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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。",[120,121,26,122,123,7,124,125,126,127,128],"唐代","壁画","线描","佛教人物","衣饰纹样","装饰图案","坐姿造像","佛造像","色彩装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e185d02dab18e576766ae9beadb0ce.jpg",[],47,"BDBDBD",{"id":134,"slug":135,"title":136,"dynasty":76,"author":19,"museum":59,"description":137,"tags":138,"thumbUrl":151,"material":68,"size":69,"collection":48,"collections":152,"showCount":153,"zanCount":84,"manualWeight":11,"mainColor":53},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[23,62,26,27,25,28,139,64,140,141,142,143,144,145,7,146,147,148,149,150],"莲花","璎珞","装饰纹样","传统服饰","矿物颜料","细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","宗教造像","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],35,{"id":155,"slug":156,"title":157,"dynasty":158,"author":19,"museum":59,"description":159,"tags":160,"thumbUrl":167,"material":68,"size":69,"collection":48,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":111},253942,"tong-liu-jin-wen-shu-pu-sa-zuo-xiang-yi-ming-253942","铜鎏金文殊菩萨坐像","明","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。",[161,162,163,104,25,28,164,165,7,166],"明代","铜制","鎏金","坐像","宝冠","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6edfeb0ed876852ecb3f7b3609198026.jpg",[],11,{"id":171,"slug":172,"title":173,"dynasty":158,"author":19,"museum":59,"description":159,"tags":174,"thumbUrl":178,"material":68,"size":69,"collection":48,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":53},252878,"tie-wen-shu-pu-sa-zuo-xiang-yi-ming-252878","铁文殊菩萨坐像",[161,175,104,25,176,164,7,177],"铁器","菩萨","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfc77f988310401d0dd3eb472f5b495.jpg",[],7,{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":59,"description":159,"tags":185,"thumbUrl":190,"material":68,"size":69,"collection":48,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":53},256073,"liu-li-e-mi-tuo-fo-zuo-xiang-yi-ming-256073","琉璃阿弥陀佛坐像",[25,28,186,104,26,7,187,164,188,189],"琉璃","须弥座","施釉","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d632addcd5767ea83f998544428070.jpg",[],6,{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":59,"description":159,"tags":197,"thumbUrl":202,"material":68,"size":69,"collection":48,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":132},254829,"tong-liu-jin-wu-liang-shou-fu-zuo-xiang-yi-ming-254829","铜鎏金无量寿佛坐像",[18,162,163,104,25,198,105,199,7,164,200,103,46,201,189],"人物造像","绿松石","无量寿佛","造像艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde2b57df97c5cac2e048294d8acf701.jpg",[],5,{"id":206,"slug":207,"title":208,"dynasty":18,"author":209,"museum":59,"description":210,"tags":211,"thumbUrl":10,"material":220,"size":48,"collection":48,"collections":221,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":132},217202,"fa-jie-yuan-liu-tu-juan-5-li-ming-217202","法界源流图卷-5","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。",[23,62,63,212,26,27,25,28,35,213,214,215,216,7,217,218,30,66,219],"长卷","飞天","虎","象","云纹","山水","亭台","云雾","纸本,设色",[],{"id":223,"slug":224,"title":225,"dynasty":226,"author":19,"museum":59,"description":227,"tags":228,"thumbUrl":234,"material":68,"size":69,"collection":48,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":111},252907,"shi-pu-sa-li-xiang-yi-ming-252907","石菩萨立像","南北朝","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。",[104,229,25,28,176,230,231,7,232,233],"石质","立像","南北朝风格","浮雕","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf80f1b0ea166138b62af7420065c505.jpg",[],4,{"id":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":59,"description":159,"tags":241,"thumbUrl":242,"material":68,"size":69,"collection":48,"collections":243,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},254933,"tong-liu-jin-shi-jia-mu-ni-fu-zuo-xiang-yi-ming-254933","铜鎏金释迦牟尼佛坐像",[18,162,163,104,25,28,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93db5291e016d26114d947949a052f4.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":18,"author":19,"museum":59,"description":248,"tags":249,"thumbUrl":252,"material":68,"size":69,"collection":48,"collections":253,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},252799,"shou-shan-shi-shi-ba-luo-han-xiang-yi-ming-252799","寿山石十八罗汉像","此作圆雕工艺精妙，巧借石材天生色泽区分肤袍，暖黄凝润为面，褐黄沉实成衣。罗汉垂目含笑，神态安和恬然，衣褶婉转贴合身形，将布衣垂坠质感尽显。双手奉持盏器，指节虬结可见，细腻勾勒出清癯老僧的苦修之态，须发纹理亦分毫毕现。莲台基底瓣叶饱满层叠，与造像浑然相融。整体刀工朴拙内敛，将世外沙门的静穆禅意凝练其中，尽显匠者对神态细节的精准捕捉，把出尘淡然的意境尽显无余。",[24,250,104,25,28,251,7,164],"寿山石","罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821f4a953213f6d4ed9795d3e8615b3c.jpg",[],{"id":255,"slug":256,"title":257,"dynasty":18,"author":19,"museum":59,"description":258,"tags":259,"thumbUrl":265,"material":68,"size":69,"collection":48,"collections":266,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":111},251164,"bi-yu-tuo-ling-zhi-zuo-fu-yi-ming-251164","碧玉托灵芝坐佛","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[24,260,25,104,261,262,7,263,264],"玉石","佛","灵芝","火焰纹","碧玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bdc6a2770498b5cf08f3c2308faa40a.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":18,"author":19,"museum":59,"description":271,"tags":272,"thumbUrl":279,"material":68,"size":69,"collection":48,"collections":280,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},234442,"qing-ren-huang-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234442","清人黄威罗瓦金刚像轴","狮面忿怒相的主尊周身烈焰蒸腾，金甲宝饰遍身，雄踞莲台之上，威棱毕现，尽显护法降魔的慑人气魄。整体构图饱满匀整，诸佛胁侍错落排布，或忿怒或慈悲，与主尊呼应成趣。\n\n设色浓丽厚重，石青铺就云天底色，朱砂晕染烈烈火焰，青绿晕染山川林麓，冷暖交织层次分明。线条勾勒精细流畅，衣袂宝饰的细节分毫毕现，既恪守藏传佛教造像的仪轨法度，又以工笔重彩烘托出神圣庄严的宗教氛围，将护法金刚的狞厉威严与唐卡装饰美学完美融合，尽显精湛的绘画造诣。",[62,64,273,274,26,275,263,7,32,276,277,24,278],"宗教画","工笔重彩","人物画","山水景物","花卉纹饰","传统书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20ea8c656828582ec4d871f00ab1c60.jpg",[],{"id":282,"slug":283,"title":284,"dynasty":158,"author":19,"museum":59,"description":285,"tags":286,"thumbUrl":289,"material":68,"size":69,"collection":48,"collections":290,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":111},256133,"mu-diao-fu-zuo-xiang-yi-ming-256133","木雕佛坐像","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。",[158,287,104,25,28,261,164,7,288],"木质","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8c2b3ce3e58bc892571cdc2b3cb1c8.jpg",[],{"id":292,"slug":293,"title":294,"dynasty":158,"author":19,"museum":59,"description":285,"tags":295,"thumbUrl":298,"material":68,"size":69,"collection":48,"collections":299,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":111},256050,"mu-diao-jin-qi-pu-sa-li-xiang-yi-ming-256050","木雕金漆菩萨立像",[161,296,297,104,25,28,7,287],"木雕","金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8b519655d1dbe0f240c99cf625b49.jpg",[],{"id":301,"slug":302,"title":303,"dynasty":158,"author":19,"museum":59,"description":285,"tags":304,"thumbUrl":307,"material":68,"size":69,"collection":48,"collections":308,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":111},256019,"mu-diao-cai-hui-tie-jin-tong-zi-xiang-yi-ming-256019","木雕彩绘贴金童子像",[161,296,40,305,287,25,28,306,7],"贴金","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F159e50e0c1fab43d801827d775c07a67.jpg",[],{"id":310,"slug":311,"title":312,"dynasty":158,"author":19,"museum":59,"description":285,"tags":313,"thumbUrl":316,"material":68,"size":69,"collection":48,"collections":317,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":53},255377,"mu-diao-cai-hui-zhu-zhang-lao-ren-xiang-yi-ming-255377","木雕彩绘拄杖老人像",[161,287,104,40,26,28,314,315,7],"老人","拄杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4dcca2c4cacfc07ebfe94d4dea55b2.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":18,"author":19,"museum":59,"description":285,"tags":322,"thumbUrl":323,"material":68,"size":69,"collection":48,"collections":324,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":53},254949,"tan-xiang-mu-diao-fu-zuo-xiang-yi-ming-254949","檀香木雕佛坐像",[104,287,25,28,164,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7399b0e679043fab948f7655672c99.jpg",[],{"id":326,"slug":327,"title":328,"dynasty":226,"author":19,"museum":59,"description":329,"tags":330,"thumbUrl":332,"material":68,"size":69,"collection":48,"collections":333,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":53},253710,"tong-liu-jin-yi-pu-sa-er-di-zi-xiang-yi-ming-253710","铜鎏金一菩萨二弟子像","此像气韵典雅，莲座沉稳舒展，承托主尊与胁侍。主尊神态慈悲温婉，宝冠高束，衣纹婉转流畅，虽鎏金多有斑驳剥落，却晕染出厚重的岁月质感。两侧弟子恭顺侍立，神态质朴内敛。背光呈莲瓣形，浅雕数尊化佛，层次分明，烘托出静谧庄严的宗教氛围。\n\n整体承袭秀骨清像的时代特质，线条柔婉带着沉静力量，将六朝造像的空灵典雅凝于一身。残损金箔是时光镌下的印记，静静诉说着往昔的信仰温度，尽显古拙虔诚的造像意趣。",[226,25,41,162,163,104,176,331,28,7],"弟子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531ab7fb7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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。",[340,25,28,423,164,7,104],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a8e375071e0ea7eb0db6b04422ff5a.jpg",[],{"id":427,"slug":428,"title":429,"dynasty":58,"author":19,"museum":59,"description":285,"tags":430,"thumbUrl":432,"material":68,"size":69,"collection":48,"collections":433,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},255175,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255175","木雕彩绘菩萨立像",[431,296,40,25,28,104,287,7,176,230],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1810c8e71b935316f2b41caa6002ea.jpg",[],{"id":435,"slug":436,"title":437,"dynasty":18,"author":19,"museum":59,"description":285,"tags":438,"thumbUrl":439,"material":68,"size":69,"collection":48,"collections":440,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},254950,"mu-diao-jin-qi-wu-liang-shou-fu-zuo-xiang-yi-ming-254950","木雕金漆无量寿佛坐像",[18,296,297,104,25,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbec24d1cec7c7bd0ff26b3732900189.jpg",[],{"id":442,"slug":443,"title":444,"dynasty":116,"author":19,"museum":59,"description":445,"tags":446,"thumbUrl":447,"material":68,"size":69,"collection":48,"collections":448,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},254865,"tong-liu-jin-li-xiang-yi-ming-254865","铜鎏金立像","此造像身形修长舒展，尽显盛唐造像丰腴柔婉的气韵。高髻嵌顶珠，面容温婉沉静，眼睑低垂自带慈悲柔光。衣袂垂坠飘逸，璎珞环身层叠萦绕，线条婉转流畅，将盛唐造像的华丽典雅尽致展现。右手抬举施无畏印，左手垂落执净瓶，赤足踏于饱满莲台，下层台座缠枝纹饰古朴厚重。\n\n鎏金随岁月渐褪，沉敛的古铜色泽晕开沧桑质感，反而更衬出造像肃穆柔美的神性，将佛的悲悯与人间的温婉相融，凝练了盛唐佛造像的审美意趣。",[120,162,163,104,25,28,230,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed8fb2b5c253e25f581e72f6f5bc255.jpg",[],{"id":450,"slug":451,"title":452,"dynasty":158,"author":19,"museum":59,"description":159,"tags":453,"thumbUrl":455,"material":68,"size":69,"collection":48,"collections":456,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},254475,"tie-song-wen-feng-deng-zao-fu-zuo-xiang-yi-ming-254475","铁宋文夆等造佛坐像",[175,104,25,28,164,7,454],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c31962305b63a9df5f490139b7ed76.jpg",[],{"id":458,"slug":459,"title":460,"dynasty":116,"author":19,"museum":59,"description":461,"tags":462,"thumbUrl":464,"material":68,"size":69,"collection":48,"collections":465,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},254312,"tong-pu-sa-li-xiang-yi-ming-254312","铜菩萨立像","此造像身姿修长秀雅，宝冠高束，面容沉静慈悲，璎珞垂饰柔婉勾勒出曼妙体态。右手托举法物，衣袂轻扬垂落，线条流畅舒展，尽显舒展飘逸的大唐风韵。\n\n包浆厚重古雅，褪去新铜亮泽，沉淀着岁月的厚重质感。造像将神性的肃穆与人间的温婉相融，举手投足间皆带着沉静的悲悯气韵，寥寥刀工刻画出菩萨的超然风骨，静默伫立间，似在将平和渡向世人。",[120,25,162,104,28,176,230,7,463,149],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c9df5f604a1213151d3976f80a0bfd.jpg",[],{"id":467,"slug":468,"title":469,"dynasty":116,"author":19,"museum":59,"description":159,"tags":470,"thumbUrl":472,"material":68,"size":69,"collection":48,"collections":473,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":111},253298,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-253298","铜鎏金菩萨坐像",[120,471,176,164,25,104,162,28,7],"铜鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26abab48b7eb26a03e0558f09058f679.jpg",[],{"id":475,"slug":476,"title":477,"dynasty":116,"author":19,"museum":59,"description":159,"tags":478,"thumbUrl":480,"material":68,"size":69,"collection":48,"collections":481,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},253273,"tao-fu-zuo-xiang-yi-ming-253273","陶佛坐像",[116,340,104,25,106,164,7,479],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed829c5eeb9fe3309af5630c2c71bfbd.jpg",[],{"id":483,"slug":484,"title":485,"dynasty":116,"author":19,"museum":59,"description":159,"tags":486,"thumbUrl":488,"material":68,"size":69,"collection":48,"collections":489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},252954,"shi-fu-zuo-xiang-yi-ming-252954","石佛坐像",[120,25,229,104,106,164,7,487],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f260ebdd58bea5221d9f2fed6db204.jpg",[],{"id":491,"slug":492,"title":485,"dynasty":116,"author":19,"museum":59,"description":159,"tags":493,"thumbUrl":494,"material":68,"size":69,"collection":48,"collections":495,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},252949,"shi-fu-zuo-xiang-yi-ming-252949",[120,104,229,25,28,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb612333189d283f445adb4663c03d5.jpg",[],{"id":497,"slug":498,"title":499,"dynasty":116,"author":19,"museum":59,"description":118,"tags":500,"thumbUrl":502,"material":68,"size":69,"collection":48,"collections":503,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},227209,"dun-huang-80-yi-ming-227209","敦煌80",[121,120,25,26,27,28,106,176,7,501,213],"华盖","https:\u002F\u002Foss.chuangqi.store\u0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