[{"data":1,"prerenderedAt":430},["ShallowReactive",2],{"subject-fo-ta":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3093,"fo-ta","佛塔","佛塔画高清赏析","精选中国历代佛塔题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88855497b8bb010ad57b3cd31cb9bc.jpg",0,35,[14,37,60,77,94,106,122,135,147,159,176,185,204,218,232,242,249,267,277,286,295,305,315,324,335,341,347,356,366,378,384,396,403,409,420],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},224145,"shi-jia-mu-ni-fu-fo-jiao-pi-yu-tang-ka-224145","释迦牟尼佛佛教譬喻","清","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。",[19,23,24,25,26,27,7,28,29,30],"宗教","设色","工笔","人物","楼阁","祥云","花卉","山水","未知","Xcm*Xcm","",[],43,"37474F",{"id":38,"slug":39,"title":40,"dynasty":41,"author":42,"museum":20,"description":43,"tags":44,"thumbUrl":56,"material":31,"size":32,"collection":33,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷","宋","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[45,46,47,48,49,50,24,30,27,51,52,53,54,7,55],"高清","名画","国画","长卷","界画","青绿","小桥","古树","远山","亭台","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],39,"795548",{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":20,"description":66,"tags":67,"thumbUrl":73,"material":31,"size":32,"collection":33,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":76},290800,"jin-gang-jing-ta-zhou-yi-ming-290800","金刚经塔轴","元","佚名","此图轴形式新颖，绣法独特，用蓝色丝线将金刚经文绣在回文框内，字用滚针、斜缠针、套针等针法绣成。人物绣工亦细致，用了套针、网绣、施毛针、斜缠针和滚针等。金刚塔则用金线、赤圆金线和银线以平金针法绣成，因为塔之轮廓皆用金，经塔金光奕奕，呈现出一派庄严神秘的气氛。此轴属现存顾绣作品中别致而罕见的佛教题材绣品。",[47,68,69,23,70,49,24,26,7,71,72],"书画","立轴","佛教","写经","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edd167a976c2a15ac74843696c0f44b.jpg",[],25,"BDBDBD",{"id":78,"slug":79,"title":80,"dynasty":81,"author":65,"museum":20,"description":82,"tags":83,"thumbUrl":90,"material":31,"size":32,"collection":33,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":76},289585,"xian-miao-hui-ji-zhen-e-shi-luo-you-tong-gong-yang-fo-xiang-yi-ming-289585","線描會稽鎮遏使羅祐通供養佛像","不详","画面以墨线勾勒，上半段佛塔巍峨，龛中坐佛沉静端严，两侧飞天衣带萦回流转，灵动舒展，尽显缥缈出尘之态。下方供养人与牵马侍从神态恭谨，身形姿态皆透着礼佛的至诚肃穆。\n\n整幅画作线条遒劲洗练，以极简的笔墨勾勒出造像的庄重与人物的神韵，不着一色却自有沉静安然的礼佛氛围，将民间质朴的审美意趣融入佛教造像之中，尽显古代佛画的纯粹意韵。",[45,47,68,84,85,23,70,86,7,26,87,88,89],"白描","线描","佛像","马","供佛","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f43c72c9e12b092cd6d618dc4a5d84c.jpg",[],23,1,{"id":95,"slug":96,"title":97,"dynasty":98,"author":99,"museum":20,"description":100,"tags":101,"thumbUrl":104,"material":33,"size":33,"collection":33,"collections":105,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":59},228293,"tong-zi-li-fo-tu-chen-hong-shou-228293","童子礼佛图","明","陈洪绶","《陈洪绶童子礼佛图轴》是明代画家陈洪绶创作的一幅设色画。\n本幅款署：“老莲洪绶画于获兰草堂。\n”钤“陈洪绶印”白文、“ ”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[45,47,68,69,23,25,24,26,102,7,103,72],"孤石","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":64,"author":110,"museum":20,"description":111,"tags":112,"thumbUrl":119,"material":31,"size":32,"collection":33,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":59},290789,"shan-shui-ce-cao-zhi-bai-290789","山水册","曹知白","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 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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。",[225,330,228,23,7,229,331,332],"玉石","镀金","嵌玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb924e0baff5e6eb18f97311c474fd870.jpg",[],{"id":336,"slug":337,"title":327,"dynasty":18,"author":65,"museum":20,"description":328,"tags":338,"thumbUrl":339,"material":31,"size":32,"collection":33,"collections":340,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},274803,"tong-du-jin-qian-qing-yu-liu-fang-xing-ta-yi-ming-274803",[23,7,225,330,228,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa507b14059156a9c37759452e2686739.jpg",[],{"id":342,"slug":343,"title":327,"dynasty":18,"author":65,"museum":20,"description":328,"tags":344,"thumbUrl":345,"material":31,"size":32,"collection":33,"collections":346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},274802,"tong-du-jin-qian-qing-yu-liu-fang-xing-ta-yi-ming-274802",[7,225,330,228,70,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41b02985d2f53f6301fb4cc477d5527.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":18,"author":65,"museum":20,"description":351,"tags":352,"thumbUrl":354,"material":31,"size":32,"collection":33,"collections":355,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},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。",[23,70,353,228,229,7,227],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb1d5cfc5bd04742002148cd7e11d2f.jpg",[],{"id":357,"slug":358,"title":359,"dynasty":18,"author":65,"museum":20,"description":360,"tags":361,"thumbUrl":364,"material":31,"size":32,"collection":33,"collections":365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},274799,"tong-du-jin-qian-qing-shi-yuan-ta-yi-ming-274799","铜镀金嵌青石圆塔","宝顶法轮宝瓶鎏金熠熠，下接层层相轮收束有致。鎏金垂帐悬于相轮四周，錾刻缠枝卷草，灵动机巧。覆钵以青石为胎，沉朴石色与亮眼鎏金相映成趣，口沿饰鎏金花丝璎珞，华贵雅致。下承仰覆莲须弥座，落于錾饰珐琅彩宝纹的八角基座之上。整体融藏式佛塔的肃穆仪轨与宫廷精工于一体，藏汉工艺合璧，既有宗教造像的庄严沉静，又尽显作工的细腻华贵，是兼具审美价值与工艺价值的精巧之作。",[23,7,225,331,362,228,363],"嵌石","宗教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe6edde3b2e37cc471b141e381e582e.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":18,"author":65,"museum":20,"description":370,"tags":371,"thumbUrl":376,"material":31,"size":32,"collection":33,"collections":377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},274798,"tong-du-jin-shao-lan-qian-ci-yuan-ta-yi-ming-274798","铜镀金烧蓝嵌瓷圆塔","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[23,7,225,372,228,373,374,375],"琺瑯器","烧蓝","嵌瓷","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0161babbfcf63fca001528e62557de.jpg",[],{"id":379,"slug":380,"title":369,"dynasty":18,"author":65,"museum":20,"description":370,"tags":381,"thumbUrl":382,"material":31,"size":32,"collection":33,"collections":383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},274797,"tong-du-jin-shao-lan-qian-ci-yuan-ta-yi-ming-274797",[23,70,7,225,372,373,374,228,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2225f0e62b2fe106c97212236b82f13.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":18,"author":65,"museum":20,"description":388,"tags":389,"thumbUrl":393,"material":31,"size":32,"collection":33,"collections":394,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":395},274403,"tong-du-jin-fa-lang-ting-shi-nei-you-sheng-jiang-ta-zhong-yi-ming-274403","铜镀金珐琅亭式内有升降塔钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[372,225,224,390,391,7,86,228,392],"钟表","亭","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a72f9f3e22c9c3b96fb149b521cd29.jpg",[],"FFFFFF",{"id":397,"slug":398,"title":235,"dynasty":18,"author":65,"museum":20,"description":236,"tags":399,"thumbUrl":401,"material":31,"size":32,"collection":33,"collections":402,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},272387,"liu-yuan-yu-xiang-mo-jin-gang-ta-mo-yi-ming-272387",[238,400,228,239,7,86,23],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733d0e2c97a69a7ec8b0067241cfaa8f.jpg",[],{"id":404,"slug":405,"title":235,"dynasty":18,"author":65,"museum":20,"description":236,"tags":406,"thumbUrl":407,"material":31,"size":32,"collection":33,"collections":408,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},272375,"liu-yuan-yu-xiang-mo-jin-gang-ta-mo-yi-ming-272375",[238,400,228,23,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b221371b78e42fe294b198edc990345.jpg",[],{"id":410,"slug":411,"title":412,"dynasty":253,"author":65,"museum":20,"description":413,"tags":414,"thumbUrl":418,"material":31,"size":32,"collection":33,"collections":419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":59},254900,"shan-ye-ni-fu-zuo-xiang-yi-ming-254900","善业泥佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[415,23,70,261,416,417,7],"雕塑","佛造像","善业泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940dcb179e682c27f6af65fa6281ceb0.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":253,"author":65,"museum":20,"description":413,"tags":424,"thumbUrl":428,"material":31,"size":32,"collection":33,"collections":429,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},253273,"tao-fu-zuo-xiang-yi-ming-253273","陶佛坐像",[253,425,228,23,86,426,427,7],"陶瓷","坐像","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed829c5eeb9fe3309af5630c2c71bfbd.jpg",[],1777535713384]