[{"data":1,"prerenderedAt":230},["ShallowReactive",2],{"subject-lian-zuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2087,"lian-zuo","莲座","莲座画高清赏析","精选中国历代莲座题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c42ed13f8fd8636fdbcbbca4b2426b.jpg",0,18,[14,40,55,68,82,94,106,119,130,140,150,159,167,177,187,199,207,216],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},236042,"lian-zuo-da-shi-xiang-zhou-ding-guan-peng-236042","莲座大士像轴","清","丁观鹏","藏地不详","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 七子过关图》，均辑入《中国历代名画集》。",[23,24,25,26,27,28,29,30,7,31],"国画","书画","立轴","宗教","设色","人物","工笔","莲花","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfcbf7d2e74981a162178e20029e32d.jpg","未知","Xcm*Xcm","",[],23,2,"37474F",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":52,"material":33,"size":34,"collection":35,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":39},252897,"tie-bao-yue-guang-fu-zuo-xiang-yi-ming-252897","铁宝月光佛坐像","明","佚名","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。",[48,26,49,50,28,51,7],"明代","铁器","雕刻","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f46343ce622e73ede2a9e3b2fdcdb6.jpg",[],6,{"id":56,"slug":57,"title":58,"dynasty":44,"author":45,"museum":20,"description":46,"tags":59,"thumbUrl":65,"material":33,"size":34,"collection":35,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":39},254246,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-254246","铜鎏金菩萨坐像",[48,26,60,61,50,62,51,7,63,64],"铜制","鎏金","菩萨","金属工艺","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a9712b9a15b4878ce7ac2f6a3ae277.jpg",[],5,{"id":69,"slug":70,"title":71,"dynasty":18,"author":45,"museum":20,"description":72,"tags":73,"thumbUrl":79,"material":33,"size":34,"collection":35,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":39},274892,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274892","银镀金托画供养菩萨","此作融造像工艺与小幅唐卡于一体，菩萨身色莹白，面容慈悲恬和，袒胸跏趺安坐莲台之上，天衣璎珞环身，六臂分持法器，威严又不失柔和。青蓝色地满饰细碎纹样，将菩萨烘托得愈发醒目庄严。\n\n银胎底座錾刻精妙，莲瓣层叠舒展，鎏金饰件晕染出华贵古雅的气韵，将宗教的清寂肃穆与工艺的华美工巧融于一处，尽显虔诚的信仰意涵与卓绝的工造水准。",[26,74,62,75,76,50,27,28,77,78,7],"佛教","银器","金器","器物","绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc747878a88efffae328e28fafcf6cbe2.jpg",[],4,{"id":83,"slug":84,"title":85,"dynasty":18,"author":45,"museum":20,"description":86,"tags":87,"thumbUrl":91,"material":33,"size":34,"collection":92,"collections":93,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},259967,"de-hua-yao-bai-you-fo-xiang-yi-ming-259967","德化窑白釉佛像","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。",[88,50,74,89,90,7],"陶瓷","佛像","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd4e01b1143fb27c4013dae6e639106.jpg","瓷器精选",[92],{"id":95,"slug":96,"title":97,"dynasty":18,"author":45,"museum":20,"description":98,"tags":99,"thumbUrl":102,"material":33,"size":34,"collection":35,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},274885,"tong-xiang-yin-qi-zhen-nan-bao-yi-ming-274885","铜镶银七珍-男宝","整体以层叠莲台承托主体，桃形牌面錾刻骑狮神将，神将威凛肃穆，周身祥纹缠络，细节饱满灵动。铜镶银材质历经岁月，鎏金虽有褪去，却晕染出古雅沉静的质感，舒展饱满的莲瓣层次分明，卷草底座婉转灵动，工艺精湛入微。藏地佛造像的庄严厚重与装饰美学相融尽显，静述着藏地信仰世界的神圣意涵，尽显精妙匠心。",[60,75,50,26,100,7,101],"佛教造像","供器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8e8dbb3345efc084de8449438840bc.jpg",[],1,"795548",{"id":107,"slug":108,"title":109,"dynasty":18,"author":45,"museum":20,"description":110,"tags":111,"thumbUrl":116,"material":33,"size":34,"collection":35,"collections":117,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":118},274898,"tong-du-jin-ba-bao-san-yi-ming-274898","铜镀金八宝-伞","这件宝伞嵌于桃形佛龛之中，伞主法相威严，持法器安坐，周身纹饰錾刻细密繁复，华贵庄重。\n\n下承仰莲座，莲瓣饱满鲜活，脉理分毫毕现。莲茎缠绕翻卷的瑞草纹，与底座覆莲纹遥遥呼应，鎏金随着时光晕染出深浅层次，古铜底色晕开温润包浆，将藏地法器的庄严气度与工艺美学相融。它把护佑祈福的意涵凝于造像，静穆间尽显清代造像的精工巧思，藏着厚重的宗教意蕴。",[60,112,50,26,113,114,7,115],"镀金","八宝","伞","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df6bb0e1d65a34bddac7a121b82a980.jpg",[],"BDBDBD",{"id":120,"slug":121,"title":122,"dynasty":18,"author":45,"museum":20,"description":123,"tags":124,"thumbUrl":128,"material":33,"size":34,"collection":35,"collections":129,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":118},274897,"tong-du-jin-ba-bao-luo-yi-ming-274897","铜镀金八宝-螺","宝螺背光饰缠枝莲纹，内錾刻法螺本尊，法相肃穆灵动，气韵庄严。饱满层叠的莲台承托宝器，花瓣肌理写实舒展，尽显圣洁之态。透雕卷草纹的支架柔婉灵动，中和器物厚重感，与莲台、底托形成虚实错落的韵律。通体镀金凝润亮泽，局部露铜色衬出纹饰层次，藏地手工冶铸的精细虔诚尽显无余。整器将宗教祈福意象与金属工艺精妙相融，静穆间带着精致华丽，是藏传法器中的匠心之作，尽显清代造像的典雅美学，凝聚着信仰与匠造的双重温度。",[60,76,125,50,26,126,7,127,113],"铜镀金","法螺","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03127824c19be1b39237410956f1f2e.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":18,"author":45,"museum":20,"description":134,"tags":135,"thumbUrl":138,"material":33,"size":34,"collection":35,"collections":139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":118},274891,"tong-xiang-yin-qi-zhen-mo-ni-bao-yi-ming-274891","铜镶银七珍-摩尼宝","这件造像以莲台承托鎏金背光，主尊仪态端严，双手托举法珠，绶带宝纹随形环绕，灵动舒展。铜银错镶的工艺让明暗层次尽显分明，鎏金的华贵与银质的清冽相互映衬。下接卷草缠枝束腰支架，仰覆莲底座錾刻禅纹，线条辗转间尽显藏地造像的精工巧思。\n\n整体静穆中带着富丽质感，既承载着护持祥瑞的宗教神性，又尽显清时造像的审美意趣，将摩尼宝的圣洁华贵凝练其中，是匠心与信仰融合的精妙之作。",[26,74,60,75,50,89,7,136,137,127],"法器","摩尼宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23103e57a8ecf769b87a54426341d51.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":45,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":33,"size":34,"collection":35,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},274887,"tong-xiang-yin-qi-zhen-ma-bao-yi-ming-274887","铜镶银七珍-马宝","桃形牌身錾刻缠枝卷草，柔婉舒展的线条框定神异造像，驭天神人安坐昂首神驹之上，周身祥纹环绕，鬃毛飞扬的神驹雄健挺拔，细节饱满生动，尽显庄严神异。\n\n莲台瓣叶分明饱满，鎏金包浆凝厚沉郁，暗哑金调晕开经年岁月的温润。下部卷草立柱虚实相生，与覆莲底座呼应，整体线条流转圆润，将厚重质朴与精工錾刻的细腻相融，把供养祈福的至诚心意凝于每一处刀痕，是兼具审美与信仰价值的供器佳作。",[60,75,50,26,74,146,147,7,127],"马","七珍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790a3f8518a09c0cda00cf7e2f26f7a.jpg",[],{"id":151,"slug":152,"title":153,"dynasty":18,"author":45,"museum":20,"description":154,"tags":155,"thumbUrl":157,"material":33,"size":34,"collection":35,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},274881,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274881","银胎嵌珐琅供养","银胎包浆古雅沉静，层叠莲瓣舒展承托佛龛，立柱缠云纹盘旋萦绕，底足浮雕莲苞，细节朴拙厚重。佛龛嵌珐琅面板，宝蓝地色明丽鲜亮，中央尊像安坐须弥台，衣饰华艳、法相端严，设色浓郁饱满。金属的沉敛与珐琅的明润相映成趣，藏地佛供的庄严雅致凝于一身，细金工艺与珐琅彩饰精妙融合，静穆间流露信仰的沉静力量，是独具匠心的宗教工艺佳制。",[75,156,26,101,50,7,100],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160215f97714a22618f92e27ea9090d6.jpg",[],{"id":160,"slug":161,"title":153,"dynasty":18,"author":45,"museum":20,"description":162,"tags":163,"thumbUrl":165,"material":33,"size":34,"collection":35,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},274859,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274859","此作以银胎塑底座，分莲台、缠枝云纹柱身与卷云底台，层叠镂雕，纹路辗转灵动，尽显錾刻精工。嵌珐琅为龛心，天青地色明净莹润，护法天王身着宝胄，持戟端坐，衣袂翩然舒展，设色浓丽古雅，红彩衬出威仪，金彩勾描宝饰细节，藏地造像的肃穆厚重与珐琅彩的柔润鲜亮相融，将护法天王的威严气度晕染得恰到好处，尽显汉藏工艺合璧的手工匠心之美。",[75,156,164,50,7,26,101],"宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12aabdff59d3a7aa65d7bf2d0d6f586.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":18,"author":45,"museum":20,"description":171,"tags":172,"thumbUrl":175,"material":33,"size":34,"collection":35,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":105},274741,"fen-cai-wu-liang-shou-fu-yi-ming-274741","粉彩无量寿佛","此造像静跏趺坐于双层莲台之上，面容圆润慈悲，双目垂敛，尽显沉静祥和之态。衣袍以明黄铺底，描金团纹华贵雅致，松石蓝肩饰衬出瓷质肌肤的温润柔和。宝冠璎珞层层叠叠，细节饱满精巧，将粉彩的细腻工法尽显无余。整器把瓷塑的莹润质感与藏传造像的庄严感相融，色彩搭配明快协调，既不失宗教造像的肃穆气韵，又将瓷饰的华美展现到极致，静穆端庄中自带慈悲气场，是瓷质造像中的上乘之作。",[173,88,26,89,174,27,28,7],"粉彩","无量寿佛","https:\u002F\u002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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。",[223,26,28,62,27,29,224,30,225,226,227,7],"唐代","敦煌","宝冠","璎珞","飘带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5c8afa165c1971694bcf87f03c9dd.jpg",[],1777535722161]