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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。",[23,24,7,25,26,27,28,29,30,31],"宗教","人物","雕刻","设色","莲花座","须弥座","坐像","施釉","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d632addcd5767ea83f998544428070.jpg","未知","Xcm*Xcm","",[],6,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":19,"museum":20,"description":21,"tags":44,"thumbUrl":47,"material":33,"size":34,"collection":35,"collections":48,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":49},255309,"liu-li-zhen-wu-di-zuo-xiang-yi-ming-255309","琉璃真武帝坐像","明",[43,7,23,24,45,25,46],"兽","青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16652a5e8f5bcf426d09c45aaece8274.jpg",[],"37474F",{"id":51,"slug":52,"title":53,"dynasty":43,"author":19,"museum":20,"description":21,"tags":54,"thumbUrl":56,"material":33,"size":34,"collection":35,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":38},255085,"liu-li-wen-chang-zuo-xiang-yi-ming-255085","琉璃文昌坐像",[55,7,23,24,25,26],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ae40baa4c4b1f3d17434e9ba226632.jpg",[],5,{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":20,"description":63,"tags":64,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":49},242053,"tong-du-jin-feng-yi-ming-242053","铜镀金凤","此件首饰以鎏金为骨，点翠饰羽，明丽湖蓝与灿然金辉相映成趣。累丝花丝勾勒出凤身纤巧肌理与缠枝宝相花，脉络灵动写实。周身镶嵌圆润东珠、浓艳红宝石与清透碧玺，珠光宝气萦绕其间，华贵尽显。点翠色泽匀净澄澈，将瑞凤威仪烘托得淋漓尽致，下坠的喜字饰与珍珠流苏，融庄重富丽与吉庆温婉于一身，是花丝点翠工艺的上乘之作，把匠心巧思与吉祥寓意凝于方寸之间，尽显旧时首饰工艺的巅峰水准。",[65,66,67,25,68,69,70,71,72,73,74,75,7],"清代","铜制","金器","镶嵌","珐琅","累丝工艺","饰品","凤凰","珍珠","宝石","珊瑚",[],4,{"id":79,"slug":80,"title":81,"dynasty":43,"author":19,"museum":20,"description":21,"tags":82,"thumbUrl":83,"material":33,"size":34,"collection":35,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":49},255571,"liu-li-tu-di-shen-zuo-xiang-yi-ming-255571","琉璃土地神坐像",[43,7,23,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c97b93802f84c31f8a2d010f413c7fc.jpg",[],2,{"id":87,"slug":88,"title":89,"dynasty":90,"author":19,"museum":20,"description":91,"tags":92,"thumbUrl":96,"material":33,"size":34,"collection":35,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":38},281422,"ji-sui-bi-niu-liu-li-yin-yi-ming-281422","“祭睢”鼻钮琉璃印","汉","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[93,94,7,95],"印章","篆刻","鼻钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2417860184b1897e28b9867ebb12ccc.jpg",[],1,{"id":100,"slug":101,"title":102,"dynasty":43,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":110,"material":33,"size":34,"collection":35,"collections":111,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":38},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。",[55,7,105,25,23,24,106,107,108,109],"陶瓷","罗汉","多子","莲花","琉璃釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42b59b3e1d60ac5856278ddc62fcf4f8.jpg",[],{"id":113,"slug":114,"title":115,"dynasty":43,"author":19,"museum":20,"description":116,"tags":117,"thumbUrl":119,"material":33,"size":34,"collection":35,"collections":120,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":38},255255,"liu-li-jiao-yi-ming-255255","琉璃轿","它以绿釉晕染周身，莹润釉色带着时光沉淀的温润质感。穹窿轿顶浅镌卷草纹样，雅致古朴。立面敞露的轿室素净无饰，与周边模印雕花的围板形成虚实相映的层次。整体仿真实轿型烧造，规整厚重中带着造作的审美意趣，将日常仪具与陶瓷工艺巧妙相融，尽显民间造物的质朴匠心，静静承载着旧时出行仪制与传统烧造技艺的温度。",[43,105,7,25,118],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d114838a3d4b5ecb30b39ca63db6efd.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":43,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":130,"material":33,"size":34,"collection":35,"collections":131,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":132},255190,"liu-li-gong-shou-wen-li-yong-yi-ming-255190","琉璃拱手文吏俑","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。",[55,7,127,25,24,128,129],"俑","拱手","文吏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0dbc443b53a78f596d540f3b6f086a.jpg",[],"BDBDBD",{"id":134,"slug":135,"title":136,"dynasty":137,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":143,"material":33,"size":34,"collection":35,"collections":144,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":38},254821,"liu-li-suan-ni-chan-zhi-hua-zhuan-yi-ming-254821","琉璃狻猊缠枝花砖","宋","此砖刻绘疏密相宜，左畔缠枝牡丹丰妍饱满，卷叶柔婉舒展如春水漾波，褐釉晕染花身，绿釉点染枝叶，古雅釉色晕融在粗朴陶胎之上。\n\n右侧狻猊昂首奋蹄，鬃毛翻卷张扬，筋骨劲健矫健，带着遒悍的野性力道。蜿蜒缠枝牵系花与瑞兽，将柔媚花容与雄悍兽姿相映成趣，把瑞兽护花的祥瑞意趣凝于方寸之间。\n\n匠人手作朴拙生动，琉璃釉色沉静温润，将民间巧思藏入砖中，暗合着古人对安和盛景的祈愿。",[7,25,45,140,141,142],"缠枝花卉","牡丹","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F865c243ee2038abd8690aa3a8b05db45.jpg",[],{"id":146,"slug":147,"title":102,"dynasty":43,"author":19,"museum":20,"description":148,"tags":149,"thumbUrl":150,"material":33,"size":34,"collection":35,"collections":151,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":38},253268,"liu-li-luo-han-xiang-yi-ming-253268","此尊造像以三彩琉璃塑就，罗汉结跏趺坐于岩座之上，面相方圆恬和，双目垂敛，神情沉静内敛，似正沉湎于禅思之中。\n\n衣纹褶皱流转自然，绿彩莹润鲜亮，黄釉厚重温醇，蓝色彩边点缀镶饰，配色层次分明又相融谐和，将僧袍柔润垂坠的质感表现得淋漓尽致。右手微抬曲指，左手轻托于掌心，手势生动传神，把罗汉思索时的静谧姿态刻画入微。\n\n整体造型端雅庄重，塑绘技法精湛老到，兼具宗教造像的肃穆气韵，又不失世俗人情的灵动细节，尽显旧时琉璃造像的工艺水准与审美意趣。",[55,7,105,23,24,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678d4e0f359c2349959e7573c69fe908.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":90,"author":19,"museum":20,"description":91,"tags":156,"thumbUrl":157,"material":33,"size":34,"collection":35,"collections":158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},281399,"yi-wu-bi-niu-liu-li-yin-yi-ming-281399","“夷吾”鼻钮琉璃印",[93,94,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57595dcb6eb08f2eb1240c6db1fafe14.jpg",[],{"id":160,"slug":161,"title":162,"dynasty":90,"author":19,"museum":20,"description":91,"tags":163,"thumbUrl":164,"material":33,"size":34,"collection":35,"collections":165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},281394,"geng-shi-bi-niu-liu-li-yin-yi-ming-281394","“更始”鼻钮琉璃印",[93,94,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05512ae3062f5ac6db7d63f5b1a4a5b2.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":18,"author":19,"museum":20,"description":170,"tags":171,"thumbUrl":175,"material":33,"size":34,"collection":35,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},268912,"cao-zi-chao-zhu-yi-ming-268912","草子朝珠","主体草子珠匀净温润，素朴底色衬出雅致质感。翡翠隔珠、佛头莹润通透，晕染出一抹清新翠色，提亮视觉层次。三串记念以朱红珊瑚串联，末端坠饰宝石，随形摇曳间流光婉转。背云取蓝宝石为芯，坠饰精巧饰件，与周身配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