬉趣与佛门意象相融，消解禅家肃穆，尽显悠然喜乐。\n\n左侧行书题字娟秀舒展，笔意清雅，书画合璧，禅意与世俗温情相映。工细线条将人物形神勾勒入微，淡彩晕染柔和雅致，整体兼具工笔的细腻精妙与写意的悠然意趣，把日常嬉闹融入禅境，晕开冲淡温暖的氛围感。",[83,23,176,591,27,7,26,101,25,178,2626,2627],"题字","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97d887727faa1519d9cad124cb54cb8.jpg",[],{"id":2631,"slug":2632,"title":2633,"dynasty":96,"author":19,"museum":127,"description":2634,"tags":2635,"thumbUrl":2639,"material":34,"size":2640,"collection":34,"collections":2641,"showCount":75,"zanCount":37,"manualWeight":37,"mainColor":38},223345,"wu-tai-shan-sheng-jing-quan-tu-2-yi-ming-223345","五台山圣境全图2","是五台山慈福寺喇嘛桑格阿麻格于1846年(道光二十六年)，亲手刻就的图版。在《五台山圣境全图》中，刻画了五台山清代时的大小寺庙、丛林静室60余处，帝王行宫3处，佛塔灵迹30余处。同时还展现了当时的村庄，绘制了康熙皇帝朝台的盛况，并穿插了康熙寻父的民间传说。内容有人有物，有情有景，有动有静，真实地反映了五台山佛教圣地僧俗人等的生活情景，是一件珍贵的艺术品。图版以极简练的手法，雕刻出五台山佛教圣地的概貌。表现了高超的雕刻技巧和丰富的想像力。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承托宝桃形画框，框身錾刻缠枝卷草，纹路饱满灵动，下接雕花束腰底座，鎏金光泽沉稳古雅。藏地造像的厚重质感与珐琅彩饰的鲜亮相映成趣，既饱含宗教供器的肃穆气韵，又尽显手工技艺的精妙水准，是信仰与匠意融合的绝佳载体。",[27,7,4214,1933,592,594,26,1924,4215],"供养菩萨","莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff841df9437a175f0670d3893ba6c053.jpg",[],{"id":4219,"slug":4220,"title":4221,"dynasty":96,"author":19,"museum":127,"description":4222,"tags":4223,"thumbUrl":4224,"material":32,"size":33,"collection":34,"collections":4225,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":122},274891,"tong-xiang-yin-qi-zhen-mo-ni-bao-yi-ming-274891","铜镶银七珍-摩尼宝","这件造像以莲台承托鎏金背光，主尊仪态端严，双手托举法珠，绶带宝纹随形环绕，灵动舒展。铜银错镶的工艺让明暗层次尽显分明，鎏金的华贵与银质的清冽相互映衬。下接卷草缠枝束腰支架，仰覆莲底座錾刻禅纹，线条辗转间尽显藏地造像的精工巧思。\n\n整体静穆中带着富丽质感，既承载着护持祥瑞的宗教神性，又尽显清时造像的审美意趣，将摩尼宝的圣洁华贵凝练其中，是匠心与信仰融合的精妙之作。",[27,7,633,1933,594,165,1935,372,1526,1924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23103e57a8ecf769b87a54426341d51.jpg",[],{"id":4227,"slug":4228,"title":4229,"dynasty":96,"author":19,"museum":127,"description":4230,"tags":4231,"thumbUrl":4232,"material":32,"size":33,"collection":34,"collections":4233,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":122},274890,"tong-xiang-yin-qi-zhen-jiang-jun-bao-yi-ming-274890","铜镶银七珍-将军宝","整体造型庄重雅致，铜银错金的工艺让器物明暗交映，鎏金褪去的痕迹晕开岁月包浆。宝顶主尊安坐于缠枝纹环绕的背光之内，錾刻细腻，法相端严祥和，纹饰灵动舒展。下方莲台瓣层叠饱满，舒展而富有生机。下接卷草镂空底座，缠枝纹婉转流畅，将藏地手工的极致巧思凝于一身。\n作为供器，它承载着祈福护佑的信仰重量，佛仪规整，细节处尽显匠心，静穆之间尽显华贵庄严的宗教气韵。",[633,1933,594,27,7,596,29,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9c99eb0c25621a7a2a4909ef1ce18e.jpg",[],{"id":4235,"slug":4236,"title":4237,"dynasty":96,"author":19,"museum":127,"description":4238,"tags":4239,"thumbUrl":4240,"material":32,"size":33,"collection":34,"collections":4241,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274887,"tong-xiang-yin-qi-zhen-ma-bao-yi-ming-274887","铜镶银七珍-马宝","桃形牌身錾刻缠枝卷草，柔婉舒展的线条框定神异造像，驭天神人安坐昂首神驹之上，周身祥纹环绕，鬃毛飞扬的神驹雄健挺拔，细节饱满生动，尽显庄严神异。\n\n莲台瓣叶分明饱满，鎏金包浆凝厚沉郁，暗哑金调晕开经年岁月的温润。下部卷草立柱虚实相生，与覆莲底座呼应，整体线条流转圆润，将厚重质朴与精工錾刻的细腻相融，把供养祈福的至诚心意凝于每一处刀痕，是兼具审美与信仰价值的供器佳作。",[633,1933,594,27,7,656,1525,1935,1924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790a3f8518a09c0cda00cf7e2f26f7a.jpg",[],{"id":4243,"slug":4244,"title":4245,"dynasty":96,"author":19,"museum":127,"description":4246,"tags":4247,"thumbUrl":4249,"material":32,"size":33,"collection":34,"collections":4250,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":122},274886,"tong-xiang-yin-qi-zhen-nv-bao-yi-ming-274886","铜镶银七珍-女宝","此作分层塑造，莲台稳稳承托起宝镜，镜心高浮雕女宝法相，面容庄严祥和，环绕缠枝卷草纹，錾刻细密灵动，尽显工艺精妙。莲瓣晕染深浅釉色，蓝褐相间，雅致沉稳。柱身错银打造缠枝卷草，银白莹润与鎏金铜色交相辉映，古雅华贵。底座满饰仰莲纹饰，周身鎏金厚重莹润，历经岁月仍光泽不减。整体造型规整肃穆，藏地造像的厚重质感与精细装饰相融，将供器的神圣感与装饰性完美结合，尽显信仰器物的庄严华贵之美。",[27,7,1525,4248,633,1933,594,2087,29,1924],"女宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4887d0a4973b1439418e429c096bfab3.jpg",[],{"id":4252,"slug":4253,"title":4254,"dynasty":96,"author":19,"museum":127,"description":4255,"tags":4256,"thumbUrl":4260,"material":32,"size":33,"collection":34,"collections":4261,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274882,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274882","银胎嵌珐琅供养","此作以银为骨，錾刻祥云莲瓣层层托起珐琅龛阁。浅珐琅釉色铺就明净底色，法螺晕染鲜亮彩饰，卷草纹缠缀龛沿，冷冽银质与柔润釉色相映成趣。\n法螺作为吉祥信物，在澄澈釉色间尽显静穆庄严。银胎錾刻的云纹舒展柔婉，莲瓣饱满生动，将金属工艺的厚重凝练，与珐琅彩饰的明丽鲜活相融。器物形制端庄雅致，细节处尽显匠心，把清供的虔诚意蕴藏于工艺美学之中，静立便自成一方肃穆清和之境。",[1933,4257,27,7,4258,29,4259],"珐琅器","法螺","供养器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7beff378ffc28b77bef358b35a621e3.jpg",[],{"id":4263,"slug":4264,"title":4254,"dynasty":96,"author":19,"museum":127,"description":4265,"tags":4266,"thumbUrl":4268,"material":32,"size":33,"collection":34,"collections":4269,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":266},274873,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274873","此器将金属细工与珐琅彩饰精妙相融，银胎錾刻细腻入微，缠枝莲纹蜿蜒灵动，承托嵌片的莲瓣饱满立体，底足云纹古雅舒展，勾勒出庄重雅致的佛供形制。\n\n嵌片之上，贲巴壶明丽醒目，朱黄纹饰在湖蓝底色晕染下，华贵祥和之意扑面而来，正是藏传佛教中象征洁净与福德的供养圣物。冷硬银质柔化于珐琅暖彩之间，静穆中带着鲜活的宗教意韵，将祈福供养的虔诚之意凝缩于方寸器物里，庄重又不失灵动美感，尽显手工匠人的细腻匠心。",[1933,4257,27,7,4259,4267,29,372],"嵌珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb347bb28b24bd77affd639f1a30254.jpg",[],{"id":4271,"slug":4272,"title":4254,"dynasty":96,"author":19,"museum":127,"description":4273,"tags":4274,"thumbUrl":4275,"material":32,"size":33,"collection":34,"collections":4276,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":266},274862,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274862","这件器物以银为胎骨，珐琅点缀神魂。顶部珐琅釉面莹洁透亮，中心饰慧眼金莲，朱红莲瓣舒展灵动，慧眼明澈沉静，晕染出宗教的肃穆净洁，外围银质雕花拱罩，卷草纹缠连柔婉，烘托出庄严佛韵。\n\n莲台承托珐琅宝饰，莲瓣饱满写实，过渡自然。束腰底座錾刻瑞兽缠枝，层次错落分明，底部浮雕覆莲与宝相花，古朴厚重，尽显錾刻工艺的细腻精妙。\n\n银的哑光冷冽与珐琅的鲜亮明丽相映成趣，将藏地佛教清净意涵与手工匠艺融为一体，静穆中蕴含着神圣的供养之美，是宗教造像与金属珐琅工艺结合的精巧之作。",[1933,1923,27,7,594,29,4109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88333d6c561773d142b8de1dffc5102.jpg",[],{"id":4278,"slug":4279,"title":4280,"dynasty":96,"author":19,"museum":127,"description":4281,"tags":4282,"thumbUrl":4285,"material":32,"size":33,"collection":34,"collections":4286,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274837,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-guan-yi-ming-274837","铜镀金嵌松石云顶八宝-罐","铜鎏金为底骨，松石为缀饰，层层莲台承托主体。拱卫的金环托举松石宝罐，石质清莹温润，鎏金明丽华贵，二者相映成趣。周身錾刻缠枝莲纹，瓣叶舒展灵动，细节处一丝不苟，将花丝镶嵌与玉雕工艺精妙结合。整体造型庄严雅致，吉祥意涵融于形制之中，静穆间尽显华贵雍容的宗教质感，把祈福纳祥的美好愿景凝注在方寸器物之上，是清代匠心独到的工艺佳制。",[7,1924,1425,4283,594,29,4284,2087,2526],"嵌松石","宝瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f616d08133c4f7cd6ed43a9735be69.jpg",[],{"id":4288,"slug":4289,"title":4290,"dynasty":96,"author":19,"museum":127,"description":4291,"tags":4292,"thumbUrl":4293,"material":32,"size":33,"collection":34,"collections":4294,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274835,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-gai-yi-ming-274835","铜镀金嵌松石云顶八宝-盖","此器以铜镀金为胎骨，遍嵌松石，将苍润石色与鎏金明丽相融，华贵雅致。顶部宝盖以松石雕琢出柔纱垂褶的肌理，宛若轻覆的华盖，鎏金圆环缀以松石宝钿，顶间金珠熠熠生辉。中层仰莲饱满舒展，松石填饰的莲瓣温润明净，鎏金勾边勾勒出柔美轮廓。下部束腰缠枝纹灵动婉转，火焰饰件张扬舒展，澄澈松石衬出金工精巧。底托覆莲厚重内敛，与上部轻盈感形成平衡，整体繁简相宜，尽显佛供器物的庄严华贵，是清代造作精工的典范。",[633,592,1963,593,29,7,372,2526,594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5283947aa59c3f004778346bbe46ae9.jpg",[],{"id":4296,"slug":4297,"title":4298,"dynasty":96,"author":19,"museum":127,"description":4299,"tags":4300,"thumbUrl":4302,"material":32,"size":33,"collection":34,"collections":4303,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274832,"tong-du-jin-qian-song-shi-yun-ding-ba-bao-lun-yi-ming-274832","铜镀金嵌松石云顶八宝-轮","此器宝顶鎏金夺目，松石圆环妥帖环绕中央法轮，法轮纹饰錾刻细致，宝相庄严。上下莲台饱满舒展，瓣叶纹理圆润生动，松石与鎏金在柱身错落排布，卷云形饰灵动雅致，将冷润松石的清冽与鎏金的暖亮交融呼应。\n整器工艺精湛，镶嵌严丝合缝，鎏金厚重匀净，佛韵尽显其中，既是肃穆的供佛重器，也以圆满纹饰寄托恒常吉庆之寓意，静穆端庄间尽显华贵雍容，匠心藏于每一处细节之中。",[1924,7,372,4073,1425,4301,594,4215],"松石镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729b5ee4e2eaa188e40c832fd57c0cda.jpg",[],{"id":4305,"slug":4306,"title":4307,"dynasty":96,"author":19,"museum":127,"description":4308,"tags":4309,"thumbUrl":4310,"material":32,"size":33,"collection":34,"collections":4311,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274817,"tong-du-jin-ba-bao-luo-yi-ming-274817","铜镀金八宝-螺","法螺宝顶錾刻细腻灵动，威严中带着精巧神采。下接覆莲底座，舒展的卷草纹茎干柔婉多姿，将庄重与柔美相融。通体鎏金熠熠生辉，纹饰排布层次分明，刚劲线条勾勒宗教器物的肃穆神性，柔婉卷草又添雅致风韵。\n\n整体自上而下一气呵成，沉稳镂空底座承托造型，尽显华贵庄严，将藏地礼器的神圣感与清代金属细作的匠心完美结合，是工艺与宗教美学合璧的精巧之作。",[27,7,633,592,594,1924,4258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff19426880749fda4b7b66ae9295191d2.jpg",[],{"id":4313,"slug":4314,"title":4315,"dynasty":96,"author":19,"museum":127,"description":4316,"tags":4317,"thumbUrl":4319,"material":32,"size":33,"collection":34,"collections":4320,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274815,"tong-du-jin-qi-zhen-jiang-jun-bao-yi-ming-274815","铜镀金七珍-将军宝","此器主尊将军神武飒然，挥刀持盾，蹲踞威立，将护法降魔的勇武姿态凝练于方寸之间，衣袂战甲肌理分毫毕现，英气勃发。\n\n覆莲台承托主尊，下接缠枝卷草镂雕支架，纹饰舒展灵动，层叠回旋如盛放宝花，底托镂空莲瓣，整器自上而下浑然一体。铜镀金工艺精湛醇熟，金水莹润厚重，周身光泽华贵内敛，细节处分毫必究，既承袭藏地造像的雄浑刚健，又兼具清式造办的精工雅致，尽显宝相庄严与匠作匠心。",[633,592,594,27,7,26,1924,1525,4318],"将军宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778fed8ede8fbdc5bcae306eb1cba1a2.jpg",[],{"id":4322,"slug":4323,"title":4174,"dynasty":96,"author":19,"museum":127,"description":4324,"tags":4325,"thumbUrl":4326,"material":32,"size":33,"collection":34,"collections":4327,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274814,"tong-du-jin-qi-zhen-mo-ni-bao-yi-ming-274814","此件器物鎏金厚重莹润，宝顶以焰光簇拥千叶莲苞，仿佛正迸发澄澈光华。炉身仰莲盛放，稳稳承托顶饰，下接缠枝卷草镂空座身，柔婉卷纹舒展灵动，留白处题字添古朴雅意，刚柔相济。底足作莲瓣开光，沉稳端庄，撑起整器风骨。\n\n整体以莲为核心纹饰，呼应摩尼宝圆满清净的寓意，将法器的庄严神性与金属细作的装饰美学融于一体，尽显华贵精巧的工艺水准，宝光历经岁月依旧内敛醇厚，是宗教造像与宫廷匠心结合的绝佳典范。",[633,592,594,27,7,372,1526,1924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5683bc23401abe172466c1ccadc184ca.jpg",[],{"id":4329,"slug":4330,"title":4331,"dynasty":96,"author":19,"museum":127,"description":4332,"tags":4333,"thumbUrl":4334,"material":32,"size":33,"collection":34,"collections":4335,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274802,"tong-du-jin-qian-qing-yu-liu-fang-xing-ta-yi-ming-274802","铜镀金嵌青玉六方形塔","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。",[646,633,1963,594,7,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41b02985d2f53f6301fb4cc477d5527.jpg",[],{"id":4337,"slug":4338,"title":4339,"dynasty":96,"author":19,"museum":127,"description":4340,"tags":4341,"thumbUrl":4342,"material":32,"size":33,"collection":34,"collections":4343,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274801,"chi-liang-he-yi-ming-274801","螭梁盉","此件器物形制取法佛塔，自上而下层层递进。须弥台座稳重大气，六角灯身镂空錾刻细密纹饰，设龛供烛火明灭，鎏金包浆晕开旧时光痕，彩饰虽已淡褪仍见当年精致。上接密檐塔刹，层级收束如凌云之势，将礼佛的庄严肃穆与宫灯的雅致柔光相融。\n\n它既是照明陈设，又暗含宗教寄寓，把清代细作工艺的精巧发挥到极致，细节处的雕琢尽显匠心，褪去的金箔晕染岁月斑驳，将日常起居的雅致意趣与精神祈愿合二为一，是清代工艺美学与精神寄寓结合的精巧之作。",[27,7,2525,594,1924,646,3176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb1d5cfc5bd04742002148cd7e11d2f.jpg",[],{"id":4345,"slug":4346,"title":4347,"dynasty":96,"author":19,"museum":127,"description":1520,"tags":4348,"thumbUrl":4351,"material":32,"size":33,"collection":34,"collections":4352,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":122},274797,"tong-du-jin-shao-lan-qian-ci-yuan-ta-yi-ming-274797","铜镀金烧蓝嵌瓷圆塔",[27,7,646,633,1923,4349,4350,594,1924],"烧蓝","嵌瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2225f0e62b2fe106c97212236b82f13.jpg",[],{"id":4354,"slug":4355,"title":4356,"dynasty":96,"author":19,"museum":127,"description":4357,"tags":4358,"thumbUrl":4359,"material":32,"size":33,"collection":34,"collections":4360,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274736,"yin-ba-ji-xiang-yi-ming-274736","银八吉祥","分体叠装，自上而下由宝顶、金瓶、莲台、花茎底座层层衔接。鎏金宝瓶錾刻缠枝瑞花，饱满圆融，华贵雅致。下部银质基座镂空透雕缠枝卷草与仰覆莲瓣，线条婉转灵动，柔媚舒展，明暗交错间尽显清隽质感。\n\n金与银冷暖相映，奢华与素净碰撞，既藏祈福庄重之意，又暗含清代细作极致匠心，将吉祥寓意融于精工巧思当中，静穆典雅，尽显清供雅韵。",[1933,592,27,7,594,596,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd96b19e2a7f672251765326557fa51b0.jpg",[],{"id":4362,"slug":4363,"title":4356,"dynasty":96,"author":19,"museum":127,"description":4364,"tags":4365,"thumbUrl":4366,"material":32,"size":33,"collection":34,"collections":4367,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274731,"yin-ba-ji-xiang-yi-ming-274731","此件供器以银为基座，鎏金饰顶。莲台上下呼应，瓣形饱满灵动，束腰处宝相花枝缠叠舒展，线条柔婉却暗含劲力，将器物层次勾勒分明。\n\n鎏金法螺静置于覆莲小座，螺身光莹温润，自带圣洁庄严之感。银座暗哑沉敛与金螺明耀华贵形成鲜明对冲，冷色的素净与暖色的华贵相互映衬，藏地礼佛器物的静穆禅意尽在其中，把工艺美感与宗教意涵融于一身，是一件匠心巧运的供佛佳器。",[1933,592,7,594,4109,4258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4d4657540238c68dfbca0f2d8a2a.jpg",[],{"id":4369,"slug":4370,"title":4371,"dynasty":96,"author":19,"museum":127,"description":4372,"tags":4373,"thumbUrl":4375,"material":32,"size":33,"collection":34,"collections":4376,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":266},274715,"yin-du-jin-qian-song-shi-fa-lun-yi-ming-274715","银镀金嵌松石法轮","此件法器造型庄重华丽，轮体层层铺展，将宗教意涵与审美意趣精妙融合。银质胎体沉稳内敛，鎏金纹饰灿然醒目，松石与珊瑚错落镶嵌，冷暖色调相映，更显华贵雅致。轮身錾刻细密法纹，中心饰太极纹样，尽显汉藏审美融合的巧思，轮沿宝杵、莲苞依次排布，暗喻佛法圆满周遍。下承莲台缠枝底座，线条婉转灵动，让整器肃穆之余更添柔美韵律。整体工艺精湛繁复，是匠心与信仰交织的上乘之作，尽显不俗的造像工艺水准。",[27,7,4073,1933,592,4374,372,594],"镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e7b4addc51062f4fb91e40307082b4.jpg",[],{"id":4378,"slug":4379,"title":4380,"dynasty":96,"author":19,"museum":127,"description":4381,"tags":4382,"thumbUrl":4383,"material":32,"size":33,"collection":34,"collections":4384,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274695,"bo-re-pin-tong-du-jin-fu-guan-shi-yin-pu-sa-yi-ming-274695","般若品铜镀金佛-观世音菩萨","此造像半跏趺坐于莲台，身姿舒展柔婉，鎏金躯体莹润华贵，肌理线条饱满柔和。宝冠璎珞细节刻画精巧入微，点蓝装饰晕染出清丽雅致的色调，与金辉相映愈显华贵。\n\n菩萨面容圆融恬和，双目垂敛，神情慈悲宁谧，左手持莲，右手施与愿印，将悲悯众生的禅意融于舒展仪态中。整体形制规整典雅，工巧精湛又不失灵动柔和的气韵，神性庄严与人性柔美相融，尽显静穆空灵的禅韵。",[27,7,260,633,2096,594,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611fafea3ee516e7857a3051b2a4d6bf.jpg",[],{"id":4386,"slug":4387,"title":4388,"dynasty":96,"author":19,"museum":127,"description":4389,"tags":4390,"thumbUrl":4392,"material":32,"size":33,"collection":34,"collections":4393,"showCount":37,"zanCount":37,"manualWeight":37,"mainColor":38},274691,"bo-re-pin-tong-du-jin-fu-bao-hua-you-bu-fu-yi-ming-274691","般若品铜镀金佛-宝华游步佛","此尊造像结跏趺坐于莲台之上，身姿沉稳端方。面容圆润温婉，弯眉敛目，嘴角噙着浅淡笑意，慈悲安然的气韵扑面而来。肉髻饰以蓝彩束发，醒目雅致，鎏金躯体莹润亮眼，与古铜色衣装形成鲜明层次，衣褶流转自然，贴合身形，尽显布料垂坠质感，细节处见匠心巧思。\n\n右手施无畏印，传递安定力量，左手结禅定印，静穆庄严。莲台瓣纹饱满立体，台座刻字规整古朴。整尊造像融合藏地雄浑与中原秀雅审美，工艺精良，将佛陀清净超脱的气度凝练其中，尽显造像艺术的精妙。",[27,7,165,1425,594,637,4391],"宝华游步佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36759075c6ee3a331bbe6a1adc32155d.jpg",[],{"id":4395,"slug":4396,"title":4397,"dynasty":96,"author":19,"museum":127,"description":4398,"tags":4399,"thumbUrl":4401,"ma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