[{"data":1,"prerenderedAt":91},["ShallowReactive",2],{"subject-jin-gang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3087,"jin-gang","金刚","金刚画高清赏析","精选中国历代金刚题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a68d5c4a3387d7a8d906f1e0ce2da8.jpg",0,4,[14,45,66,82],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},230212,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-230212","法界源流图卷","清","丁观鹏","藏地不详","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37],"国画","长卷","人物画","宗教画","佛教","释迦牟尼","诸佛菩萨","罗汉","天龙八部","法会","工笔","重设色","描金","细铁线","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950eadf8283cfbade839b352b2a917d2.jpg","未知","Xcm*Xcm","",[],23,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":18,"author":49,"museum":20,"description":50,"tags":51,"thumbUrl":10,"material":63,"size":41,"collection":41,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":44},217200,"fa-jie-yuan-liu-tu-juan-1-li-ming-217200","法界源流图卷-1","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[52,24,23,53,33,26,27,54,55,7,56,57,58,59,60,61,62],"高清","设色","佛","菩萨","人物","佛教人物","佛教故事","书法","写经","楼阁","树木","纸本,设色",[],5,{"id":67,"slug":68,"title":69,"dynasty":70,"author":71,"museum":20,"description":72,"tags":73,"thumbUrl":80,"material":39,"size":40,"collection":41,"collections":81,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},278021,"shou-shan-shi-xiang-niu-sheng-huo-jin-gang-tu-yin-yi-ming-278021","寿山石象纽声火金刚图印","明","佚名","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[74,75,76,77,78,79,7],"印章","篆刻","寿山石","兽","象","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4e74bb55c8961bde26a797ae927542.jpg",[],{"id":83,"slug":84,"title":85,"dynasty":70,"author":71,"museum":20,"description":72,"tags":86,"thumbUrl":89,"material":39,"size":40,"collection":41,"collections":90,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},278017,"shou-shan-shi-yi-shou-niu-ding-chu-zai-jin-gang-tu-yin-yi-ming-278017","寿山石异兽纽定除災金刚图印",[74,75,87,88,77,79,7],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265490d388d2fe5ebe235eeb0c31599e.jpg",[],1777535760245]