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一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[23,72,24,25,73,7,27],"陶瓷","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8acd06cc6adeb6bc208609e5a2489bb3.jpg","未知","Xcm*Xcm","瓷器精选",[77],29,{"id":81,"slug":82,"title":83,"dynasty":42,"author":19,"museum":20,"description":84,"tags":85,"thumbUrl":87,"material":32,"size":32,"collection":33,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":90},253576,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253576","铜鎏金菩萨立像","身姿修长婉丽，宝冠高绾，璎珞垂身，衣袂轻扬如微风拂过，尽显柔静端雅的韵致。鎏金随年月褪去，铜胎晕开青绿锈色，为造像晕染出古拙厚重的时光印记。\n\n高挑背光顶饰莲苞，将菩萨衬得清逸出尘，方座沉稳，托住这一身纤秀灵动。寥寥錾刻便勾勒出慈悲静穆的神态，线条舒展华贵，带着独属的舒展大气，哪怕历经岁月磨蚀，依旧能让人感知千年前的虔敬心意与审美风骨。",[86,24,30,7,45,46,27],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962107187695f757d32cab67e3ebe293.jpg",[33],28,"795548",{"id":92,"slug":93,"title":94,"dynasty":42,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":100,"material":32,"size":32,"collection":33,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":37},253623,"tong-liu-jin-guan-shi-yin-pu-sa-li-xiang-yi-ming-253623","铜鎏金观世音菩萨立像","鎏金虽有斑驳剥蚀，却晕开独属时光的古雅韵味。菩萨宝冠高耸，垂目含睇，面容温婉慈悲，将东方造像的柔美圆融尽致展现。贴体长裙勾勒出秀雅身形，璎珞环身，衣袂轻盈垂落，线条舒展灵动，尽显典雅气韵。右手轻抬施印，左手持握净瓶，身姿挺拔秀逸，立台之上静穆安然。造像铸工凝练考究，细节暗合审美意趣，残金间沉淀岁月厚重，静静彰显着造像艺术的极高水准，清净庄严之态扑面而来。",[42,45,46,27,24,25,7,97,98,99],"佛教","唐代风格","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8e9cf2391b3c4634148c355065bbbd8.jpg",[33],26,{"id":104,"slug":105,"title":106,"dynasty":60,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":112,"material":75,"size":76,"collection":32,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":37},252957,"shi-fu-li-xiang-yi-ming-252957","石佛立像","此造像沉静端方，面容饱满柔和，眉目低垂间自有慈悲安然的气度。衣褶层叠垂坠，线条舒展流畅，将织物的柔润质感凝于冷硬白石之上，兼具写实意趣与空灵禅意。\n\n身后背光虽有残损，仍能窥见当初的庄严规制，莲台与方座质朴厚重，稳稳托住佛身，衬得造像愈发清逸出尘。整尊造像褪去匠气，以极简刀工刻画出佛性圆融的沉静之美，让观者于静默间，便能触摸到跨越岁月的平和禅韵，感受到石刻中藏着的温柔佛心。",[109,24,25,110,27,111,7],"南北朝风格","圆雕","石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93caaa335d37bcbd6fa56efd0760e55f.jpg",[],22,{"id":116,"slug":117,"title":83,"dynasty":42,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":120,"material":32,"size":32,"collection":33,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":90},253599,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253599","身形颀秀挺拔，菩萨头戴宝冠，面容清隽柔和，衣袂垂坠舒展，尽显典雅灵动。鎏金历经岁月斑驳，青绿铜锈晕染其间，晕开时光沉淀的古拙厚重。背光造型精巧，顶端饰有化佛，衬得主体愈发庄严圣洁，方寸间尽显法度与美感。方形台座简洁沉稳，稳稳承托造像风骨，线条流畅和谐，将圆润饱满与飘逸秀雅融为一体，尽显佛造像的神性之美与工艺匠心，静静诉说着千年前的信仰意趣与审美风尚。",[86,45,46,27,24,25,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cb7cb5807c7d44044a2dbd3bdfd514.jpg",[33],21,{"id":124,"slug":125,"title":126,"dynasty":60,"author":19,"museum":20,"description":127,"tags":128,"thumbUrl":129,"material":75,"size":76,"collection":32,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":37},252879,"tong-guan-shi-yin-pu-sa-li-xiang-yi-ming-252879","铜观世音菩萨立像","身姿挺拔匀秀，面容沉静温婉，自带超然出尘的慈悲气韵。褒衣博带贴合身形，衣纹洗练舒展，尽显古朴拙稚的质感，复刻出特有的秀骨清风神貌。尖桃形背光浅刻火焰纹饰，线条灵动流畅，烘托出庄严圣洁的宗教氛围。四方台座纹饰规整沉稳，稳稳承托造像，愈发凸显整体的端凝肃穆。铜色沉郁古旧，包浆醇厚温润，带着岁月浸润的沧桑质感，将宗教的肃穆意蕴与古朴的审美意趣融为一体，尽显经典造像之美。",[60,24,25,45,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aeda372d13360271e2053fce55dc8e.jpg",[],18,{"id":133,"slug":134,"title":135,"dynasty":18,"author":19,"museum":20,"description":136,"tags":137,"thumbUrl":139,"material":75,"size":76,"collection":77,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":37},255804,"de-hua-yao-bai-you-mi-le-fo-li-xiang-yi-ming-255804","德化窑白釉弥勒佛立像","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "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， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[18,72,138,73,24,25,7,27],"德化窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331894f614b9054b3ed5af7ccf76cbe9.jpg",[77],17,{"id":143,"slug":144,"title":145,"dynasty":18,"author":19,"museum":20,"description":136,"tags":146,"thumbUrl":148,"material":75,"size":76,"collection":77,"collections":149,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":37},254776,"de-hua-yao-guan-yin-pu-sa-li-xiang-yi-ming-254776","德化窑观音菩萨立像",[18,72,24,25,27,147,7],"白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261845d1d748f643be3fa69785ceb86b.jpg",[77],{"id":151,"slug":152,"title":153,"dynasty":154,"author":19,"museum":20,"description":155,"tags":156,"thumbUrl":158,"material":32,"size":32,"collection":33,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":90},253610,"tong-jin-hong-zao-pu-sa-li-xiang-yi-ming-253610","铜靳洪□造菩萨立像","隋","此尊造像承袭前朝余韵，又自具时代风骨。菩萨身姿秀颀温婉，右手施无畏印，似在抚慰世间烦扰，左手持净瓶，暗合遍洒甘露渡化众生的慈悲意涵。\n\n轻薄衣纹贴附身形，线条柔婉流畅，将隋代造像由秀骨清相向丰腴端雅过渡的独特格调尽显无疑。背光錾刻细密纹饰，随铜色沉穆斑驳，更衬出造像古朴沉静。\n\n四方高足台座简约厚重，稳稳承托身姿，让整尊造像兼具灵动神性与沉稳古意，跨越时光，将千年前的虔诚信仰与审美意趣凝于一身，静静散发着庄严祥和的气韵。",[157,27,24,25,7,45],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc22d8fc51edf93852b55246a26efa547.jpg",[33],14,{"id":162,"slug":163,"title":164,"dynasty":60,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":167,"material":75,"size":76,"collection":32,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":90},253779,"tong-liu-jin-fu-li-xiang-yi-ming-253779","铜鎏金佛立像","身姿舒展灵动，衣袂翩跹若携魏晋长风而来。温婉浅笑的面庞褪去了早期造像的肃穆疏离，尽显柔和雅致。右手轻抬托举，左臂垂展舒展，宽袍大袖线条流畅写意，将秀骨清像的时代审美藏进衣褶起伏之中。\n\n鎏金虽斑驳脱落，却为周身晕染出岁月沉淀的厚重质感。简约的底座稳稳承托身形，匠师以凝练的工艺，将佛教仪轨与东方气韵相融，让造像既有神性的静穆，亦有人间的温婉。静静伫立间，千年前的禅意雅致跨越时光扑面而来。",[60,24,25,7,45,46,27,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27441f673a3a454c863964a895705c4b.jpg",[],12,{"id":171,"slug":172,"title":173,"dynasty":60,"author":19,"museum":20,"description":174,"tags":175,"thumbUrl":176,"material":75,"size":76,"collection":32,"collections":177,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":37},252908,"shi-pu-sa-li-xiang-yi-ming-252908","石菩萨立像","此像修长挺秀，莲瓣状背光清简古雅，晕染出菩萨端和沉静的容色。菩萨身姿温婉舒展，右手施无畏印昭示慈悲愿力，垂左手轻握披帛，衣褶垂坠自然流畅，周身纹饰细密精巧，藏着六朝造像“秀骨清像”的遗风。\n\n素朴石质褪去华彩，将温润禅意凝于一身，虽经岁月磨蚀，依然能窥见彼时造像工艺的精湛，尽显清逸典雅的审美意趣，静静伫立间，便自带出尘平和的静谧禅韵。",[60,24,27,111,25,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8389c2d1e0f0f8dbfd585af1eb51ae9a.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":182,"author":19,"museum":20,"description":183,"tags":184,"thumbUrl":186,"material":75,"size":76,"collection":32,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":37},254864,"tong-tian-wang-li-xiang-yi-ming-254864","铜天王立像","明","此像怒目圆睁，面容刚猛威严，将护法天王的神武气魄尽数展露。铠甲层叠精美，兽首肩吞纹理细腻，鳞甲覆身错落有致，每一处细节都尽显匠人高超工艺。\n\n身姿挺拔遒劲，抬手垂足间带着凛然气势，周身飘带翻卷灵动，刚硬的甲胄与柔婉的绦带相映，刚柔并济，让造像脱离呆板。青铜锈迹覆身，晕开时光沉淀的厚重质感，整体线条张弛有度，把天王的凛凛雄风诠释得淋漓尽致，凝铸着古人对护法神将的精神想象，静静诉说着旧时光里的信仰温度。",[157,45,27,24,25,185,7],"天王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbdb918dd01daf93ecbad644d623766.jpg",[],11,{"id":190,"slug":191,"title":192,"dynasty":60,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":195,"material":75,"size":76,"collection":32,"collections":196,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":37},252760,"tong-liu-jin-yi-pu-sa-er-di-zi-li-xiang-yi-ming-252760","铜鎏金一菩萨二弟子立像","主尊身形秀挺，衣袂贴附身形，线条婉转柔和，尽显秀骨清像的典型风韵，右手前伸似在宣示法义，神情沉静悲悯，自带出尘空灵的气质。两侧胁侍恭谨伫立，身姿微微向主尊倾靠，形成呼应，整体章法和谐统一。\n\n莲瓣背屏浅刻火焰纹，晕染出神圣肃穆的氛围，鎏金虽已斑驳脱落，却晕开岁月沉淀的厚重质感。四足方座简洁沉稳，稳稳托举起造像的庄严气场，将这一时期佛教造像的典雅与宗教意涵融于一身，是乱世之中精神慰藉的具象载体，尽显中古造像的含蓄之美。",[60,24,25,157,45,46,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05f21834c64845c24e4ae09170bb67f.jpg",[],{"id":198,"slug":199,"title":200,"dynasty":154,"author":19,"museum":20,"description":201,"tags":202,"thumbUrl":204,"material":75,"size":76,"collection":32,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":90},253761,"tong-wu-fu-li-xiang-yi-ming-253761","铜五佛立像","五尊立像共承方座，齐整排布，静穆安然。造像身披褒衣博带式法服，衣纹褶皱古拙简约，随身形垂坠舒展，尽显沉静端方的气度。莲瓣形头光层叠晕开，如佛光轻笼，衬得佛像愈发安然祥和。\n造像面容方圆柔和，双目垂敛，神态宁和慈悲，自带沉静肃穆的氛围感。古铜色泽沉暗苍古，带着千年岁月浸淫的厚重质感，虽细节微有磨损，却更添质朴沧桑的古韵，尽显时代造像简雅庄严的特质。",[203,45,27,24,25,7],"隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79af950c3a8f1b9c4b6f200a6802922a.jpg",[],7,{"id":208,"slug":209,"title":210,"dynasty":18,"author":19,"museum":20,"description":211,"tags":212,"thumbUrl":213,"material":75,"size":76,"collection":32,"collections":214,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":37},252809,"tong-liu-jin-shi-yi-mian-guan-yin-li-xiang-yi-ming-252809","铜鎏金十一面观音立像","此像分层累塑十一宝相，顶巅化佛收束法相，自上至下，由忿怒渐归恬和，尽显观照世间的圆融慈悲。主尊双目垂敛，神态宁和，主臂合十尽显恭谨，其余六臂舒展分持法器，法轮、长弓、净枝各拥妙用，姿态沉稳舒展。\n\n衣袂垂落如流波漫泻，周身宝饰錾刻细密华贵，莲瓣台座周正雅致，处处见精工巧思。通体鎏金匀净厚重，金辉粲然，将观音的清净庄严与造作匠心融为一体，静静伫立间，便晕染出肃穆清净的宗教气韵，是兼具神性辉光与匠造极致的上乘之作。",[24,25,45,46,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c9673dcbbdfa7326d88ebe494152d5.jpg",[],{"id":216,"slug":217,"title":41,"dynasty":154,"author":19,"museum":20,"description":218,"tags":219,"thumbUrl":221,"material":75,"size":76,"collection":32,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":90},253515,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253515","此尊造像身姿修长婉约，宝冠覆顶，面容沉静悲悯，自带渡世的柔和气场。璎珞垂缀周身，衣袂线条舒展柔和，勾勒出菩萨清隽端雅的身形。手持杨柳净瓶，将观音救度众生的经典意象具象呈现。\n\n历经岁月，鎏金虽斑驳脱落，却晕开古拙厚重的质感，背光火焰纹饰依稀可见，悄然烘托出神圣庄严的氛围。整体工艺精简传神，将菩萨慈悲端宁的气韵尽数诠释，古造像含蓄隽永的审美意趣凝缩于此，残损鎏金是时光镌刻的印记，静静诉说着过往的信仰温度。",[203,220,45,24,25,27,30,7],"铜鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef168849385ee7c31ad006ec465c961.jpg",[],6,{"id":225,"slug":226,"title":41,"dynasty":154,"author":19,"museum":20,"description":227,"tags":228,"thumbUrl":229,"material":75,"size":76,"collection":32,"collections":230,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":37},253500,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253500","此像古雅朴拙，桃形背光带着早期造像典型规制，鎏金虽已斑驳脱落，却更添岁月厚重质感。菩萨仪容端严沉静，右手持杨柳枝，衣饰线条简练劲挺，尽显端庄凝练的气韵。板凳式底座小巧稳固，整体形制精巧雅致，细节间可见当时冶铸鎏金的不俗工艺，沉静肃穆间，缓缓晕开佛家造像特有的静谧庄严，携着古拙虔诚的宗教意趣，尽显早期造像的质朴美感。",[45,46,27,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcb45e049ca1ede9bd3a3354c8058c7.jpg",[],{"id":232,"slug":233,"title":234,"dynasty":182,"author":19,"museum":20,"description":235,"tags":236,"thumbUrl":242,"material":75,"size":76,"collection":32,"collections":243,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":90},253199,"ni-su-cai-su-wu-dao-nv-li-xiang-yi-ming-253199","泥塑彩塑舞蹈女立像","屈膝蹲姿的少女抬手展袖，将起舞的瞬间定格。彩塑敷色虽历经岁月斑驳，衣袂间的青绿与朱红依旧沉敛雅致，晕染出旧时光的暖意。眉眼含着融融笑意，神态娇憨灵动，仿佛下一刻就要旋动长袖，将曼妙舞韵铺展开来。\n\n匠师以刀代笔，将软泥化作柔婉身姿，衣褶线条利落又带着柔和张力，把少女的灵动情态刻画入微，让静止的造像拥有了即将起舞的鲜活气韵，把古早的浪漫情思藏在斑驳彩衣之间，尽显手工造像的动人魅力。",[237,238,239,240,25,241,7],"明代","泥塑","彩塑","设色","舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b388d5809d882f1783d0af9850a183.jpg",[],{"id":245,"slug":246,"title":106,"dynasty":60,"author":19,"museum":20,"description":247,"tags":248,"thumbUrl":250,"material":75,"size":76,"collection":32,"collections":251,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":37},252959,"shi-fu-li-xiang-yi-ming-252959","此造像面相丰润圆融，眉如弯月，垂目含笑，自带清和慈悲的气韵。衣褶层叠垂落，线条舒展柔婉，贴合身形勾勒出雅致体态，兼具肃穆神性与温婉美感。石材质朴的肌理带着经年的风霜痕迹，褪去旧时妆彩，素净的石色更衬出造像的沉静内敛。整体造型洗练克制，无过多繁复修饰，却将那份超脱世俗的安然凝刻其中，静静伫立间，便让观者触摸到跨越岁月的平和禅意。",[60,249,97,25,7,27],"石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4aaf4c96a748f6592d4e2b62f2f2f20.jpg",[],{"id":253,"slug":254,"title":173,"dynasty":60,"author":19,"museum":20,"description":255,"tags":256,"thumbUrl":257,"material":75,"size":76,"collection":32,"collections":258,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":259},252902,"shi-pu-sa-li-xiang-yi-ming-252902","此造像身形修长挺拔，面容温婉沉静，颔首垂目自带慈悲柔和的气韵。右手施无畏印，左手轻握披帛，衣褶垂坠流畅，如春水漾开，将石材的冷硬晕染出灵动柔婉的质感。\n\n身后桃形背光简约素净，衬得菩萨身姿愈发清隽秀雅，足下莲台小巧端庄，与方整基座呼应，古朴厚重中见精巧。整体洗去繁饰，以极简的雕刻语言，将清癯飘洒的风骨凝于白石之上，静穆间传递出冲淡安然的禅意，尽显中古造像含蓄内敛的东方美学意蕴。",[27,24,111,25,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e84774f15d29d86a1e9dcfe747ed4e3.jpg",[],"BDBDBD",{"id":261,"slug":262,"title":263,"dynasty":154,"author":19,"museum":20,"description":264,"tags":265,"thumbUrl":269,"material":75,"size":76,"collection":32,"collections":270,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":37},252895,"qing-you-ci-chi-wu-tong-zi-li-xiang-yi-ming-252895","青釉瓷持物童子立像","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。”",[72,266,267,25,7,268],"青釉","童子","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff967a2a61f8d2b187da109719683ea2c.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":182,"author":19,"museum":20,"description":275,"tags":276,"thumbUrl":278,"material":75,"size":76,"collection":32,"collections":279,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":90},252803,"shi-sou-kuan-tong-qian-yin-si-guan-yin-pu-sa-li-xiang-yi-ming-252803","“石叟”款铜嵌银丝观音菩萨立像","此像面容温婉柔和，双目垂敛含光，静穆安闲间尽显悲悯沉静的神性气韵。衣袂褶皱流转自然，线条舒展流畅，仿若微风拂过，灵动柔和，将布料的垂坠质感刻画入微。\n\n尤为精妙的是嵌银丝工艺，古铜深沉的底色之上，银丝勾勒出衣纹细节与佩饰华彩，于古雅沉静中晕开细腻光华，让造像更显典雅工致，将菩萨端柔慈悲的气质烘托得淋漓尽致，尽显明代造像的精湛水准，是铜造像中的上乘之作。",[237,45,27,277,24,25,47,7],"嵌银丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00df1aa5a78b61dd412333c7419d245b.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":182,"author":19,"museum":20,"description":284,"tags":285,"thumbUrl":286,"material":75,"size":76,"collection":32,"collections":287,"showCount":288,"zanCount":36,"manualWeight":11,"mainColor":37},252898,"wen-nan-kuan-tong-qian-yin-si-fu-li-xiang-yi-ming-252898","“文南”款铜嵌银丝佛立像","面相饱满圆润，神态沉静慈悲，恍若含着俯视众生的温柔悲悯。螺髻排布齐整，更衬出仪容端严。衣纹如流云垂坠，辗转舒展间自带灵动韵律，嵌银丝工艺隐于铜色肌理，于素朴中暗藏精巧细节，让造像在肃穆之外多了几分雅致匠心。\n\n身姿挺拔舒展，右手垂指、轻拈衣结的姿态自然松弛，消解了神性的疏离感，将佛陀的超然气度与亲和质感相融，静静伫立间，便晕开沉静祥和的氛围，尽显宗教造像的美学意韵与工艺巧思。",[237,45,277,27,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88252d2a9b213521caee77f401a54a2.jpg",[],5,{"id":290,"slug":291,"title":292,"dynasty":154,"author":19,"museum":20,"description":293,"tags":294,"thumbUrl":295,"material":75,"size":76,"collection":32,"collections":296,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":90},252882,"tong-yang-lan-jing-zao-yi-pu-sa-er-xie-shi-li-xiang-yi-ming-252882","铜杨阑景造一菩萨二胁侍立像","这尊造像凝萃了隋代造像的独特意韵，主尊垂目合十，面容温婉静谧，通肩衣纹垂坠舒展，宝冠端庄，自带慈悲沉静的气度。莲瓣形背光錾刻缠枝细纹，灵动舒展，衬得主尊愈发端严。两侧胁侍恭谨伫立，侧身朝向主尊，尽显仪轨肃穆。青铜包浆厚重古雅，镂空如意底座搭配枝形胁侍支座，将庄严感与精巧工法相融，既留存北朝造像的厚重遗风，又晕染出隋代独有的清隽秀雅，静默间漫出冲淡平和的佛国意趣。",[157,45,24,25,27,7,203,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca5e594a5cba1bc8186a7a591e6b8562.jpg",[],{"id":298,"slug":299,"title":300,"dynasty":182,"author":19,"museum":20,"description":301,"tags":302,"thumbUrl":309,"material":75,"size":76,"collection":32,"collections":310,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":90},255266,"mu-diao-cai-hui-shou-xing-li-xiang-yi-ming-255266","木雕彩绘寿星立像","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。",[237,303,304,7,305,306,307,308],"木雕","彩绘","寿星","鹿","云纹","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0f6e7be57d81f247f38f140ab98d4b.jpg",[],4,{"id":313,"slug":314,"title":315,"dynasty":182,"author":19,"museum":20,"description":316,"tags":317,"thumbUrl":319,"material":75,"size":76,"collection":32,"collections":320,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},255015,"tong-fu-li-xiang-yi-ming-255015","铜佛立像","此像仪容慈悲圆融，螺髻齐整，垂眸含笑自带静穆禅意。通肩袈裟衣纹如流云垂泻，既贴合身形又暗含飘逸空灵。右手自然垂落，左手轻托法器，站姿舒展沉稳，踏于双层仰莲台之上，饱满莲瓣烘托出圣洁出尘的气度。古铜包浆厚重温润，历经岁月晕染，沉淀出沉静古朴的质感，写实与写意相融，将佛陀悲悯世人的沉静气度凝练其中，观之令人心安神定，触摸得到跨越时光的平和禅韵。",[237,24,45,27,25,7,318],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12502b59ba2af0e00f41b7006d467d8f.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":20,"description":301,"tags":325,"thumbUrl":327,"material":75,"size":76,"collection":32,"collections":328,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},254951,"chen-xiang-mu-diao-pu-sa-li-xiang-yi-ming-254951","沉香木雕菩萨立像",[308,326,27,24,25,7],"沉香木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0a4d98e4cd6f80d28f34a9a2672aef.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":182,"author":19,"museum":20,"description":333,"tags":334,"thumbUrl":337,"material":75,"size":76,"collection":32,"collections":338,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},254847,"tong-jin-qi-tuo-ta-tian-wang-li-xiang-yi-ming-254847","铜金漆托塔天王立像","此像威仪具足，天王顶束宝冠，面容方正威严，眉棱上挑，怒目圆睁，尽显神将慑人气魄。身着鎏金甲胄，兽首吞腹护心细节精巧，甲片层叠排布工整有序，战袍飘带灵动垂落，刚柔相济。\n\n右手托举宝塔，左手按胯挺立，站姿沉稳雄健。铠甲金漆虽经岁月磨蚀略有褪痕，依旧难掩旧时华贵工艺。整体造型比例严整，将护法天王的勇武刚毅凝练其中，是写实兼具神韵的佳作，把神祇的凛凛神威与匠人精妙的塑形功力融为一体，尽显古拙大气的宗教造像美学。",[237,45,335,27,24,25,185,336,7],"金漆","托塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0bc2cae0e12828efa92eaabc1e4b76.jpg",[],{"id":340,"slug":341,"title":342,"dynasty":154,"author":19,"museum":20,"description":343,"tags":344,"thumbUrl":347,"material":75,"size":76,"collection":32,"collections":348,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},253612,"tong-wu-yuan-wei-zao-pu-sa-li-xiang-yi-ming-253612","铜吴元囗造菩萨立像","这尊造像秀雅端凝，尖顶背光錾刻火焰纹随形舒展，晕开神圣光晕。菩萨头戴宝冠，面容温婉清癯，轻薄法衣贴合身形，双手合于胸前，身姿挺秀立于覆莲台座，下接方凳底座，朴拙沉稳。\n\n铜色古穆沉润，带着岁月摩挲的质感，细节虽有剥蚀，却更添沉静古韵。它尽显隋代造像过渡气质，褪去魏晋清癯玄远，初显盛唐饱满端方的雏形，以洗练线条勾勒出静谧慈悲，静静沉淀着旧时的信仰温度。",[24,157,45,27,25,345,7,346],"隋代风格","菩萨造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02800a16b9c1d965840bf6f08f29bea7.jpg",[],{"id":350,"slug":351,"title":352,"dynasty":154,"author":19,"museum":20,"description":353,"tags":354,"thumbUrl":355,"material":75,"size":76,"collection":32,"collections":356,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},253602,"tong-cheng-zong-zao-pu-sa-li-xiang-yi-ming-253602","铜程□宗造菩萨立像","这尊造像古雅清简，菩萨身姿挺拔修长，轻薄法衣垂覆周身，衣纹婉转柔和，将沉静安然的气度融于线条之中。莲瓣形背光素朴无饰，衬得菩萨身影愈发清逸空灵，仿佛携着幽远禅意。\n\n铜色历经岁月摩挲，沉穆古旧，带着时光浸养的温润质感。极简的台座利落稳重，与造像的雅致融为一体，褪去繁复装饰，以洗练的造型诠释出冲淡平和的审美意趣，静静伫立间尽显虔诚庄重的古拙之美。",[203,24,30,7,45,27,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e2d4c8541e06dc4b122d28079722d75.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":154,"author":19,"museum":20,"description":361,"tags":362,"thumbUrl":363,"material":75,"size":76,"collection":32,"collections":364,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},253050,"tong-wu-zi-xiang-zao-fu-li-xiang-yi-ming-253050","铜吴子葙造佛立像","这尊造像小巧凝练，高背火焰纹背光线条犀利利落，层叠排布的焰纹如炬火升腾，烘托出庄严神圣的氛围感。\n\n本尊结跏趺坐于方座之上，双手合十垂目，面容沉静端方，头后圆形头光錾刻细密光环纹理，衬得佛容愈发悲悯祥和。铜像包浆厚重古雅，衣褶纹路历经岁月仍清晰利落，极简造型暗含沉静内敛的东方禅意，以质朴无华的铜范凝缩着信众对佛国的憧憬，是早期造像中虔诚质朴的典范之作。",[203,24,25,45,27,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6efd70cbcaf41a9997f0e56d37b969.jpg",[],{"id":366,"slug":367,"title":173,"dynasty":60,"author":19,"museum":20,"description":368,"tags":369,"thumbUrl":373,"material":75,"size":76,"collection":32,"collections":374,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":37},252907,"shi-pu-sa-li-xiang-yi-ming-252907","这尊造像身姿清隽挺秀，菩萨面容温婉沉静，宝冠高束，右手施无畏印安抚众生，左手轻牵披帛，衣褶垂落如流云舒卷，柔婉间带着规整的雕刻韵律。\n\n残损的背光之上，还留存着依稀彩绘痕迹，恍可见往日飞天缠枝的灵动余韵。莲台之下的基座，瑞兽拱卫炉瓶，晕开古朴祥瑞之气。\n\n白石质地温润，刀工洗练克制，将神性的端宁与世俗的柔美相融，尽显南北朝造像独有的雅致风骨。岁月侵蚀留下的残痕，为其添上厚重古拙的沧桑感，静静沉淀着往昔佛韵风华。",[27,111,24,25,30,7,109,370,371,372],"莲花座","浮雕","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf80f1b0ea166138b62af7420065c505.jpg",[],{"id":376,"slug":377,"title":378,"dynasty":18,"author":19,"museum":20,"description":136,"tags":379,"thumbUrl":381,"material":75,"size":76,"collection":77,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":37},256071,"de-hua-yao-bai-you-mi-le-li-xiang-yi-ming-256071","德化窑白釉弥勒立像",[23,72,380,73,27,24,25,7],"德化窑风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48512d24bacf9fd1faa93a063511841.jpg",[77],3,{"id":385,"slug":386,"title":387,"dynasty":388,"author":19,"museum":20,"description":389,"tags":390,"thumbUrl":394,"material":75,"size":76,"collection":77,"collections":395,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":37},255115,"shi-wan-yao-hong-you-chi-xie-luo-han-li-xiang-yi-ming-255115","石湾窑红釉持鞋罗汉立像","民国","石湾窑在今广东佛山市石湾镇，明清著名民窑之一。以陶塑和建筑陶瓷著称。始于宋代（亦有一说始于唐），极盛于明清两代。\n石湾窑以善仿钧窑而着称。仿钧釉色以蓝色、玫瑰紫、翠毛釉等为佳，但仿中有创。钧窑的窑变釉是一层釉色，而石湾窑变釉却有底釉与面釉之分。寂圆叟在其《陶雅》中盛赞石湾窑变釉色："广窑谓之泥均，其蓝色甚似灰色┅┅于灰釉中旋涡周遭，故露异彩，较之雨过天晴尤极浓艳，目为云斑霞片不足以方厥体态。┅┅又有时于灰釉中露出深蓝色之星点，亦足玩也。"\n石湾窑不仅善仿钧，而且善仿宋代各大名窑，宋代官、哥、汝、钧诸名窑产品，从材质运用、技法处理、艺术造型等各方面都仿得惟妙惟肖，而且有创造性的发展，梅建鹰评价曰："石湾集宋代各大名窑之大成，仿钧而青出于蓝，独创石湾自已的艺术风格。"",[388,391,72,392,24,25,393,7,27],"石湾窑","红釉","罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf10f89e1cc9973c987bc57b7eed27c.jpg",[77],{"id":397,"slug":398,"title":126,"dynasty":60,"author":19,"museum":20,"description":399,"tags":400,"thumbUrl":404,"material":75,"size":76,"collection":32,"collections":405,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":37},254516,"tong-guan-shi-yin-pu-sa-li-xiang-yi-ming-254516","这尊造像以古铜凝萃岁月质感，尖顶背光满刻火焰纹，翻卷灵动如佛光炽盛，将菩萨身形温柔托举。\n\n菩萨面容圆和，垂目含慈，衣纹简练古拙，随身形舒展沉稳静穆，举手间自带沉静悲悯的气度。下方莲台饱满，方座敦实沉稳，整体造型朴拙厚重，尽显浑融沉静的宗教意韵。古铜包浆厚重温润，将千余年的信仰温度封存其中，形制虽简，却带着独有的浑朴庄严，于无声处传递出澄澈安宁的力量。",[45,157,27,24,25,109,7,401,402,403],"佛教造像","金属工艺","传统雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ccfacd83e7431b2c1df6790ddb8d75.jpg",[],{"id":407,"slug":408,"title":164,"dynasty":42,"author":19,"museum":20,"description":409,"tags":410,"thumbUrl":411,"material":75,"size":76,"collection":32,"collections":412,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":37},254105,"tong-liu-jin-fu-li-xiang-yi-ming-254105","鎏金虽已斑驳剥落，却掩不住沉静古意。佛尊面容朴拙柔和，身姿舒展端方，手势慈悲，带着淡然庄严的气度。背屏设计精巧灵动，顶端瑞鸟昂首，环列小像作胁侍，层次错落分明，尽显初唐造像的简约雅致。方形台座沉稳厚重，与造像主体呼应，让整体利落又不失宗教造像的肃穆感。这件小造像带着民间造像的质朴虔诚，是唐代佛教造像世俗化的精巧缩影，岁月留下的痕迹为其更添醇厚古韵。",[86,24,45,46,27,7,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb40bae98bac12ef41357dc716a5ff27.jpg",[],{"id":414,"slug":415,"title":41,"dynasty":42,"author":19,"museum":20,"description":416,"tags":417,"thumbUrl":418,"material":75,"size":76,"collection":32,"collections":419,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":90},253725,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253725","虽鎏金多有斑驳锈蚀，仍难掩造像精巧风骨。菩萨宝冠高束，面容沉静端严，天衣璎珞垂覆身侧，右手持杨柳枝卓然挺立，莲台承托圣躯，尖顶背光舒展环绕，勾勒出清绝尘俗的慈悲气韵。\n\n整像形制虽小，却将唐代造像的丰腴典雅与观音的圆融神性糅合一体，锈色与余存金辉交织，凝住千年前的虔敬匠心，尽显中古佛教造像的隽永之美。",[86,45,46,24,25,7,27,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412b3e9445fc60a7165d638eadcc4f03.jpg",[],{"id":421,"slug":422,"title":423,"dynasty":60,"author":19,"museum":20,"description":424,"tags":425,"thumbUrl":427,"material":75,"size":76,"collection":32,"collections":428,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":90},253608,"tong-wu-shi-li-xiang-yi-ming-253608","铜武士立像","此像身姿灵动舒展，抬臂扬手间带着昂扬张力。宽袖长裙垂坠褶皱犀利洗练，利落勾勒出劲挺身形。古铜包浆凝敛厚重，带着岁月浸磨的沉哑质感，细节虽历经销蚀，依旧能窥见造像特有的飘逸与雄健相融的气韵。打破武士一味刚猛粗粝的刻板印象，将时代清隽风骨融入武人形象，刚柔并济，把乱世之中的浪漫意趣凝练进青铜之中，尽显古朴雅致的独特魅力。",[60,45,27,25,426,157,7],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002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以极简刀笔捕捉情态，不着繁复雕琢，便将童子流眄顾盼的天真神态刻画得鲜活传神，仿佛下一秒就要转身奔赴嬉游。岁月剥蚀留下的痕迹晕开古旧温柔，让这尊泥塑跳出工艺桎梏，化作藏着往昔烟火的鲜活剪影，静诉旧时的灵动意趣。",[238,27,25,267,240,237,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce2a5ec601e85252cef417edabeefce.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":18,"author":19,"museum":20,"description":301,"tags":639,"thumbUrl":640,"material":75,"size":76,"collection":32,"collections":641,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},255177,"mu-diao-jin-qi-tong-zi-li-xiang-yi-ming-255177","木雕金漆童子立像",[18,303,335,27,308,267,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95a932839b261d29c42f18ce00ce811.jpg",[],{"id":643,"slug":644,"title":645,"dynasty":18,"author":19,"museum":20,"description":301,"tags":646,"thumbUrl":648,"material":75,"size":76,"collection":32,"collections":649,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254962,"mu-diao-lou-kong-jin-qi-wu-shi-li-xiang-yi-ming-254962","木雕镂空金漆武士立像",[23,308,303,647,335,27,25,426,7,24],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1cc6b356770b2db2b645c191848b04.jpg",[],{"id":651,"slug":652,"title":41,"dynasty":154,"author":19,"museum":20,"description":653,"tags":654,"thumbUrl":655,"material":75,"size":76,"collection":32,"collections":656,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254850,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-254850","鎏金已然褪去大半，铜身凝着苍绿锈色与暗红斑驳，尽显岁月浸蚀的厚重痕迹。观音身姿秀挺修长，宝冠高耸，左手轻执杨柳枝，身形温婉慈悲，高挑的背光灵动舒展，承袭了清隽典雅的造像气韵。纵使细节已随年月漫漶，依旧能窥见旧时造像工艺的精妙，沉郁的锈色晕染出古朴佛韵，静立间带着跨越时光的庄严宁静，将千年前的慈悲意绪悄然留存。",[24,25,30,45,26,27,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1780f01bbcbb7a7c70604eb1e17ada9d.jpg",[],{"id":658,"slug":659,"title":660,"dynasty":60,"author":19,"museum":20,"description":661,"tags":662,"thumbUrl":663,"material":75,"size":76,"collection":32,"collections":664,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254748,"tong-liu-jin-yin-fa-zi-zao-guan-shi-yin-pu-sa-li-xiang-yi-ming-254748","铜鎏金尹乏子造观世音菩萨立像","此造像身形小巧却气度沉穆，菩萨垂眸静立，双手合十，面容温婉慈悲，尽显清净超然的气韵。莲台承托佛身，下接方座，座身錾刻款识，留存着古朴的岁月印记。莲瓣形背光舒展灵动，浅刻的火焰纹流畅回转，烘托出庄严神圣的佛韵。鎏金虽已斑驳褪色，却依旧能窥见往昔的华贵烁金质感，带着时光摩挲后的温润包浆。整体承袭了简澹古雅的造像风格，将信众至诚礼佛之心凝缩其中，朴拙造型里蕴含肃穆沉静的禅意，尽显小型造像的精巧肃穆之美。",[24,157,45,46,27,25,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392235ff50227e32038b2048b2999037.jpg",[],{"id":666,"slug":667,"title":668,"dynasty":42,"author":19,"museum":20,"description":669,"tags":670,"thumbUrl":677,"material":75,"size":76,"collection":32,"collections":678,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":90},254694,"shan-ye-ni-fu-pu-sa-xiang-yi-ming-254694","善业泥佛菩萨像","模压而成的泥质造像，以密檐佛塔为中心，塔中各层皆趺坐佛陀，周遭环列结跏趺坐的诸佛与身姿修长的胁侍菩萨，造像皆顶覆头光，排布紧凑饱满。\n\n朴拙泥胎之上，将佛塔崇拜与造像组合相融，虽经岁月侵蚀，线条渐趋漫漶，却依旧能窥见造像的肃穆精工，方寸之间铺陈出净土佛国的万千气象，把虔诚的信仰凝缩在一方泥版之中，尽显造像风尚里的沉静佛韵。",[86,24,671,672,371,673,30,674,7,527,675,676,25],"泥雕","模制","佛","坐佛","佛塔","楼阁式塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ee6b8523dffdf2279684fde7eeffed.jpg",[],{"id":680,"slug":681,"title":682,"dynasty":154,"author":19,"museum":20,"description":683,"tags":684,"thumbUrl":685,"material":75,"size":76,"collection":32,"collections":686,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254514,"tong-liu-neng-zao-guan-yin-pu-sa-li-xiang-yi-ming-254514","铜刘能造观音菩萨立像","此造像周身覆着苍青铜锈，是岁月浸养出的痕迹。菩萨身形修长，立于高方座上，尖顶背光如舒展的莲瓣，晕染出飘逸出尘的轮廓。垂眸敛目间，慈悲沉静的神性漫溢而出，面容温婉清癯，自带安宁祥和的气韵。衣纹凝练简约，贴附身形，将简淡含蓄的审美意趣尽数展现。虽体量小巧，却风骨具足，质朴厚重的质感带着早期佛教造像的独特意韵，将中古时代的虔诚信仰凝缩在这方寸之间，静默流淌着跨越千年的宗教艺术之美。",[203,157,45,27,24,25,7,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82362d35e296e6261f235eebf6dd7401.jpg",[],{"id":688,"slug":689,"title":83,"dynasty":42,"author":19,"museum":20,"description":690,"tags":691,"thumbUrl":692,"material":75,"size":76,"collection":32,"collections":693,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254512,"tong-liu-jin-pu-sa-li-xiang-yi-ming-254512","此造像身形挺拔秀颀，鎏金虽已晕染斑驳，仍掩不住华贵底色。菩萨面容沉静温婉，宝冠端严，躯体丰腴合度，衣纹轻贴肌体，线条洗练柔和，尽得舒展灵动的韵致。尖耸背光之上顶饰化佛，愈发衬出造像的神圣庄严。四足台座沉稳朴拙，托举起整尊造像，比例匀停和谐。神性的肃穆与唐人审美里的柔美雅致相融，历经岁时磨洗，古雅厚重的质感愈发醇厚，是一件兼具宗教意蕴与审美价值的精巧之作。",[86,24,45,46,27,7,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f070a61d9878278ccdf96db6e24970.jpg",[],{"id":695,"slug":696,"title":41,"dynasty":154,"author":19,"museum":20,"description":697,"tags":698,"thumbUrl":699,"material":75,"size":76,"collection":32,"collections":700,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},254317,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-254317","此像身姿挺拔端严，面容沉静慈悲，宝冠覆顶自带出尘威仪。身着褒衣博带式法衣，衣纹舒朗流畅，兼具北朝遗风与隋代造像的简约洗练。右手持杨柳枝，左手托净瓶，是杨柳观音的经典法相标识。莲瓣形背光古拙朴厚，与饱满规整的莲台底座呼应，整体气韵肃穆沉静。历经岁月鎏金多已褪去，沉敛的青铜质地更添古雅厚重，凝萃了隋代佛造像神性庄严与质朴洗练的审美意趣，尽显沉静虔敬的宗教意涵。",[157,220,27,24,7,30,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2261d653cb04f4cc34a660bf5f61b6.jpg",[],{"id":702,"slug":703,"title":704,"dynasty":154,"author":19,"museum":20,"description":705,"tags":706,"thumbUrl":707,"material":75,"size":76,"collection":32,"collections"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于方寸之间，尽显大唐造像刚柔并济的审美意趣，是小件佛造像里别具匠心的精巧之作。",[42,45,27,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1fde48b0ed5bb1b70f1f76e80f6707.jpg",[],{"id":771,"slug":772,"title":41,"dynasty":42,"author":19,"museum":20,"description":773,"tags":774,"thumbUrl":775,"material":75,"size":76,"collection":32,"collections":776,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},253604,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253604","此像鎏金虽斑驳褪蚀，却沉淀出岁月厚重质感。菩萨身姿修长婉约，宝冠高束，双目垂敛，神态慈悲肃穆，尽显清净悲悯的神性气质。右手持杨柳枝，左手提挈净瓶，是杨柳观音的经典造像范式。\n\n衣袂轻薄贴体，婉转流畅的线条勾勒出柔美体态，尽显唐代造像丰腴灵动的审美意趣。方凳式台座是晚唐造像典型制式，尖顶背光将菩萨身形衬得分外庄严神圣，残损鎏金下依旧能窥见当年精丽工艺，融合宗教神性与世俗审美，尽显晚唐佛造像的典雅气韵。",[86,24,25,45,27,46,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff23faa304e11f3bf4e83ba97c5a142.jpg",[],{"id":778,"slug":779,"title":780,"dynasty":154,"author":19,"museum":20,"description":781,"tags":782,"thumbUrl":783,"material":75,"size":76,"collection":32,"collections":784,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":90},253603,"tong-liu-jin-guan-yin-pu-sa-li-xiang-yi-ming-253603","铜鎏金观音菩萨立像","身姿颀长清隽，仍带着秀骨清像的余韵，仪容温婉静雅，轻覆的法衣随体态流转，衣纹似微风拂过，勾勒出柔和躯体轮廓，尽显飘逸空灵。莲瓣形背光阴刻火焰纹，纤细线条缠绕舒展，烘托出庄重神性。鎏金大多褪去，古铜底色间斑驳铜绿凝住岁月痕迹，高足方座沉稳古朴，托举清灵造像，肃穆宗教感与精湛冶铸工艺相融，静静晕开中古佛教造像的隽永意趣。",[203,220,24,27,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F664f82bd4dfb7cb1c6d0ad334f8c9d2a.jpg",[],{"id":786,"slug":787,"title":788,"dynasty":60,"author":19,"museum":20,"description":789,"tags":790,"thumbUrl":791,"material":75,"size":76,"collection":32,"collections":792,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":90},253575,"tong-li-su-nu-zao-pu-sa-li-xiang-yi-ming-253575","铜李宿奴造菩萨立像","古绿铜锈裹覆周身，凝住岁月痕迹。莲瓣形背光舒展灵动，缠枝纹样婉转缠绕，晕开缥缈佛韵。菩萨眉目低垂，面容温婉恬和，尽显慈悲静穆。身形秀挺，衣纹轻薄贴体，线条流畅如行云流水，尽显“秀骨清像”的典型风神。莲台承托跏趺坐姿，下方方座朴拙厚重，在柔婉造像与沉凝底座间达成视觉平衡。它将清逸审美与佛教造像的庄严慈悲相融，小小造像之中，藏着六朝造像的精妙意趣，尽显时代特有的空灵雅致。",[24,157,27,60,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67573665d3055f5a1741d4d3b5055c2d.jpg",[],{"id":794,"slug":795,"title":796,"dynasty":797,"author":19,"museum":20,"description":798,"tags":799,"thumbUrl":800,"material":75,"size":76,"collection":32,"collections":801,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},253402,"tong-guan-yin-li-xiang-yi-ming-253402","铜观音立像","晋","此像丰颐阔面，自带胡地神韵，神情沉静安然，褪去柔婉，尽显拙朴厚重。右手施无畏印，予人安稳力量，左手托举净瓶，暗含慈悲渡世之意。衣褶垂坠流转，兼具犍陀罗造像的写实质感与晋代造物的浑朴张力。虽有残损，却更添岁月摩挲的沧桑况味。它带着佛教初传汉地的交融印记，褪去后世造像的纤柔雕琢，以古拙憨朴的形制，见证着外来艺术扎根汉地的初始风貌，是早期佛造像本土化历程的珍贵缩影。",[157,45,27,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33bf90676de2b0010ec01c7a9915c3c.jpg",[],{"id":803,"slug":804,"title":83,"dynasty":60,"author":19,"museum":20,"description":805,"tags":806,"thumbUrl":807,"material":75,"size":76,"collection":32,"collections":808,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":90},253389,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253389","此像鎏金虽斑驳褪损，仍残存旧时华贵意韵，尽显六朝秀骨清像的典型气韵。莲瓣形背光錾刻古雅纹饰，烘托出沉静庄严的宗教氛围。\n\n菩萨身姿温婉内敛，衣褶简练流畅，线条利落洗练，将神性的慈悲静穆融于古朴造型之中。面相清隽恬静，神情柔和悲悯，手结法印跏趺端坐，方寸之间尽显早期佛教造像的含蓄雅致，带着南北朝特有的空灵出尘之美，是小件佛造像里的精巧之作。",[60,157,45,46,27,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e16e137787d2f97a50bbbd96625301c.jpg",[],{"id":810,"slug":811,"title":41,"dynasty":42,"author":19,"museum":20,"description":812,"tags":813,"thumbUrl":814,"material":75,"size":76,"collection":32,"collections":815,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},253382,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253382","此造像虽体量小巧，却尽显典雅气韵。鎏金褪去大半，仍掩不住旧日华光。观音宝冠高挺，面容沉静慈悲，杨柳枝隐于手中，衣袂线条婉转灵动，带着舒展柔和的韵律感，将菩萨端雅温婉的气质尽显无余。\n古朴台座稳稳承托造像，与造像柔美形成刚柔相济的呼应，整体带着沉静的宗教氛围感，凝缩了那个时代对造像的审美意趣，残损鎏金晕开岁月痕迹，静静诉说着跨越千年的信仰温度。",[86,24,45,46,27,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec57e7e3d5ddd91a1f7fd67d77cee6c.jpg",[],{"id":817,"slug":818,"title":83,"dynasty":60,"author":19,"museum":20,"description":819,"tags":820,"thumbUrl":821,"material":75,"size":76,"collection":32,"collections":822,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},253065,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253065","鎏金虽大多斑驳剥落，却仍留存着旧时华光。菩萨发髻高绾，面容温婉含笑，神态沉静柔和。宽袖长衫垂坠有型，衣褶朴拙厚重，带着拙朴古雅的气韵。它褪去了神性的疏离感，将温婉亲和的世俗意趣融入造像之中，尽显独特的时代气质。身姿端立安稳，双手轻拢于前，眉目间带着沉静的暖意，纵使历经岁月磋磨，依旧传递出平和安宁的力量，残存鎏金似岁月遗落的碎金，静静诉说着旧日的精工匠心。",[60,24,25,45,46,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c70fe17c2161732f15b1daf0e84d62.jpg",[],{"id":824,"slug":825,"title":41,"dynasty":42,"author":19,"museum":20,"description":826,"tags":827,"thumbUrl":828,"material":75,"size":76,"collection":32,"collections":829,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":90},253051,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253051","此像修长隽秀，分层铺陈造像意趣。顶饰连珠华盖，其上坐佛安谧沉静，自带出尘禅意。主尊身形舒展，手持净瓶，仪容慈悲端方，宝冠璎珞细节精巧，周身缠枝宝纹灵动蜿蜒，烘托出神圣空灵的气韵。古铜鎏金虽历经岁月斑驳脱落，却晕染出厚重古拙的时光质感，方形台座沉稳规整，承托起整尊造像的典雅大气，将盛唐造像的舒展审美与宗教肃穆相融，尽显唐代佛造像工艺的精妙造诣。",[86,45,46,157,27,7,24,97,25,481,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7661e3781f3f9fc25c77b23ed7c85f97.jpg",[],{"id":831,"slug":8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像","元","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[24,45,27,46,7,25,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b29c6b719313fbd9266277af03e02b2.jpg",[],{"id":906,"slug":907,"title":83,"dynasty":42,"author":19,"museum":20,"description":908,"tags":909,"thumbUrl":910,"material":75,"size":76,"collection":32,"collections":911,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},256138,"tong-liu-jin-pu-sa-li-xiang-yi-ming-256138","此像身形修长舒展，尽显盛唐造像独特风韵。菩萨高冠束发，面容沉静端雅，身姿微侧，衣纹璎珞线条洗练流畅，将灵动柔婉的体态勾勒尽致。鎏金虽经岁月经年有所磨损，却晕染出愈发古雅厚重的质感，为造像更添岁月沉淀的沉静韵味。整体造型含蓄温润，慈悲平和的气韵扑面而来，凝萃着千年前的虔敬匠心，尽显东方古典造像的典雅之美。",[86,24,45,46,27,30,7,25,402,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39613656359a3c3021b5ae199dd8532.jpg",[],{"id":913,"slug":914,"title":915,"dynasty":182,"author":19,"museum":20,"description":301,"tags":916,"thumbUrl":917,"material":75,"size":76,"collection":32,"collections":918,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256130,"mu-diao-fu-li-xiang-yi-ming-256130","木雕佛立像",[237,24,27,308,7,370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f645ad630db7b489c1da3233921dfa2.jpg",[],{"id":920,"slug":921,"title":922,"dynasty":182,"author":19,"museum":20,"description":301,"tags":923,"thumbUrl":924,"material":75,"size":76,"collection":32,"collections":925,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256129,"mu-diao-yi-zhang-nan-li-xiang-yi-ming-256129","木雕仪仗男立像",[308,27,25,7,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db0e17abf43d32c3f32d55dcf0f93bd.jpg",[],{"id":927,"slug":928,"title":929,"dynasty":182,"author":19,"museum":20,"description":930,"tags":931,"thumbUrl":936,"material":75,"size":76,"collection":32,"collections":937,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256116,"bai-you-ci-yu-lan-guan-yin-pu-sa-li-xiang-yi-ming-256116","白釉瓷鱼篮观音菩萨立像","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 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。",[72,24,25,73,7,237,932,933,600,30,934,935],"雕塑","白釉瓷","立姿","鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3240b79825e6394a2ea551b0ec46061e.jpg",[],{"id":939,"slug":940,"title":941,"dynasty":42,"author":19,"museum":20,"description":942,"tags":943,"thumbUrl":948,"material":75,"size":76,"collection":32,"collections":949,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256109,"tao-nan-li-yong-yi-ming-256109","陶男立俑","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。",[42,944,932,25,945,946,947,7],"陶制","俑","人物俑","陶俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc7d822ec4821ce4f4e55f4dd536c6d.jpg",[],{"id":951,"slug":952,"title":83,"dynasty":42,"author":19,"museum":20,"description":953,"tags":954,"thumbUrl":955,"material":75,"size":76,"collection":32,"collections":956,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256106,"tong-liu-jin-pu-sa-li-xiang-yi-ming-256106","此造像身形挺拔秀逸，袒露上身，鎏金虽多已剥落，深褐包浆裹着残存金辉，沉淀着悠悠岁月的厚重质感。尖桃形背光简洁利落，将菩萨身形衬得愈发肃穆沉静。\n\n整体为典型的板凳佛样式，线条朴拙凝练，却精准勾勒出慈悲沉静的神采，尽显唐代民间造像的写意韵味，以简约造型传递出宗教造像的平和庄严，历经磨损却气韵依旧，尽显彼时的审美意趣与工艺水准。",[42,24,25,45,46,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1632f25bc46cb3a302a67d9f74094f32.jpg",[],{"id":958,"slug":959,"title":83,"dynasty":42,"author":19,"museum":20,"description":960,"tags":961,"thumbUrl":962,"material":75,"size":76,"collection":32,"collections":963,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256103,"tong-liu-jin-pu-sa-li-xiang-yi-ming-256103","此像形制小巧却气度庄严，尖顶背光轮廓饱满舒展，晕开神圣肃穆的氛围感。菩萨身姿端直挺拔，鎏金虽历经岁月斑驳脱落，仍能窥见昔年金辉粲然的模样。衣褶线条古朴洗练，寥寥几刀便勾勒出法衣垂坠的柔和质感，宝冠覆顶，面容沉静安然，尽显慈悲圆融的气韵。\n\n作为小型造像，它朴拙大气，带着独有的雄浑庄重，寸尺之间具足造像的庄严法度。残存鎏金晕开的斑驳痕迹，更添岁月沉淀的厚重质感，静静诉说着古旧时光里的信仰温度。",[86,24,25,45,46,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04586647273ff63ad45654ab08f9621.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":182,"author":19,"museum":20,"description":968,"tags":969,"thumbUrl":970,"material":75,"size":76,"collection":32,"collections":971,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256090,"tong-liu-jin-zhan-tan-fu-li-xiang-yi-ming-256090","铜鎏金旃檀佛立像","此造像取旃檀瑞像制式，束发高髻眉目温婉柔和，垂眸含笑，神态慈悲安和，自带静穆禅意。衣纹层叠垂落如流波漫卷，胸前法衣作莲苞状内敛装饰，细节精巧入微。鎏金历经岁月剥蚀，晕染出厚重古朴的质感，更显沉静肃穆。右手施无畏印予众生慰藉，轻握衣裾的左手让站姿更显舒展端稳。整体兼具佛陀的神圣庄严与贴近世人的亲和，写实灵动间尽显造像工艺的精妙，将匠心工法与信仰虔诚融为一体，静静晕开旧时的信仰温度，尽显古拙厚重的美学意趣。",[237,45,46,27,24,25,7,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6b2935b89ea3119d3d4e401a29e739.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":42,"author":19,"museum":20,"description":976,"tags":977,"thumbUrl":980,"material":75,"size":76,"collection":32,"collections":981,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256084,"tao-huang-you-wu-shi-yong-yi-ming-256084","陶黄釉武士俑","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[86,72,945,426,978,27,979,25,7],"陶塑","黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6d8a3405fe0b1f3ff8b0d01faec32f.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":18,"author":19,"museum":20,"description":301,"tags":986,"thumbUrl":987,"material":75,"size":76,"collection":32,"collections":988,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},256055,"mu-diao-jin-qi-zhan-tan-fu-li-xiang-yi-ming-256055","木雕金漆旃檀佛立像",[308,303,335,27,7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78ee2a907febe74823fa7e0ca9cc01f.jpg",[],{"id":990,"slug":991,"title":992,"dynasty":18,"author":19,"museum":20,"description":301,"tags":993,"thumbUrl":995,"material":75,"size":76,"collection":32,"collections":996,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256030,"mu-diao-jin-qi-nan-li-xiang-yi-ming-256030","木雕金漆男立像",[23,303,335,27,24,25,994,308,7],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bce33944d7edb0b047c76993c8c7dc.jpg",[],{"id":998,"slug":999,"title":780,"dynasty":18,"author":19,"museum":20,"description":1000,"tags":1001,"thumbUrl":1002,"material":75,"size":76,"collection":32,"collections":1003,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},256018,"tong-liu-jin-guan-yin-pu-sa-li-xiang-yi-ming-256018","此尊造像鎏金虽蒙岁月晕染，却依旧凝敛华贵质感。菩萨面庞丰润温婉，眉眼含着静谧笑意，自带慈悲祥和的气韵。宝冠高束，璎珞环身垂坠，衣褶舒展流畅，贴合身形勾勒出秀挺雅致的身姿。右手施无畏印，予人安定力量，左手持净瓶暗合遍洒甘露、渡化世人的意涵，赤足立于饱满舒展的仰莲台之上，更衬造像端雅圣洁。\n\n整作造型规整细腻，将菩萨的悲悯柔和与庄严大气相融，藏着旧时匠人的虔诚匠心，尽显传统造像的古典审美意趣。",[45,46,27,24,25,7,30,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd627601e0ce30b39f855aa00a5cbd7.jpg",[],{"id":1005,"slug":1006,"title":1007,"dynasty":1008,"author":19,"museum":20,"description":930,"tags":1009,"thumbUrl":1013,"material":75,"size":76,"collection":32,"collections":1014,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},255986,"bai-you-ci-hei-cai-shuang-lian-nan-li-xiang-yi-ming-255986","白釉瓷黑彩双连男立像","宋",[1010,72,1011,73,945,25,7,1012],"宋代","黑彩","双连","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038b30b9d7ce25485d5b60671d7f4bac.jpg",[],{"id":1016,"slug":1017,"title":1018,"dynasty":1008,"author":19,"museum":20,"description":1019,"tags":1020,"thumbUrl":1022,"material":75,"size":76,"collection":32,"collections":1023,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":90},255981,"huang-lv-you-ci-pu-sa-li-xiang-yi-ming-255981","黄绿釉瓷菩萨立像","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。",[1008,72,1021,24,25,7],"黄绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20205ba2d133698ac5d951060437754.jpg",[],{"id":1025,"slug":1026,"title":1027,"dynasty":18,"author":19,"museum":20,"description":1028,"tags":1029,"thumbUrl":1033,"material":75,"size":76,"collection":32,"collections":1034,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255968,"fen-cai-ci-chi-fu-chen-nv-li-xiang-yi-ming-255968","粉彩瓷持拂尘女立像","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。",[18,72,1030,240,25,1031,7,1032],"粉彩","女像","持拂尘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72cf61c1446f7841fe6137e3a9a4095.jpg",[],{"id":1036,"slug":1037,"title":1038,"dynasty":18,"author":19,"museum":20,"description":301,"tags":1039,"thumbUrl":1040,"material":75,"size":76,"collection":32,"collections":1041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255882,"mu-diao-jin-qi-fu-li-xiang-yi-ming-255882","木雕金漆佛立像",[23,308,27,335,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7097815e26e75e653140d3c974d27cfd.jpg",[],{"id":1043,"slug":1044,"title":104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