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Egypt","这幅淡棕素描以松弛灵动的线条，铺陈出悠然静谧的神性休憩时刻。垂首静思的约瑟、怀拥圣婴柔婉安坐的圣母，将奔波的疲惫融于田园一隅。\n\n右侧天使偕持花环的小爱神缓步趋近，柔缓衣褶晕开暖意，背景朦胧的小天使托举棕榈枝，添上轻盈神圣的氛围感。作者以细腻排线铺陈光影层次，未用浓艳色彩，却将肃穆的宗教叙事化作日常般的脉脉温情，让神迹归于片刻安恬，勾勒出平和治愈的神圣日常。",[163,261,249,262,263,78,7,264,265],"宗教画","天使","圣母子","宗教题材","逃亡埃及","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a779416c80f8e74909de7498768bc7.jpg",[],{"id":269,"slug":270,"title":271,"dynasty":159,"author":125,"museum":126,"description":272,"tags":273,"thumbUrl":278,"material":134,"size":135,"collection":39,"collections":279,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":89},288632,"jean-baptiste-greuze-domestic-scene-yi-ming-288632","Jean-Baptiste Greuze--Domestic Scene","暖棕淡彩晕开一室烟火，松弛灵动的线条勾勒出满溢温情的日常。画面里，有人怀抱着幼童轻声逗弄，有人俯身依偎私语，老者安坐椅上垂眸休憩，小童子依偎身侧安静亲昵，连脚边蜷卧的小狗都浸着慵懒松弛的气息。\n随性的明暗铺陈里，没有刻意雕琢的精致，却精准捕捉住每个角色的神态动作，将家人间脉脉的温情揉进每一处互动里，仿佛下一秒就能听见屋中的软语和孩童的笑闹，把俗世日常里细碎鲜活的暖意，永远定格在这方寸画纸间。",[249,274,163,237,212,7,78,275,276,277],"风俗画","成人","家犬","温馨日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425ae02db494af8a36b6e81568f10d2f.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":284,"author":125,"museum":126,"description":285,"tags":286,"thumbUrl":292,"material":134,"size":135,"collection":39,"collections":293,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":193},256093,"tao-lao-ren-bei-shao-fu-yong-yi-ming-256093","陶老人背少妇俑","南北朝","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[287,288,289,27,290,7,291],"南北朝风格","陶制","俑","模塑","少妇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fec0b97c218e411c6b073caccc3e10b.jpg",[],{"id":295,"slug":296,"title":297,"dynasty":142,"author":125,"museum":126,"description":298,"tags":299,"thumbUrl":305,"material":134,"size":135,"collection":39,"collections":306,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":89},255377,"mu-diao-cai-hui-zhu-zhang-lao-ren-xiang-yi-ming-255377","木雕彩绘拄杖老人像","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。",[300,301,201,302,25,27,7,303,304],"明代","木质","彩绘","拄杖","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4dcca2c4cacfc07ebfe94d4dea55b2.jpg",[],{"id":308,"slug":309,"title":310,"dynasty":47,"author":125,"museum":126,"description":311,"tags":312,"thumbUrl":316,"material":134,"size":135,"collection":39,"collections":317,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":193},252359,"hu-po-lao-ren-he-lu-wen-bi-shan-yi-ming-252359","琥珀老人鹤鹿纹笔山","此件取深红琥珀为材，凝色如朱脂通透莹润。随料造型，将层叠山峦、虬劲苍松与坡间双鹿妙然雕就。深浅浮雕相衬，刀工细腻灵动，林间草叶舒展自然，双鹿依偎尽显悠然野趣，把山林逸致收纳于方寸之中。\n\n作为文房清供，它将山野生机融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Harmensz.van Rijn - 0273","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[181,189,27,251,7,325,326,327,328,329],"青年","光影","座椅","文书","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7599094263eaeb5023db89415e0e2.jpg",[],{"id":333,"slug":334,"title":335,"dynasty":47,"author":125,"museum":126,"description":336,"tags":337,"thumbUrl":342,"material":134,"size":135,"collection":39,"collections":343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},281586,"bai-mian-dai-xu-lao-ren-mian-ju-yi-ming-281586","白面带须老人面具","古代，傩祭，傩戏的流行面很广，长江流域、黄河流域、嫩江流域都有流行。这一地区丰富多彩的傩戏群大致可以归纳为三类，即地戏、傩堂戏、变人戏。",[338,301,201,7,339,340,341],"面具","白脸","带须","愁苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03871600824d29c4cad5502e6221dbeb.jpg",[],{"id":345,"slug":346,"title":347,"dynasty":47,"author":125,"museum":126,"description":348,"tags":349,"thumbUrl":351,"material":134,"size":135,"collection":39,"collections":352,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},270049,"xiang-ya-diao-lao-ren-yi-ming-270049","象牙雕老人","这件牙雕老者，面庞圆和含笑，垂胸长髯纹理苍劲分明，将儒雅古朴的气度尽显。宽袍褶皱婉转贴合身形，线条柔润流畅，腰间绳结细节分毫毕现，写实又不失写意韵味。温润牙质晕出内敛柔光，衬出老者恭谦恬然的风骨，整体造型简约却神完气足，将东方文人沉静悠然的意趣凝固于方寸之间，尽显清代牙雕写实传神的精妙功力。",[201,350,27,7],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a56c33d67c94e2a396f3160fa5980f.jpg",[],{"id":354,"slug":355,"title":356,"dynasty":47,"author":125,"museum":126,"description":357,"tags":358,"thumbUrl":362,"material":134,"size":135,"collection":39,"collections":363,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":89},259692,"qing-you-lao-ren-xiang-yi-ming-259692","青釉老人像","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。”",[359,201,27,7,360,361],"陶瓷","青釉","塑像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaedc76e83ff0949b4e2352041ff4cd1.jpg",[],{"id":365,"slug":366,"title":367,"dynasty":142,"author":125,"museum":126,"description":285,"tags":368,"thumbUrl":372,"material":134,"size":135,"collection":39,"collections":373,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},255866,"kong-que-lv-jia-zi-you-lao-ren-yong-yi-ming-255866","孔雀绿加紫釉老人俑",[300,289,359,369,370,27,7,371],"孔雀绿釉","紫釉","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ce4d39c186d7361f8f5b6892f172ac.jpg",[],{"id":375,"slug":376,"title":377,"dynasty":378,"author":125,"museum":126,"description":379,"tags":380,"thumbUrl":383,"material":134,"size":135,"collection":39,"collections":384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},255784,"wu-cai-ci-lao-ren-li-xiang-yi-ming-255784","五彩瓷老人立像","宋","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。",[378,359,381,27,7,382],"五彩","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6dba4d3b7bc30b403ac83279e42456.jpg",[],{"id":386,"slug":387,"title":388,"dynasty":47,"author":125,"museum":126,"description":298,"tags":389,"thumbUrl":393,"material":134,"size":135,"collection":39,"collections":394,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},254957,"mu-diao-lao-ren-zuo-xiang-yi-ming-254957","木雕老人坐像",[390,391,201,27,7,392,301],"清代","木雕","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc7d108826b383f1a1416a1ee90749f.jpg",[],{"id":396,"slug":397,"title":398,"dynasty":378,"author":125,"museum":126,"description":285,"tags":399,"thumbUrl":400,"material":134,"size":135,"collection":39,"collections":401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},253564,"tao-lao-ren-yong-yi-ming-253564","陶老人俑",[359,289,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b15c88a32814aeb05c5dcf1f35046f2.jpg",[],{"id":403,"slug":404,"title":405,"dynasty":378,"author":125,"museum":126,"description":406,"tags":407,"thumbUrl":411,"material":134,"size":135,"collection":39,"collections":412,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":193},253019,"lao-ren-tong-zi-xiang-chang-fang-zhuan-yi-ming-253019","老人童子像长方砖","浅浮雕晕开融融天伦意趣，老者安坐，长髯垂胸，手揽幼童尽显慈蔼风骨。旁侧妇人温婉俯身，目光缠系膝间孩童，似在软语照看。阶前小童跪坐奉物，满眼孺慕天真。\n\n素陶无饰，却以起伏肌理勾勒衣褶皱痕，朴拙间带着鲜活灵气。将寻常家宅里的亲昵嬉游凝于方寸，把亲眷相伴的日常烟火定格为永恒，以写实浅塑传递出世俗生活的脉脉温情，尽显民俗造像的温润意趣。",[378,408,201,409,27,7,410],"砖雕","浮雕","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e12761c1e9e922415d277a66bb4746.jpg",[],{"id":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