[{"data":1,"prerenderedAt":159},["ShallowReactive",2],{"subject-jian-zhu-yuan-su":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5443,"jian-zhu-yuan-su","建筑元素","建筑元素画高清赏析","精选中国历代建筑元素题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5ea8e92db7c1aacd4220fc12109bd.jpg",0,7,[14,38,53,71,98,116,134],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},226489,"ku-yong-dao-ding-bu-yi-ming-226489","窟甬道顶部","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。",[23,24,25,26,27,28,29,30,7],"壁画","宗教","设色","白描","人物","动物","牛","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4891b46a78d4abcdaee6dc4824bd9eb.jpg","未知","Xcm*Xcm","",[],47,"795548",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":37},226466,"ku-qian-shi-ding-bu-yi-ming-226466","窟前室顶部",[43,23,24,25,27,44,45,46,47,48,7,49,50],"唐代","飞天","纹饰","华盖","佛教造像","彩绘","卷草纹","莲花纹",[],16,{"id":54,"slug":55,"title":56,"dynasty":57,"author":19,"museum":58,"description":59,"tags":60,"thumbUrl":68,"material":34,"size":34,"collection":34,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":37},227365,"yu-lin-ku-003-ku-zhu-shi-bei-bi-yi-ming-227365","榆林窟003窟主室北壁","宋","藏地不详","第三窟建于西夏统治瓜州晚期。窟内纷呈汉、藏民族及显宗、密宗的内容和艺术，是这一时期艺术最成熟、最典型的洞窟，独具特色。窟呈长方形，穹窿顶。窟中央偏后设八角形三级曼荼罗（坛城），上存清塑数身。窟四壁下部清代环砌双层台基，上存清塑十八罗汉像。顶绘曼荼罗，中画五方佛，东壁中央绘佛传，南北侧分绘汉密五十一面千手千眼观音曼荼罗、胎藏界曼荼罗及显宗天请问经变。南壁东起画曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[61,23,24,25,62,63,64,65,66,67,7],"高清","线描","平涂","佛教人物","曼荼罗图案","宋代风格","敦煌壁画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88fe92d3e5fe184af3166998095e4d2.jpg",[],14,{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":58,"description":77,"tags":78,"thumbUrl":95,"material":32,"size":33,"collection":34,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":37},232367,"he-er-bai-yin-26-he-er-bai-yin-232367","荷尔拜因26","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[24,79,80,27,81,82,83,84,85,28,86,87,88,89,7,90,91,92,93,94],"素描","写实","圣婴","天使","建筑","拱门","柱子","明暗","线条","宗教题材","人物画","动物形象","素描技法","写实风格","明暗对比","线条勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4676d663b776b167a0f3f629e31a1f3a.jpg",[],3,{"id":99,"slug":100,"title":101,"dynasty":75,"author":76,"museum":58,"description":77,"tags":102,"thumbUrl":113,"material":32,"size":33,"collection":34,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":37},232512,"he-er-bai-yin-171-he-er-bai-yin-232512","荷尔拜因171",[79,80,103,94,88,104,105,106,107,30,108,109,110,111,7,112],"明暗表现","人物群像","古典建筑","柱式结构","拱门装饰","长袍服饰","场景构图","单色设色","细节刻画","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a09c10ef1566e7df0555a3a4c7c86a8.jpg",[],1,{"id":117,"slug":118,"title":119,"dynasty":75,"author":76,"museum":58,"description":77,"tags":120,"thumbUrl":132,"material":32,"size":33,"collection":34,"collections":133,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":37},232459,"he-er-bai-yin-118-he-er-bai-yin-232459","荷尔拜因118",[24,121,80,25,27,122,123,124,104,125,126,127,128,129,7,130,131],"油画","圣母","圣子","婴儿","长袍","冠冕","项链","念珠","地毯","服饰纹理","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b51523cdfef2abc3966573c0b7064a7.jpg",[],{"id":135,"slug":136,"title":137,"dynasty":75,"author":138,"museum":58,"description":139,"tags":140,"thumbUrl":157,"material":32,"size":33,"collection":34,"collections":158,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":37},232322,"a-er-ma-49-lao-lun-si-a-er-ma-ta-de-ma-232322","阿尔玛49","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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