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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。",[23,25,26,28,29,30,52,7,31,71],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg","未知","Xcm*Xcm",[],105,1,"37474F",{"id":80,"slug":81,"title":82,"dynasty":83,"author":19,"museum":54,"description":84,"tags":85,"thumbUrl":89,"material":73,"size":74,"collection":37,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":42},226516,"cai-hui-liu-bi-shi-yi-tou-guan-yin-xiang-yi-ming-226516","彩绘六臂十一头观音像","不详","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[28,52,29,86,27,87,88,7,30],"彩绘","多臂","多头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9706df4d6bc0bbc3def6af9410f119ed.jpg",[],73,{"id":93,"slug":94,"title":95,"dynasty":96,"author":19,"museum":20,"description":97,"tags":98,"thumbUrl":103,"material":73,"size":74,"collection":37,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":42},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","元","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[25,99,28,29,52,30,7,100,31,101,102],"立轴","兽","竹","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":107,"slug":108,"title":109,"dynasty":83,"author":19,"museum":20,"description":110,"tags":111,"thumbUrl":113,"material":73,"size":74,"collection":37,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":78},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 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，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,25,24,99,28,123,124,52,7,125,126,127],"白描","水墨","明月","山石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],52,{"id":132,"slug":133,"title":134,"dynasty":135,"author":136,"museum":20,"description":137,"tags":138,"thumbUrl":141,"material":73,"size":74,"collection":37,"collections":142,"showCount":143,"zanCount":77,"manualWeight":11,"mainColor":42},287363,"guan-yin-tu-zhou-wen-ju-287363","观音图","五代十国","周文矩","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[25,28,52,30,29,7,139,140],"云纹","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c57d0c331442fbd568d4a57b2e51cc.jpg",[],50,{"id":145,"slug":146,"title":147,"dynasty":148,"author":149,"museum":20,"description":150,"tags":151,"thumbUrl":152,"material":73,"size":74,"collection":37,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":63},288140,"guan-yin-li-zhou-hu-zhang-288140","观音立轴","清","胡璋","胡璋(1848－1899)，字铁梅，号雨舲、尧城子，斋号古香室。安徽桐城人。工山水、人物、花卉名。与王冶梅并以画梅得名，铁梅能腴，冶梅能瘦，并为巢林遗派。卒年五十二。",[23,25,99,124,52,28,7,101,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc8535bb4152fd465a197b310955b36.jpg",[],32,{"id":156,"slug":157,"title":158,"dynasty":120,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":164,"material":73,"size":74,"collection":37,"collections":165,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":78},290978,"yang-liu-guan-yin-tu-yi-ming-290978","杨柳观音图","杨柳观音是三十三观音之一。又称药王观音。左手结施无畏印，右手持杨柳枝。若修杨柳枝药法，可消除身上之众病。",[25,26,99,28,161,52,7,123,29,162,163],"佛教","印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc03eea1fd620da39fa264ae4805f320.jpg",[],30,{"id":168,"slug":169,"title":170,"dynasty":18,"author":171,"museum":20,"description":172,"tags":173,"thumbUrl":175,"material":73,"size":74,"collection":37,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":63},289891,"da-bei-guan-yin-xiang-tu-fan-qiong-289891","大悲观音像图","范琼","范琼（生卒年不详），唐朝唐文宗时期人。唐朝时期著名画家。开成年（八三六至八四o）与陈皓、彭坚同时同艺寓居蜀城（今成都）。",[23,24,25,99,28,52,7,174,162,29,30],"千手观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b96b683dc306c1f235e4ff07c0e29b.jpg",[],29,{"id":179,"slug":180,"title":181,"dynasty":148,"author":19,"museum":20,"description":182,"tags":183,"thumbUrl":187,"material":73,"size":74,"collection":37,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":190},263654,"ke-si-jia-xiu-guan-yin-xiang-zhou-yi-ming-263654","缂丝加绣观音像轴","缂（kè，同：刻）丝（英文：K’o-ssu 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"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， 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釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[299,28,52,300,444,391,370,546,7,547,548,549],"白釉瓷","菩萨","立姿","鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3240b79825e6394a2ea551b0ec46061e.jpg",[],{"id":553,"slug":554,"title":555,"dynasty":68,"author":19,"museum":20,"description":69,"tags":556,"thumbUrl":559,"material":73,"size":74,"collection":37,"collections":560,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},255575,"tong-guan-yin-zuo-xiang-yi-ming-255575","铜观音坐像",[391,557,302,28,52,7,393,558],"铜制","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14e032c16600e0ab1fc93d4d69e2fee.jpg",[],{"id":562,"slug":563,"title":564,"dynasty":18,"author":19,"museum":20,"description":565,"tags":566,"thumbUrl":568,"material":73,"size":74,"collection":37,"collections":569,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},254749,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-254749","铜鎏金杨柳枝观音菩萨立像","鎏金虽已覆上斑驳铜锈，却难掩旧时光华。菩萨面容安和沉静，宝冠高束，璎珞垂覆周身，天衣褶皱柔婉流畅，尽显大唐造像的丰腴典雅。右手持杨柳，左手携净瓶，是普度世人的经典身姿。身后叶形背光舒展饱满，将菩萨身形衬得愈发端严。八角底座开孔透气，消解了整体的厚重感，添几分精巧灵秀。\n\n整像慈悲气韵内敛沉厚，残金锈色凝住时光痕迹，让信仰的庄严与工艺的精湛相融，尽显造像的隽永质感。",[28,557,567,302,52,547,7,444],"鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d1a06b7f2158857f57501e3b91d426.jpg",[],1777535708777]