[{"data":1,"prerenderedAt":269},["ShallowReactive",2],{"subject-jia-jin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9708,"jia-jin","加金","加金画高清赏析","精选中国历代加金题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcb622f215eaaa6250a756e9471682f.jpg",0,24,[14,36,54,68,77,89,103,113,120,129,138,150,157,169,183,195,204,211,218,225,233,243,252,261],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":34,"manualWeight":11,"mainColor":35},255488,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255488","泥塑加金佛像头","清","佚名","藏地不详","这尊佛头泥胎朴拙沉静，螺髻排布匀整圆融，尽显肃穆法度。眼帘低垂柔缓，似正垂眸观照尘世，眉目间自带慈悲安然的气韵，眉间白毫虽有残损，亦难掩昔日殊胜意态。表层金漆已然斑驳脱落，裸露出底下浅褐胎土，将百年岁月的摩挲与沉淀凝于其上，更添厚重的沧桑质感。尖锐插榫诉说着它曾是组塑一隅，如今孑然独立，仍带着安定心神的力量，让观瞻者于残损间触摸到信仰的温度，静享跨越时光的宁和庄严。",[18,23,7,24,25,26,27],"泥塑","宗教","佛像","佛头","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feebf696073afb7787e9a2797ab86c926.jpg","未知","Xcm*Xcm","",[],38,1,"37474F",{"id":37,"slug":38,"title":39,"dynasty":18,"author":19,"museum":20,"description":40,"tags":41,"thumbUrl":50,"material":29,"size":30,"collection":31,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},257950,"wu-cai-jia-jin-tu-diao-bo-gu-wen-xi-kou-ping-yi-ming-257950","五彩加金凸雕博古纹洗口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[42,43,7,44,45,46,47,48,49],"陶瓷","五彩","凸雕","博古纹","龙","设色","清代","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dcf4b17d69197acd91b2c17f19438d1.jpg",[],7,"795548",{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":65,"material":29,"size":30,"collection":31,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":35},261952,"fan-hong-cai-jia-jin-mu-dan-hua-die-wen-bi-tong-yi-ming-261952","矾红彩加金牡丹花蝶纹笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[42,49,60,61,7,62,63,64],"笔筒","矾红彩","牡丹","花蝶","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1253f1431ff25f055b09b5745a9ce.jpg",[],6,{"id":69,"slug":70,"title":17,"dynasty":18,"author":19,"museum":20,"description":71,"tags":72,"thumbUrl":74,"material":29,"size":30,"collection":31,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":35},255489,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255489","螺髻饱满齐整，金箔虽斑驳剥落，却晕开旧时光的厚重暖意。面相丰润柔和，眼睑低垂，神态沉静安谧，将佛陀的悲悯与淡然融于眉宇间，自带静定祥和的气韵。\n\n泥塑肌理带着手作的温度，残损的痕迹是岁月镌刻的注脚，褪去浮饰后，只剩纯粹的信仰之美，静静诉说着曾被供奉的虔诚过往，沉淀出跨越时空的沉静力量。",[48,23,7,24,73,25],"人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2247faf731598f376cdde0459e9787bd.jpg",[],5,{"id":78,"slug":79,"title":80,"dynasty":81,"author":19,"museum":20,"description":82,"tags":83,"thumbUrl":87,"material":29,"size":30,"collection":31,"collections":88,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":53},253251,"mu-diao-jia-jin-fu-zuo-xiang-yi-ming-253251","木雕加金佛坐像","明","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[84,85,27,7,47,24,73,86],"明代","木质","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07f39d6c6d0da521ebad769724254dc0.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":100,"material":29,"size":30,"collection":31,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":53},256943,"wu-cai-jia-jin-lu-lian-wen-zun-yi-ming-256943","五彩加金鹭莲纹尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[18,43,7,47,42,49,95,96,97,98,99,64],"鹭","莲","荷花","荷叶","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb4c617c59d081962e7b5fe824a1e06.jpg",[],4,{"id":104,"slug":105,"title":106,"dynasty":81,"author":19,"museum":20,"description":40,"tags":107,"thumbUrl":110,"material":29,"size":30,"collection":31,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":53},257342,"wu-cai-jia-jin-lan-di-tu-hua-wen-suan-tou-ping-yi-ming-257342","五彩加金蓝地凸花纹蒜头瓶",[42,49,43,7,108,109],"蓝地","凸花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00201cd8352b5bf5ce1af3e9b5ad7732.jpg",[],2,{"id":114,"slug":115,"title":17,"dynasty":18,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":118,"material":29,"size":30,"collection":31,"collections":119,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":35},255491,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255491","螺髻排布规整，面相圆润柔和，眉眼弯合，敛着沉静安然的笑意，仿佛正沉浸在无我的禅意之中。斑驳的胎体上残存着贴金痕迹，泥尘与金箔相融，是岁月摩挲留下的印记。\n\n虽有残损，却未消弭分毫神性气韵，质朴泥塑承载着庄重慈悲，残缺里晕开时光沉淀的肃穆美感，静静诉说着曾被信奉供养的过往，将信仰的温度封存在斑驳胎土之中。",[23,7,27,24,25,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea92945438aa5718817b45213fcc619.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":81,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":127,"material":29,"size":30,"collection":31,"collections":128,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":35},255307,"ni-su-hui-cai-jia-jin-luo-han-zuo-xiang-yi-ming-255307","泥塑绘彩加金罗汉坐像","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。",[84,23,126,7,24,73,27],"绘彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227932dfc5621c2c36877ede569bc305.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":133,"author":19,"museum":20,"description":124,"tags":134,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":137,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":53},253225,"ni-su-cai-hui-jia-jin-pu-sa-zuo-xiang-yi-ming-253225","泥塑彩绘加金菩萨坐像","宋",[135,23,136,7,24,73,27,47],"宋代","彩绘",[],{"id":139,"slug":140,"title":141,"dynasty":18,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":148,"material":29,"size":30,"collection":31,"collections":149,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":53},256578,"wu-cai-jia-jin-hua-niao-wen-ba-fang-hua-pen-yi-ming-256578","五彩加金花鸟纹八方花盆","此器敞口八方，轮廓利落舒展，胎釉莹润亮洁。瓷面以五彩晕染花鸟图景，枝桠虬曲娇花盛放，禽鸟或栖于枝头侧目远眺，或振翅低掠，羽色勾勒细腻鲜活，金彩隐于纹饰轮廓间，晕染出雅致华贵。侧边竹影婆娑清逸，与花鸟景致相映成趣，底部缠枝花卉环绕，呼应整体雅致基调。\n\n构图疏密得当，设色艳而不俗，工笔写实里晕着中式写意灵韵，将春日花鸟的鲜活意趣凝于瓷面，把自然生机定格于方寸之间，尽显隽秀雅致的审美意趣。",[42,43,7,47,64,144,145,146,147,48],"八方器","花","鸟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2157be78566361ec0243d1adc1105771.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":20,"description":82,"tags":154,"thumbUrl":155,"material":29,"size":30,"collection":31,"collections":156,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},255460,"mu-diao-jia-jin-guan-yin-pu-sa-zuo-xiang-yi-ming-255460","木雕加金观音菩萨坐像",[48,85,27,7,24,73,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484341cade9bc51ca3c7d186b334c8a3.jpg",[],{"id":158,"slug":159,"title":160,"dynasty":18,"author":19,"museum":20,"description":161,"tags":162,"thumbUrl":167,"material":29,"size":30,"collection":31,"collections":168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},281454,"yang-ci-cai-hua-jia-jin-kai-guang-ren-wu-tu-dan-bing-jiao-shi-ping-yi-ming-281454","洋瓷彩花加金开光人物图单柄浇式瓶","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。",[42,163,47,7,164,73,165,49,166],"珐琅器","开光","美人","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8deeeb7208abef3316f9a3a2d3b0f93.jpg",[],{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":180,"material":29,"size":30,"collection":31,"collections":181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":182},281451,"lan-you-kai-guang-shan-shui-ren-wu-tu-jia-jin-shuang-er-dai-gai-ping-yi-ming-281451","蓝釉开光山水人物图加金双耳带盖瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[42,175,7,176,47,73,177,178,179,164],"蓝釉","双耳带盖瓶","山水","马","犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d6fd66dc12a6637b9be0910b606466.jpg",[],"BDBDBD",{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":20,"description":161,"tags":187,"thumbUrl":193,"material":29,"size":30,"collection":31,"collections":194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":182},281433,"yang-ci-cai-hua-jia-jin-ren-wu-tu-liang-jie-pie-kou-da-ping-yi-ming-281433","洋瓷彩花加金人物图两截撇口大瓶",[42,188,189,190,7,136,73,191,192],"洋瓷","彩瓷","描金","器物","人物图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e7f39d43de9fa3ccd788655559af0f.jpg",[],{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":20,"description":199,"tags":200,"thumbUrl":202,"material":29,"size":30,"collection":31,"collections":203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},256579,"dong-qing-you-wu-cai-jia-jin-hua-niao-wen-da-hua-pen-yi-ming-256579","冬青釉五彩加金花鸟纹大花盆","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[42,49,201,43,7,64,47],"冬青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff446a139761e772ca0be4d54e8d285.jpg",[],{"id":205,"slug":206,"title":17,"dynasty":18,"author":19,"museum":20,"description":207,"tags":208,"thumbUrl":209,"material":29,"size":30,"collection":31,"collections":210,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},255487,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255487","肉髻饱满高挺，螺粒排布齐整，额间白毫虽经磨损仍依稀可辨。面容丰腴圆润，眼睑低垂敛目，目光内敛而沉静，似在观照世间万象。鼻型敦厚柔和，唇角噙着浅淡笑意，将佛陀的慈悲平和尽融其中。表层金漆虽已皲裂剥落，却晕染出古朴沧桑的岁月质感，沉淀着时光浸润后的厚重禅意，静静流淌出佛门静谧安然的平和意蕴，诉尽往昔梵音旧事。",[18,23,7,24,73,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d26ba4e526717a8a1a4b92ab655475.jpg",[],{"id":212,"slug":213,"title":17,"dynasty":18,"author":19,"museum":20,"description":214,"tags":215,"thumbUrl":216,"material":29,"size":30,"collection":31,"collections":217,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},255486,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255486","螺髻饱满层叠，依旧带着规整肃穆的秩序感。眉眼低垂弯如新月，眼睑线条柔缓舒展，将沉静的悲悯藏于阖起的双目间，鼻唇轮廓温润柔和，尽显圆融慈悲的气韵。\n\n岁月剥蚀了表层金彩，斑驳的胎体带着时光镌刻的痕迹，残存的金痕似旧年梵音的余温，晕开沉静厚重的氛围感。风化的肌理里藏着沉淀的信仰力量，静默伫立间，平和安宁的气息扑面而来，将过往的虔诚与从容凝于方寸之间。",[23,7,24,73,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18035d106ed3144361d3ced89a0232fe.jpg",[],{"id":219,"slug":220,"title":17,"dynasty":18,"author":19,"museum":20,"description":221,"tags":222,"thumbUrl":223,"material":29,"size":30,"collection":31,"collections":224,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},255485,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255485","这尊佛头螺髻层叠排布，顶珠圆融饱满，勾勒出规整庄严的头型轮廓。面形丰腴柔和，眼睑低垂敛目，神情静谧安然，唇角微扬，晕开一抹平和慈悲的笑意，将佛陀的温润神性尽藏其中。\n泥金虽已斑驳脱落，露出底色，却晕染出岁月沉淀的厚重质感，沧桑痕迹里更衬出造像沉静肃穆的气韵，静静诉说着时光洗练后的平和禅意，尽显佛家超然物外的安然境界。",[48,23,7,24,73,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17eb33dbd98606dd5af36f17c98defae.jpg",[],{"id":226,"slug":227,"title":17,"dynasty":18,"author":19,"museum":20,"description":228,"tags":229,"thumbUrl":231,"material":29,"size":30,"collection":31,"collections":232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},255484,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255484","这尊佛头螺髻饱满层叠，带着拙朴的庄重质感。面庞圆润柔和，眼睑低垂敛目，似在静思观心，神态平和悲悯，自带安然沉静的气场。\n\n表层金漆虽已斑驳脱落，泥胎底色大半显露，却为其晕染出厚重的岁月质感。每一处残损都是时光镌刻的印记，质朴泥胎与残存金辉交织，将佛性的沉静烘托得愈发浓厚，仿佛仍裹挟着往昔的虔敬温度，静静诉说着曾经的信仰与匠人之思。",[18,23,7,24,230],"佛像头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc084df0c0bf763ac999fc58ca880e2e1.jpg",[],{"id":234,"slug":235,"title":236,"dynasty":81,"author":19,"museum":20,"description":237,"tags":238,"thumbUrl":241,"material":29,"size":30,"collection":31,"collections":242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},255339,"mu-ke-cai-hui-jia-jin-nan-li-xiang-yi-ming-255339","木刻彩绘加金男立像","此像神态恭谨温驯，身形端立合度。朱衣绿裳，以金彩勾描衣缘，古雅敷色间晕染出庄重仪范。双手轻捧供台小祭，姿态谦卑内敛，尽显侍奉的温婉得体。漆面斑驳脱落洗去浮华，残金旧彩沉凝岁月质感，木胎质朴与饰色华美相融相合。虽历经年久，依旧能窥见旧时造像的工整雅致，藏着世俗礼制的细碎意涵，是兼具匠造巧思与民俗温度的工艺小品。",[84,239,136,7,27,85,47,73,240],"木刻","男立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9cc472c3544c3ff1ec5647de339854.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":18,"author":19,"museum":20,"description":124,"tags":247,"thumbUrl":250,"material":29,"size":30,"collection":31,"collections":251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},255282,"tao-jia-jin-fu-zuo-xiang-yi-ming-255282","陶加金佛坐像",[18,248,7,24,249,27],"陶制","佛坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fce1685a0ea59e7d332eaf8d102482f.jpg",[],{"id":253,"slug":254,"title":255,"dynasty":133,"author":19,"museum":20,"description":82,"tags":256,"thumbUrl":259,"material":29,"size":30,"collection":31,"collections":260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},255275,"mu-diao-cai-hui-jia-jin-pu-sa-li-xiang-yi-ming-255275","木雕彩绘加金菩萨立像",[133,257,136,7,27,24,73,258,85],"木雕","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a8c5de374d86a7de61e92f3f3dcdc9.jpg",[],{"id":262,"slug":263,"title":264,"dynasty":133,"author":19,"museum":20,"description":82,"tags":265,"thumbUrl":267,"material":29,"size":30,"collection":31,"collections":268,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},255274,"mu-diao-cai-hui-jia-jin-pu-sa-zuo-xiang-yi-ming-255274","木雕彩绘加金菩萨坐像",[135,257,136,7,24,266,86,27,85],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb99f3645aba9fead04175658dd47f1d.jpg",[],1777535718133]