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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。",[27,29,28,7,73,74],"飞天","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0fd513cb82c0e435822e3003c47784.jpg","未知","Xcm*Xcm",[],334,4,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":92,"material":37,"size":37,"collection":37,"collections":93,"showCount":94,"zanCount":95,"manualWeight":11,"mainColor":65},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","民国","张大千","四川博物院","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[23,25,90,70,27,28,29,91,7,34],"临摹","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],207,3,{"id":97,"slug":98,"title":99,"dynasty":100,"author":19,"museum":70,"description":101,"tags":102,"thumbUrl":107,"material":76,"size":77,"collection":37,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":42},226517,"cai-hui-na-mo-di-zang-pu-sa-zuo-xiang-yi-ming-226517","彩绘南无地藏菩萨坐像","不详","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。",[25,103,29,91,28,104,105,7,106],"彩绘","佛教","地藏菩萨","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d01f9871874d39add34560f2264bbe.jpg",[],196,{"id":111,"slug":112,"title":113,"dynasty":47,"author":19,"museum":114,"description":115,"tags":116,"thumbUrl":117,"material":118,"size":119,"collection":38,"collections":120,"showCount":121,"zanCount":95,"manualWeight":11,"mainColor":42},214337,"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,25,29,30,91,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","绢本,设色","27.5x16",[38],193,{"id":123,"slug":124,"title":125,"dynasty":100,"author":19,"museum":70,"description":126,"tags":127,"thumbUrl":131,"material":76,"size":77,"collection":37,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":42},226519,"xian-miao-liu-bi-pu-sa-xiang-zheng-mian-yi-ming-226519","线描六臂菩萨像正面","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[128,129,28,91,7,130],"白描","线描","六臂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8639331748242dd2ef42b1c4dc9d8d1e.jpg",[],166,{"id":135,"slug":136,"title":137,"dynasty":138,"author":19,"museum":139,"description":140,"tags":141,"thumbUrl":144,"material":145,"size":146,"collection":37,"collections":147,"showCount":148,"zanCount":149,"manualWeight":11,"mainColor":65},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","明","台北故宫博物院","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 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圣感，整体气韵沉静内敛，带着静谧的宗教感染力，尽显中古佛教绘画的典型风貌，让观览者沉浸于清净祥和的梵境之中。",[23,25,142,28,29,91,104,389,7,30],"般若菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5acc07d5aa39ad845b75e7fb0def10e0.jpg",[],37,{"id":394,"slug":395,"title":396,"dynasty":319,"author":19,"museum":139,"description":397,"tags":398,"thumbUrl":401,"material":402,"size":403,"collection":37,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":42},223438,"song-ke-si-fo-xiang-zhou-yi-ming-223438","宋缂丝佛像轴","除此之外，又以蕴涵吉祥或神话题材作为祝寿或馈赠的礼品，如〈宋缂丝八仙拱寿〉、〈宋缂丝紫芝仙寿〉等，皆甚受喜爱，数量增多，题材多元丰富。到了南宋时期，佛教、道教宗教题材亦逐渐加入缂丝制作的行列，宋代佛与菩萨造像倾向世俗化，平易近人，塑像既不失庄重，又富人世情感，创造出秀婉典雅的风貌。此幅蓝地设色缂丝佛像即其中精品。圆光中，释迦牟尼佛结跏趺坐在莲花台座上，莲花宝座，共分四层，色泽沉稳。坐佛顶成肉髻相，脸形略圆，五官柔和安祥，神情庄严肃穆。身着袒右肩赭红色袈裟，衣褶流畅，双手仰放于腹前，两拇指的指端相接，称为禅定印，相传释迦牟尼佛在菩提树下，即以此坐式入定悟道。缂丝人物的五官、肌肤最难表现，此件作品粉本精工细致，织工技巧纯熟，如佛像的头部、手、腿，比例写实合宜，线条流畅，纬线之分色细腻自然，散发佛陀庄严神韵，可为宋代缂丝佛像艺术品的代表。",[23,399,400,142,28,91,255,7,29],"宋代","缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a725847eb6a484563d19c478324e895.jpg","緙絲","251X78.5",[],36,{"id":407,"slug":408,"title":409,"dynasty":100,"author":19,"museum":20,"description":410,"tags":411,"thumbUrl":423,"material":76,"size":77,"collection":37,"collections":424,"showCount":425,"zanCount":64,"manualWeight":11,"mainColor":42},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。",[23,25,29,30,28,91,7,142,412,413,414,181,415,416,417,418,419,420,421,422],"璎珞","装饰纹样","传统服饰","细腻线条","服饰花纹","莲花座","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":427,"slug":428,"title":429,"dynasty":47,"author":19,"museum":20,"description":342,"tags":430,"thumbUrl":435,"material":76,"size":77,"collection":37,"collections":436,"showCount":437,"zanCount":64,"manualWeight":11,"mainColor":65},263660,"su-xiu-shi-yi-mian-guan-shi-yin-xiang-tang-ka-yi-ming-263660","苏绣十一面观世音像唐卡",[344,431,104,432,433,180,434,158,7],"苏绣","十一面观音","宗教绘画","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ba682b325f0cfbf6157937bf7c8bb.jpg",[],33,{"id":439,"slug":440,"title":441,"dynasty":319,"author":19,"museum":139,"description":442,"tags":443,"thumbUrl":444,"material":118,"size":445,"collection":37,"collections":446,"showCount":447,"zanCount":11,"manualWeight":11,"mainColor":42},223897,"ru-lai-shuo-fa-tu-zhou-yi-ming-223897","如来说法图轴","宋人画如来说法图轴",[25,26,142,28,128,30,29,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf2466940de375a76b8c17a54ed9f62.jpg","188.1x111.3公分",[],30,{"id":449,"slug":450,"title":451,"dynasty":138,"author":19,"museum":20,"description":452,"tags":453,"thumbUrl":458,"material":76,"size":77,"collection":37,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":42},267606,"hong-se-chan-zhi-ju-lian-cha-hua-wen-zhuang-hua-duan-yi-ming-267606","红色缠枝菊莲茶花纹妆花缎","赤红地色如熔霞漫铺，缠枝卷叶婉转舒展，将菊、莲、茶花错落排布，织就烂漫花境。妆花晕染出层次柔美的各色花头，粉菊清妍温婉，蓝莲沉静雅致，茶褐与赤黄山茶饱满厚重，翠绿叶脉勾描灵动，让画面疏密相宜不显拥塞。\n\n整体用色鲜亮却协调雅致，提花工艺精巧细腻，将花卉绰约姿态凝于经纬之间，尽显古雅华贵的审美意趣，在锦缎之上留存盛放花景，藏着旧时织绣工艺的细腻匠心。",[106,454,455,456,7,457,29,168],"妆花缎","缠枝纹","菊花","茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48af322113d39461eed64f1d04d61c4f.jpg",[],27,{"id":462,"slug":463,"title":464,"dynasty":47,"author":465,"museum":20,"description":466,"tags":467,"thumbUrl":471,"material":76,"size":77,"collection":37,"collections":472,"showCount":460,"zanCount":64,"manualWeight":11,"mainColor":65},236026,"ben-shi-shi-jia-mu-ni-fu-ding-guan-peng-236026","本师释迦牟尼佛","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[106,913,7,914,915],"织锦","夔龙","球路纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a62e7a9b46a2657c20899adc1cc58a.jpg",[],{"id":919,"slug":920,"title":921,"dynasty":47,"author":19,"museum":20,"description":922,"tags":923,"thumbUrl":925,"material":76,"size":77,"collection":37,"collections":926,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":667},258484,"dou-cai-yuan-yang-wo-lian-wan-yi-ming-258484","斗彩鸳鸯卧莲碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[782,924,29,196,7,217,194,783],"斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b952d194db6dc9051833be5cc683885.jpg",[],{"id":928,"slug":929,"title":930,"dynasty":931,"author":19,"museum":20,"description":932,"tags":933,"thumbUrl":938,"material":76,"size":77,"collection":37,"collections":939,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},256914,"qing-you-yang-fu-lian-hua-zun-yi-ming-256914","青釉仰覆莲花尊","南北朝","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。”",[931,782,934,935,936,7,104,937,545],"青釉","青瓷","浮雕","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff90758eab37e689ae87156d87cb1d430.jpg",[],{"id":941,"slug":942,"title":943,"dynasty":931,"author":19,"museum":20,"description":944,"tags":945,"thumbUrl":948,"material":76,"size":77,"collection":37,"collections":949,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":42},253572,"seng-cheng-zao-tong-mi-le-xiang-yi-ming-253572","僧成造铜弥勒像","这尊造像肃穆沉静，主尊身着通肩僧衣，层叠垂坠的衣纹线条古朴凝练，双手于胸前结印，面容慈悲淡然，尽显超脱气韵。背屏浅浮雕火焰卷云纹，环护主尊，烘托出神圣庄严的氛围。两侧胁侍弟子敛袖恭立，与主尊呼应，章法和谐。莲座饱满圆润，瓣棱分明，承托造像主体，下接覆钵底座沉稳厚重。整体承袭南北朝造像典型风格，朴拙中暗藏精巧，将佛教造像沉静庄严之感诠释尽致。虽历经岁月包浆厚重，却依旧可见当时造像工艺精湛，尽显中古佛教造像独特的美学意蕴。",[946,545,28,91,7,594,947],"铜制","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e7fd64475d3b7ee98cc44789120cea.jpg",[],{"id":951,"slug":952,"title":953,"dynasty":138,"author":365,"museum":139,"description":954,"tags":955,"thumbUrl":956,"material":60,"size":37,"collection":37,"collections":957,"showCount":149,"zanCount":64,"manualWeight":11,"mainColor":65},218050,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-2-wu-bin-218050","楞严廿五圆通佛像册-2","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[25,26,52,29,30,28,91,255,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf10095e68950bb3ecb1de244f807d1.jpg",[],{"id":959,"slug":960,"title":961,"dynasty":47,"author":962,"museum":20,"description":963,"tags":964,"thumbUrl":966,"material":60,"size":37,"collection":37,"collections":967,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},217196,"fa-jie-yuan-liu-tu-juan-8-li-ming-217196","法界源流图卷-8","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。",[23,30,29,211,28,91,478,875,73,332,292,965,158,876,7,877,518],"天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b0c039ef6baa808a49e87b58d400a6.jpg",[],{"id":969,"slug":970,"title":971,"dynasty":100,"author":19,"museum":20,"description":972,"tags":973,"thumbUrl":974,"material":76,"size":77,"collection":37,"collections":975,"showCount":976,"zanCount":11,"manualWeight":11,"mainColor":65},289579,"zuo-fo-xiang-yi-ming-289579","坐佛像","这是一幅质朴古雅的木刻佛造像，佛像结跏趺坐于仰莲座上，面庞圆润舒展，眉目含着沉静慈悲，自带柔和安宁的气场。头覆肉髻，通肩袈裟以简练阴刻线条勾勒，朴拙线条流畅勾勒出衣料垂坠褶皱，尽显质朴张力。\n右手施印，左手安于腹前，仪态端严沉静。身后双层光环晕开，衬出佛身清寂高远，顶部华盖饰以繁复纹饰，让画面层次分明，肃穆中带着精巧细节。\n纸面带着岁月摩挲的斑驳痕迹，更添厚重古韵。整幅造像无过多修饰，以极简线条传递出饱满虔诚的宗教力量，尽显早期版画佛造像的稚拙虔诚，静静诉说着平和安宁的禅意。",[23,28,128,255,350,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e0e8b7a4daf610ce29b7720fcb6ac3.jpg",[],5,{"id":978,"slug":979,"title":980,"dynasty":931,"author":19,"museum":20,"description":932,"tags":981,"thumbUrl":982,"material":76,"size":77,"collection":37,"collections":983,"showCount":976,"zanCount":11,"manualWeight":11,"mainColor":241},263542,"qing-you-lian-hua-zun-yi-ming-263542","青釉莲花尊",[782,934,7,545,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc36a51fe9d0233a936f6442a937f07e.jpg",[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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。",[143,854,1162,1171,7,580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ddc5ea00225afb6ae47b4278c7cb32.jpg",[],{"id":1231,"slug":1232,"title":1233,"dynasty":138,"author":19,"museum":20,"description":1160,"tags":1234,"thumbUrl":1236,"material":76,"size":77,"collection":37,"collections":1237,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":65},251986,"bai-yu-tou-diao-qi-lin-lian-hua-wen-qian-jian-yi-ming-251986","白玉透雕麒麟莲花纹嵌件",[854,1162,1235,322,7,580],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9ddd5b269ae02a203e28e94f9ff54c.jpg",[],{"id":1239,"slug":1240,"title":1241,"dynasty":138,"author":19,"museum":20,"description":1226,"tags":1242,"thumbUrl":1245,"material":76,"size":77,"collection":37,"collections":1246,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":42},251982,"qing-yu-tou-diao-lu-si-lian-hua-wen-qian-jian-yi-ming-251982","青玉透雕鹭鸶莲花纹嵌件",[854,1243,1162,545,194,1171,7,1244,783,580],"青玉","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5d1e2a80642b8324713b9bb1e728a.jpg",[],{"id":1248,"slug":1249,"title":1250,"dynasty":47,"author":1251,"museum":20,"description":1252,"tags":1253,"thumbUrl":1256,"material":37,"size":37,"collection":37,"collections":1257,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":65},236094,"hua-luo-han-ce-leng-mei-236094","画罗汉册","冷枚","此作设色清和雅致，画面中罗汉安坐雕花宝榻，神态恬然超脱，侍童或持物随侍，或打理瓶中花枝，动静相映。衣纹勾勒舒展流畅，晕染柔和细腻，将人物仪态铺陈得恰到好处，案上清瓶供花，衬得画面愈发静谧悠然。\n左侧题字笔意清隽，与画作相得益彰，整体融书画于一炉，工细间不失文人雅意，将禅门林下闲居的超然氛围烘托尽致，笔墨间漫溢出平和冲淡的禅韵，尽显静穆出尘之美。",[25,26,52,30,29,28,91,1254,1255,7,58],"孩童","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86645fcbebefd90b72b0c43836bfda67.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":100,"author":1262,"museum":20,"description":1263,"tags":1264,"thumbUrl":1267,"material":200,"size":77,"collection":37,"collections":1268,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":42},230567,"jia-li-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230567","迦哩迦尊者","平安时代 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[782,924,7,583,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c582b37fca5c6d9f72fa6f8ebf5fdd.jpg",[],{"id":1354,"slug":1355,"title":1348,"dynasty":47,"author":19,"museum":20,"description":1349,"tags":1356,"thumbUrl":1358,"material":76,"size":77,"collection":37,"collections":1359,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},257790,"cheng-hua-kuan-dou-cai-lian-hua-an-long-wen-pan-yi-ming-257790",[468,782,924,29,7,583,1357],"暗纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f665ec11dcb402d2a55a191613e3ec2.jpg",[],{"id":1361,"slug":1362,"title":1363,"dynasty":47,"author":19,"museum":20,"description":1364,"tags":1365,"thumbUrl":1367,"material":76,"size":77,"collection":37,"collections":1368,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},257779,"kang-xi-kuan-dou-cai-shuang-chi-lian-hua-wen-xiao-die-yi-ming-257779","康熙款斗彩双螭莲花纹小碟","此碟形制秀巧轻盈，釉面莹润亮泽。外壁以斗彩绘饰，青花勾线挺拔细腻，稳稳勾勒出缠枝藤蔓与双螭轮廓，釉上红彩晕染的葫芦饱满鲜亮，绿彩点染的枝叶柔婉舒展，各色交相辉映却层次分明。\n双螭身姿矫健灵动，穿梭于缠枝间，动静相宜，暗合福禄绵长的吉祥意涵。整体工致精巧，将釉下青花的沉静雅致与釉上彩的明艳鲜活相融，尽显制瓷的精工造诣，藏着旧时匠人独到的审美与工巧心思。",[468,782,924,1366,7,783],"螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b84be3ff2b8ed576c0c081adbf9d5e.jpg",[],{"id":1370,"slug":1371,"title":1372,"dynasty":138,"author":19,"museum":20,"description":542,"tags":1373,"thumbUrl":1376,"material":76,"size":77,"collection":37,"collections":1377,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},257492,"cheng-hua-kuan-wu-cai-yuan-yang-wo-lian-tu-wan-yi-ming-257492","成化款五彩鸳鸯卧莲图碗",[143,782,1374,1333,29,30,194,196,195,1375,7],"碗","莲叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeea31a1440dc58551ab888525a7494.jpg",[],{"id":1379,"slug":1380,"title":1381,"dynasty":138,"author":19,"museum":20,"description":988,"tags":1382,"thumbUrl":1384,"material":76,"size":77,"collection":37,"collections":1385,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":241},257125,"xuan-de-kuan-qing-hua-lian-hua-wen-ling-hua-shi-pan-yi-ming-257125","宣德款青花莲花纹菱花式盘",[782,990,7,1383],"菱花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5d95e34c0b00cce543d3bf001045124.jpg",[],{"id":1387,"slug":1388,"title":1389,"dynasty":47,"author":19,"museum":20,"description":1390,"tags":1391,"thumbUrl":1395,"material":76,"size":77,"collection":37,"collections":1396,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},256779,"wu-cai-jin-di-kai-guang-lian-hua-shi-ju-chang-fang-zhen-yi-ming-256779","五彩锦地开光莲花诗句长方枕","此枕造型温婉修长，弧面贴合头颈弧度，兼顾实用与美感。通体以五彩锦地为底，细密网格织就繁密雅致肌理，团寿纹错落点缀，暗藏福寿绵长的美好祈愿。\n\n开光内龙纹缠绕莲花，龙姿矫健灵动，芙蓉妍丽饱满，青花粉彩交相辉映，勾勒晕染兼具工致生动。侧面开光留白题诗，文气雅致，与满幅锦地形成繁简对比，层次分明。整体纹饰繁而不乱，配色明丽和谐，将吉祥寓意、装饰美学与日常功用融于一体，尽显制瓷匠人的精妙心思。",[782,1333,1392,29,7,1393,217,1394,256],"锦地开光","诗句","长方枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8380c5c9a57f56070bd15a01852d9641.jpg",[],{"id":1398,"slug":1399,"title":1400,"dynasty":138,"author":19,"museum":20,"description":988,"tags":1401,"thumbUrl":1402,"material":76,"size":77,"collection":37,"collections":1403,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":241},256357,"xuan-de-kuan-qing-hua-xing-long-lian-hua-wen-zun-yi-ming-256357","宣德款青花行龙莲花纹尊",[782,990,217,7,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0756019dc4dae69a8fef4a28a80e4dd9.jpg",[],{"id":1405,"slug":1406,"title":1407,"dynasty":138,"author":19,"museum":20,"description":1408,"tags":1409,"thumbUrl":1413,"material":76,"size":77,"collection":37,"collections":1414,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":42},255261,"liu-li-luo-han-xiang-yi-ming-255261","琉璃罗汉像","这尊造像以琉璃敷彩，黄绿褐三色交融晕染，古意沉凝。罗汉袒胸露腹身形敦硕，圆浑面庞带着融融笑意，垂坠耳垂尽显福态憨趣。数尊童子或攀附肩头、或依偎胸腹，将戏玩图景刻画得灵动鲜活，消解神佛的清冷肃穆，晕开俗世温情。莲座纹饰饱满古朴，基座雕刻规整周正，釉面虽带着岁月剥蚀的痕迹，却更衬器物厚重质感。\n\n它将罗汉塑成亲和乐天的世间长者，尽显明代造像的世俗化意趣，是当时匠人对宗教形象的生活化演绎，藏着古朴温润的烟火意趣，是兼具工艺价值与审美意涵的琉璃佳作。",[143,1410,782,545,28,91,481,1411,7,1412],"琉璃","多子","琉璃釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42b59b3e1d60ac5856278ddc62fcf4f8.jpg",[],{"id":1416,"slug":1417,"title":1418,"dynasty":138,"author":19,"museum":20,"description":1226,"tags":1419,"thumbUrl":1420,"material":76,"size":77,"collection":37,"collections":1421,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":42},252677,"qing-yu-tou-diao-lu-si-lian-hua-qian-jian-yi-ming-252677","青玉透雕鹭鸶莲花嵌件",[854,1162,1171,7,580,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37c90b0360f56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tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[1023,106,400,7,1932],"福寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f71883398593b8ef6c94453866027be.jpg",[],{"id":1936,"slug":1937,"title":1938,"dynasty":1939,"author":19,"museum":20,"description":932,"tags":1940,"thumbUrl":1943,"material":76,"size":77,"collection":37,"collections":1944,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},260729,"qing-you-ke-lian-hua-wen-pan-yi-ming-260729","青釉刻莲花纹盘","晋",[782,934,1941,7,1942,1324,1829],"刻花","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84eac91249fc444f96d7d24f09d8c448.jpg",[],{"id":1946,"slug":1947,"title":1948,"dynasty":47,"author":19,"museum":20,"description":988,"tags":1949,"thumbUrl":1951,"material":76,"size":77,"collection":37,"collections":1952,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":241},258643,"qian-long-kuan-qing-hua-chan-zhi-lian-wen-pan-kou-ping-yi-ming-258643","乾隆款青花缠枝莲纹盘口瓶",[468,782,990,1950,7,783],"缠枝莲纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1a844372bc0d2be146e30957d4a344.jpg",[],{"id":1954,"slug":1955,"title":1956,"dynasty":47,"author":19,"museum":20,"description":922,"tags":1957,"thumbUrl":1959,"material":76,"size":77,"collection":37,"collections":1960,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":241},258485,"qian-long-kuan-dou-cai-zhe-zhi-lian-wen-wan-yi-ming-258485","乾隆款斗彩折枝莲纹碗",[468,924,782,7,1958,783,29],"折枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba23b1352cf46e99d15d824347842d0.jpg",[],{"id":1962,"slug":1963,"title":1964,"dynasty":47,"author":19,"museum":20,"description":780,"tags":1965,"thumbUrl":1968,"material":76,"size":77,"collection":37,"collections":1969,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},258386,"yong-zheng-kuan-dou-cai-kui-feng-lian-hua-ba-bao-wen-da-pan-yi-ming-258386","雍正款斗彩夔凤莲花八宝纹大盘",[47,924,29,1966,7,1199,782,1967],"夔凤","大盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db3121e1d7ce89ec6bb26e38cf678a5.jpg",[],{"id":1971,"slug":1972,"title":1973,"dynasty":47,"author":19,"museum":20,"description":1974,"tags":1975,"thumbUrl":1976,"material":76,"size":77,"collection":37,"collections":1977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},258288,"cheng-hua-kuan-dou-cai-lian-hua-yun-wen-bei-yi-ming-258288","成化款斗彩莲花云纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[468,782,924,29,7,1266,1428,1322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766390eb537a3f5714adde68a4eab41c.jpg",[],{"id":1979,"slug":1980,"title":1981,"dynasty":47,"author":19,"museum":20,"description":988,"tags":1982,"thumbUrl":1983,"material":76,"size":77,"collection":37,"collections":1984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},258245,"qing-hua-chan-zhi-hua-wen-wan-yi-ming-258245","青花缠枝花纹碗",[47,782,990,455,7,1374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ac24fe67fbb87ffa3f42a201cb76a7.jpg",[],{"id":1986,"slug":1987,"title":1988,"dynasty":47,"author":19,"museum":20,"description":988,"tags":1989,"thumbUrl":1991,"material":76,"size":77,"collection":37,"collections":1992,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},257945,"qing-hua-lian-hua-wen-da-pan-yi-ming-257945","青花莲花纹大盘",[47,782,990,1990,30,783,7],"莲花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4fc79283116958b0a8657ea8aa7058.jpg",[],{"id":1994,"slug":1995,"title":1996,"dynasty":138,"author":19,"museum":20,"description":988,"tags":1997,"thumbUrl":1998,"material":76,"size":77,"collection":37,"collections":1999,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":241},257133,"qing-hua-chan-zhi-lian-wen-bo-shi-gang-yi-ming-257133","青花缠枝莲纹钵式缸",[143,782,990,455,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa441fb5dcb1730bdf5a377b5d856a5c8.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":138,"author":19,"museum":20,"description":988,"tags":2004,"thumbUrl":2007,"material":76,"size":77,"collection":37,"collections":2008,"showCount":11,"zanCount":11,"manualWeight":11,"ma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