[{"data":1,"prerenderedAt":143},["ShallowReactive",2],{"subject-fu-zao-xiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4079,"fu-zao-xiang","佛造像","佛造像画高清赏析","精选中国历代佛造像题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1ab9da00eefabea7e3c33830c3033f.jpg",0,7,[14,40,62,91,106,118,130],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},226204,"ku-yong-dao-bei-pi-yi-ming-226204","窟甬道北披","唐","佚名","敦煌","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。",[23,24,25,26,27,28,29,30,31,7,32],"唐代","壁画","设色","线描","佛教人物","莲花座","衣饰纹样","装饰图案","坐姿造像","色彩装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e185d02dab18e576766ae9beadb0ce.jpg","未知","Xcm*Xcm","",[],47,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":19,"museum":45,"description":46,"tags":47,"thumbUrl":57,"material":36,"size":36,"collection":58,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},245475,"jin-qian-song-shi-fo-kan-yi-ming-245475","金嵌松石佛龛","清","藏地不详","桃形龛门金边衬着朱绫，鎏金基座嵌饰彩石松石，配色明艳华贵，带着精工巧思。内置泥质擦擦释迦牟尼佛，造像朴拙厚重，衣纹简练柔和，结禅定印安坐莲台，沉静肃穆，藏着雪域造像的浑朴梵韵。龛内壁留存汉藏双语题记，印刻下旧时岁月脉络。它糅合了华美装具与质朴造像，是汉藏佛教文化交融的具象缩影，静穆间晕开跨越百年的清寂梵音。",[48,49,50,51,52,53,25,54,55,7,56],"清代","宗教","金工","镶嵌","雕刻","彩绘","金器","松石","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f63498a13ab13a33dd0d237eb5ac961.jpg","雕塑精选",[58],24,"37474F",{"id":63,"slug":64,"title":65,"dynasty":44,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":10,"material":87,"size":88,"collection":36,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":39},223311,"fa-jie-yuan-liu-tu-juan-5-ding-guan-peng-223311","法界源流图卷-5","丁观鹏","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。",[70,71,25,72,49,73,74,75,76,77,78,79,7,80,81,82,83,84,85,86],"高清","工笔","长卷","白描","人物","莲花","祥云","树木","流水","动物","菩萨","罗汉","护法神","亭台","法器","经卷","山石","纸本，设色","纵33厘米、横1635厘米",[],10,{"id":92,"slug":93,"title":94,"dynasty":44,"author":19,"museum":45,"description":95,"tags":96,"thumbUrl":101,"material":34,"size":35,"collection":36,"collections":102,"showCount":103,"zanCount":104,"manualWeight":11,"mainColor":105},229070,"qian-zhu-jin-fu-guo-ji-xiang-zhu-chuan-qian-long-si-shi-san-nian-shou-yi-ming-229070","嵌珠金佛锅及香珠串-乾隆四十三年收","这串香珠仿扭绳造型，饱满匀整，朱红底色沉静温润，自带悠然禅意。两枚金佛嘎乌尽显藏地工艺极致：其一以累花丝为底，周圈满缀珍珠，中心松石与圆珠相映，珊瑚小花点缀四方，华贵璀璨，尽显精工审美；其二錾刻诸佛法相，错彩描金勾勒纹饰，庄严肃穆，凝练着厚重宗教意涵。整组器物将信仰寄于精工，把华美融于梵心，是民族工艺交融的精巧缩影，静穆华贵间尽显匠心与信仰之美。",[48,54,97,51,52,49,98,99,100,7],"香珠串","饰品","珠饰","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf1625a666416a635315b0bc7b6156bd.jpg",[],5,1,"795548",{"id":107,"slug":108,"title":109,"dynasty":44,"author":19,"museum":45,"description":110,"tags":111,"thumbUrl":115,"material":34,"size":35,"collection":36,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":105},274687,"bo-re-pin-tong-du-jin-fu-xu-kong-cang-pu-sa-yi-ming-274687","般若品铜镀金佛-虚空藏菩萨","此尊造像躯体鎏金璨然，半跏趺坐于莲台之上，姿态自在舒展。面相圆润饱满，眉眼柔婉含笑，静穆慈悲的气韵尽显。宝冠高束，身佩璎珞臂钏，衣纹贴体流畅，蓝彩点缀宝冠与披帛，与鎏金的素朴金辉相映，层次分明。\n\n右手结印，左手垂搭膝头，身侧莲茎蜿蜒承托宝莲，细节生动雅致。莲台莲瓣饱满规整，铸造精细，整体造型舒展雅致，工艺精妙，将虚空藏菩萨沉静通透、智德充盈的气质凝练其中，尽显隽秀质感。",[49,112,52,7,113,114],"铜制","虚空藏菩萨","镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b165866903027550204e333542b2a3.jpg",[],4,{"id":119,"slug":120,"title":121,"dynasty":44,"author":19,"museum":45,"description":122,"tags":123,"thumbUrl":127,"material":34,"size":35,"collection":36,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":61},254928,"chen-xiang-mu-zhan-tan-fu-li-xiang-yi-ming-254928","沉香木旃檀佛立像","此尊造像取旃檀瑞像仪制，沉香木整雕而成，身形挺拔端严。鎏金面相沉静和煦，弯眉朗目，神态慈悲宁和，宝冠施蓝彩，与金颜相映更显华贵庄重。\n\n通肩袈裟以层叠阴刻线条表现衣褶，如水波垂坠，疏密有致，贴合躯体轮廓之余，尽显织物轻柔垂坠之态，将木料温润质感与造像灵动气韵相融。右手结无畏印予众生心安，左手施与愿印广结善缘，赤足立于饱满规整的莲台之上。整体典雅肃穆，兼具工艺美感与宗教意蕴，尽显细腻工巧与沉静佛韵。",[48,49,124,52,125,7,25,126],"木质","立像","沉香木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d9c20a756b2c6b230ccfaa6f705ff2.jpg",[],2,{"id":131,"slug":132,"title":133,"dynasty":18,"author":19,"museum":45,"description":134,"tags":135,"thumbUrl":141,"material":34,"size":35,"collection":36,"collections":142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[136,49,137,138,7,139,140],"雕塑","佛教","坐佛","善业泥","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940dcb179e682c27f6af65fa6281ceb0.jpg",[],1777535743163]