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时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,48,24,25,91,27,28,30,92,138,109,29,7],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],48,{"id":143,"slug":144,"title":145,"dynasty":101,"author":69,"museum":20,"description":146,"tags":147,"thumbUrl":150,"material":113,"size":114,"collection":35,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":39},287957,"fang-zhao-meng-fu-shi-liu-luo-han-tu-yi-ming-287957","仿赵孟頫十六罗汉图","此作用笔清逸秀雅，罗汉形象线条匀净灵动，将世外高人沉静安然的神态刻画入微，衣褶流转间兼具温润质感与古朴意趣。搭配的书法题识笔意萧散，与图像相映成趣，墨色浓淡相宜。古雅的暗纹衬底更添沉静书卷气，整体气韵呼应元人笔墨的温婉雅致，尽现禅意悠远的意境，复刻出原作的文人画风骨。将释道题材的静穆和书法的文雅融为一体，尽显古拙澹泊的古典美学韵味，是一件兼具临摹意趣与审美价值的长卷。",[23,24,91,29,30,148,7,28,149,105],"佛教","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778036322ea0f4d59bd5410859e7de73.jpg",[],41,{"id":154,"slug":155,"title":156,"dynasty":18,"author":69,"museum":157,"description":158,"tags":159,"thumbUrl":161,"material":81,"size":35,"collection":36,"collections":162,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":163},218633,"di-shi-wu-luo-han-tu-yi-ming-218633","第十五罗汉图","耶鲁大学艺术博物馆","罗汉端坐席上，光头映淡金光环，面容沉静却藏洞察。双手捧持器物，指节分明似含力量。衣袍赭红与褐金交织，褶皱线条婉转如流云，裙摆饰细密花纹，古雅尽显。身侧侍者躬身而立，神态恭谨，衣纹简练却见肌理。画面色调沉郁古朴，人物刻画入微，罗汉的超然与侍者的虔敬相衬，宋代写实功力毕现。静谧中似有禅意缓缓流淌，肃穆安宁之感油然而生，尽显古画的精神内涵与艺术张力。",[48,24,25,72,29,50,51,30,7,160],"侍者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80bf36bc8552c21dc92bcba7c453e78e.jpg",[36],"37474F",{"id":165,"slug":166,"title":167,"dynasty":168,"author":69,"museum":20,"description":169,"tags":170,"thumbUrl":175,"material":35,"size":35,"collection":176,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":163},251518,"bi-yu-shi-ba-luo-han-zu-cha-ba-na-ta-ga-zun-zhe-yi-ming-251518","碧玉十八罗汉-租查巴纳塔嘠尊者","清","此作取料碧玉，色泽匀净苍润，凝腻莹泽。罗汉结跏趺坐，面容清癯高古，长髯垂胸，眉眼低垂，正潜心运笔落于砚板之上，神态沉静安然，将高僧著述时的专注澹定刻画入微。衣褶流转自然，线条柔婉却暗含挺括质感，褶皱层次分明，写实生动。座侧衬饰莲华，更添出尘清雅之态。\n\n整器刀法浑朴老辣，造型浑厚沉稳，形神兼备，尽显清代玉雕写实功力，将尊者内敛超脱的气度诠释得淋漓尽致，是一件极具匠心的玉雕精品。",[171,172,29,30,173,7,174],"玉石","雕刻","清代","玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F431c0c74a69aed6d7015915a97022c06.jpg","雕塑精选",[176],37,{"id":180,"slug":181,"title":182,"dynasty":183,"author":184,"museum":20,"description":185,"tags":186,"thumbUrl":192,"material":113,"size":114,"collection":35,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":39},287592,"wei-mo-yan-jiao-tu-wang-zhen-peng-287592","维摩演教图","元","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[24,48,25,91,27,30,29,148,187,188,7,189,190,191],"维摩诘","文殊菩萨","天女","护法","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40a4d0806de3db1968a0376916c5f4a.jpg",[],35,{"id":196,"slug":197,"title":198,"dynasty":101,"author":199,"museum":200,"description":201,"tags":202,"thumbUrl":207,"material":81,"size":208,"collection":36,"collections":209,"showCount":210,"zanCount":63,"manualWeight":11,"mainColor":64},220128,"du-hai-luo-han-tu-su-zhen-tai-hou-220128","渡海罗汉图","肃贞太后","美国弗利尔美术馆","此幅题：大明万历岁次庚戌年（1610年）明肃贞寿端献恭熹皇太后绘造。钤：慈圣宣文明肃贞寿端献恭熹皇太后宝 朱文大印。",[23,24,50,51,29,30,7,203,32,204,205,206],"海浪","神兽","明代","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[36],34,{"id":212,"slug":213,"title":214,"dynasty":101,"author":121,"museum":20,"description":215,"tags":216,"thumbUrl":217,"material":113,"size":114,"collection":35,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":39},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[23,24,91,51,50,149,111,30,7,78,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],33,{"id":221,"slug":222,"title":223,"dynasty":168,"author":224,"museum":20,"description":225,"tags":226,"thumbUrl":228,"material":113,"size":114,"collection":35,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":39},288176,"luo-han-tu-zhou-si-tiao-ping-shi-tao-288176","罗汉图轴四条屏","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,24,72,28,27,30,29,7,227,109,111],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c84d5e6a7fd73e848716f9d8934ef5.jpg",[],32,{"id":232,"slug":233,"title":68,"dynasty":101,"author":69,"museum":200,"description":234,"tags":235,"thumbUrl":238,"material":81,"size":239,"collection":36,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":64},218298,"luo-han-tu-yi-ming-218298","两尊罗汉共处一隅，坐者执卷凝思，眉眼间尽是专注，似在经文中悟得禅理；立者躬身侧耳，神态恭谨，如沐智慧的低语。衣袍线条婉转流畅，色彩古雅温润，赤足踏地的细节添了几分随性自在。背景深褐如晦，圆月隐于树影，静谧禅意悄然流淌。画作以生动的神态互动，传递禅林问学的融融之境，笔墨间既有宗教肃穆，又含人间温情，尽显古画的含蓄韵味与精神深度。",[24,25,72,51,50,29,30,7,236,109,237],"衣纹","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e51e9f2411a999971874ae34ce0bb4.jpg","140.8x78.8",[36],29,{"id":243,"slug":244,"title":245,"dynasty":168,"author":69,"museum":20,"description":246,"tags":247,"thumbUrl":251,"material":113,"size":114,"collection":35,"collections":252,"showCount":253,"zanCount":63,"manualWeight":11,"mainColor":64},238872,"tian-wang-yu-luo-han-tang-ka-yi-ming-238872","天王与罗汉唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[248,29,30,51,7,249,148,25,250],"唐卡","天王","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93dbf502d7bc6be9c510f6f06bbd2ce.jpg",[],27,{"id":255,"slug":256,"title":257,"dynasty":168,"author":69,"museum":20,"description":246,"tags":258,"thumbUrl":267,"material":113,"size":114,"collection":35,"collections":268,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":39},234447,"e-mi-tuo-fo-ji-le-shi-jie-tang-ka-yi-ming-234447","阿弥陀佛极乐世界唐卡",[248,29,50,51,259,30,260,261,262,263,92,264,265,7,77,204,266],"重彩","楼阁","祥云","莲花","飞天","建筑","菩萨","莲花池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1547b88b586a795e0d8869e0cdf7e3a.jpg",[],{"id":270,"slug":271,"title":272,"dynasty":18,"author":69,"museum":20,"description":273,"tags":274,"thumbUrl":275,"material":113,"size":114,"collection":35,"collections":276,"showCount":277,"zanCount":63,"manualWeight":11,"mainColor":64},289129,"luo-han-tu-zhou-yi-ming-289129","罗汉图轴","半跏安坐于瑞兽之上，罗汉高额深目，虬髯蜷曲，敛眉沉凝，似在静悟禅机。僧袍敷色温雅沉静，朱红织金纹饰古雅富丽，铁线描勾勒衣纹遒劲凝练，将布料垂坠厚重的质感尽显无遗。身旁瑞兽昂首瞋目，鬃毛翻卷灵动，与罗汉的静定神态相映，一动一静间生出精妙意趣。\n\n身后淡墨晕染出朦胧圆光，柔化了画面边界，晕染出清净出尘的禅韵。整体笔意苍劲古拙，设色沉厚朴拙，于细节间尽显对造像的深刻理解，将罗汉超脱凡俗的沉静法相刻画入木，悠悠古意漫溢开来，暗合禅宗宁静内省的旨趣。",[24,72,29,148,30,7,108,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d540736cdfd2ee5e2372d6bb9b6468c.jpg",[],26,{"id":279,"slug":280,"title":281,"dynasty":101,"author":102,"museum":20,"description":136,"tags":282,"thumbUrl":284,"material":113,"size":114,"collection":35,"collections":285,"showCount":277,"zanCount":63,"manualWeight":11,"mainColor":39},287637,"lin-guan-xiu-bai-miao-luo-han-tu-juan-nian-ban-chou-ying-287637","临贯休白描罗汉图卷(年版)",[23,24,91,27,28,29,7,283,105,106,109,149,111],"佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f0756cfbb86969cca76cc0ca73962d.jpg",[],{"id":287,"slug":288,"title":289,"dynasty":101,"author":290,"museum":45,"description":291,"tags":292,"thumbUrl":296,"material":297,"size":298,"collection":36,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":39},217073,"ying-zhen-xiang-si-zhou-ding-yun-peng-217073","应真像四轴","丁云鹏","用笔实而有力，颇具装饰意味。时年丁云鹏已经67岁了，这是他晚年的风格。",[24,25,72,29,30,27,28,50,29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的深刻的寓意，为美术史留下了一个画谜。",[24,48,72,29,30,51,7,374,128,109,375],"沙弥","佛具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4174ab2954aab1bfbc0e7ca2c411926f.jpg",[],22,{"id":380,"slug":381,"title":382,"dynasty":18,"author":44,"museum":45,"description":383,"tags":384,"thumbUrl":391,"material":56,"size":57,"collection":35,"collections":392,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":64},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5","刘松年 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画作工笔精湛，线条婉转流畅，设色明丽温润，细节处见匠心——无论是衣纹的褶皱、花叶的脉络，还是水波的纹理，皆刻画入微。动静相宜的构图，将人物的沉静与周遭的灵动巧妙融合，营造出清寂而又充满生气的氛围，尽显传统工笔重彩的典雅韵致。",[24,50,51,29,30,7,263,294,472,473,474,261,475,476,477],"精灵","花木","水波","鲜果","工笔重彩","典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3dab5aee7d3ceb67daa4b6ae007ad6d.jpg","纸本,设色",[],16,{"id":483,"slug":484,"title":485,"dynasty":101,"author":486,"museum":20,"description":487,"tags":488,"thumbUrl":490,"material":113,"size":491,"collection":35,"collections":492,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":64},290974,"luo-han-zhou-dai-jin-290974","罗汉轴","戴进","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[48,24,25,72,29,28,30,7,106,128,489,109],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg","113.9x36.7",[],15,{"id":495,"slug":496,"title":68,"dynasty":18,"author":497,"museum":20,"description":498,"tags":499,"thumbUrl":501,"material":113,"size":114,"collection":35,"collections":502,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":39},289880,"luo-han-tu-li-yu-289880","李遹","李遹 (约公元一二o八年前后在世)字平甫,栾城人。生卒年均不详,约金章宗泰和末前后在世,年六十七岁。高才博学,工画山水龙虎。为人滑稽多智。明昌二年(公元一一九一年)进士。",[23,24,25,72,29,28,27,30,500,111,149,7,148],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff936cb0bdc390fb3bddab4f433c9cb9c.jpg",[],{"id":504,"slug":505,"title":506,"dynasty":18,"author":19,"museum":20,"description":305,"tags":507,"thumbUrl":509,"material":113,"size":114,"collection":35,"collections":510,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":39},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)",[23,48,24,91,27,30,29,7,93,149,111,508,203,32],"仙佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9353d739f26f03383d099ee1c6984e1.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":101,"author":515,"museum":448,"description":516,"tags":517,"thumbUrl":519,"material":34,"size":35,"collection":35,"collections":520,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":39},234161,"luo-han-juan-li-lin-234161","罗汉卷","李麟","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,48,24,25,91,51,50,29,30,7,106,385,518,148],"墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":522,"slug":523,"title":485,"dynasty":183,"author":524,"museum":20,"description":525,"tags":526,"thumbUrl":528,"material":113,"size":114,"collection":35,"collections":529,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":39},290977,"luo-han-zhou-liu-guan-dao-290977","刘贯道","刘贯道 生卒年不详，字仲贤，中山（今定州）人。元代画家。曾因画《裕宗像》得到赏识，得补御衣局使。善画道释、人物、山水、花竹、鸟兽。道释人物师法晋唐，山水师法北宋郭熙，花竹、鸟兽亦能集古人之长。",[24,72,29,30,7,51,78,527,111,50],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc29cb28110a35f79e223ad2e816aec.jpg",[],14,{"id":532,"slug":533,"title":534,"dynasty":168,"author":69,"museum":20,"description":535,"tags":536,"thumbUrl":538,"material":113,"size":114,"collection":35,"collections":539,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":163},288295,"shi-ba-luo-han-tu-juan-shou-juan-yi-ming-288295","十八罗汉图卷手卷","此作用黑底泥金勾勒，墨色沉敛如夜，金彩熠熠若星。十八尊罗汉各呈异态：或持锡杖昂然卓立，或托灵珠笑态可掬，或踞坐冥思禅定，或驭瑞兽凝神远眺。线条细劲圆转，衣褶勾勒得虚实灵动，将罗汉们清癯肃穆或是憨态朴拙的神情风骨尽数铺展。朱红闲章错落点缀，为沉郁底色晕开古雅意趣，整体静穆庄严，兼具佛造像的神性威仪与人物画的鲜活意韵，尽显线描佛绘的精妙笔力。",[23,24,25,91,537,29,30,364,27,7,106],"手卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70c4ea2d3e99a4f0d4b242be88b27f0.jpg",[],{"id":541,"slug":542,"title":543,"dynasty":168,"author":224,"museum":20,"description":225,"tags":544,"thumbUrl":546,"material":113,"size":114,"collection":35,"collections":547,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":39},287426,"shi-liu-luo-han-tu-juan-quan-juan-shi-tao-287426","十六罗汉图卷(全卷)",[24,91,27,28,49,124,148,7,500,106,109,78,545],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0277a576b1ecf73a9a35381215e88e4.jpg",[],{"id":549,"slug":550,"title":551,"dynasty":168,"author":355,"museum":20,"description":552,"tags":553,"thumbUrl":554,"material":113,"size":114,"collection":35,"collections":555,"showCount":530,"zanCount":11,"manualWeight":11,"mainColor":39},287423,"shi-liu-luo-han-xiang-di-liu-ding-guan-peng-287423","十六罗汉像(第六)","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》。",[24,25,48,72,29,51,30,50,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ee087940f6ecb3f30d2f5ff8997cf.jpg",[],{"id":557,"slug":558,"title":559,"dynasty":168,"author":355,"museum":560,"description":561,"tags":562,"thumbUrl":566,"material":452,"size":567,"collection":35,"collections":568,"showCount":569,"zanCount":11,"manualWeight":11,"mainColor":39},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,50,51,91,29,30,265,249,7,263,261,106,563,108,564,262,92,260,565],"象","法器","神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg","纵33厘米、横1635厘米",[],13,{"id":571,"slug":572,"title":573,"dynasty":183,"author":69,"museum":448,"description":574,"tags":575,"thumbUrl":580,"material":34,"size":581,"collection":582,"collections":583,"showCount":569,"zanCount":11,"manualWeight":11,"mainColor":39},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[23,24,124,72,28,50,27,30,92,576,7,577,236,578,579,545,111],"瀑布","坐像","光晕","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1cb6be2a8059.jpg","114.4x66.8","山水画精选",[582,584],"水墨画精选",{"id":586,"slug":587,"title":588,"dynasty":18,"author":345,"museum":589,"description":590,"tags":591,"thumbUrl":594,"material":81,"size":595,"collection":35,"collections":596,"showCount":569,"zanCount":63,"manualWeight":11,"mainColor":64},220116,"shi-liu-luo-han-tu-di-ba-zun-zhe-jin-da-shou-220116","十六罗汉图-第八尊者","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,24,29,30,51,50,7,160,385,592,593],"光环","杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa096f31a4172545a1bb5916fc205061f.jpg","118.8×51.7cm",[],{"id":598,"slug":599,"title":600,"dynasty":314,"author":69,"museum":20,"description":601,"tags":602,"thumbUrl":603,"material":113,"size":114,"collection":35,"collections":604,"showCount":605,"zanCount":11,"manualWeight":11,"mainColor":64},290378,"fu-hu-luo-han-zhou-yi-ming-290378","伏虎罗汉轴","主题与关键字：罗汉（应真、尊者）、枴杖、虎、竹 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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。",[23,48,24,25,29,51,30,769,265,7],"佛祖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2745dfde8da022c5388603d2e1f4287c.jpg",[],{"id":773,"slug":774,"title":775,"dynasty":18,"author":19,"museum":20,"description":305,"tags":776,"thumbUrl":777,"material":113,"size":114,"collection":35,"collections":778,"showCount":748,"zanCount":11,"manualWeight":11,"mainColor":163},287753,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-287753","白描佛像第十三尊者",[23,24,27,29,30,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d9f8f5cfe42eb5356d47e1f5fae5c27.jpg",[],{"id":780,"slug":781,"title":782,"dynasty":168,"author":69,"museum":20,"description":783,"tags":784,"thumbUrl":788,"material":113,"size":114,"collection":789,"collections":790,"showCount":748,"zanCount":11,"manualWeight":11,"mainColor":64},252804,"shi-wan-yao-lan-lv-you-fu-xi-luo-han-zuo-xiang-yi-ming-252804","石湾窑蓝绿釉抚膝罗汉坐像","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。"",[785,786,787,29,30,7],"陶瓷","雕塑","青绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5259eb756811d60d8b1bab7939825a4d.jpg","瓷器精选",[789],{"id":792,"slug":793,"title":794,"dynasty":101,"author":69,"museum":20,"description":795,"tags":796,"thumbUrl":799,"material":113,"size":114,"collection":35,"collections":800,"showCount":748,"zanCount":11,"manualWeight":11,"mainColor":39},239491,"ji-zhu-luo-han-du-hai-tu-juan-yi-ming-239491","寂住罗汉渡海图卷","以清隽白描铺展长卷，起首古松下众贤聚晤，神态悠然。继而浩渺烟波之中，诸仙或乘异兽、或踏云涛渡海，人物形神各异，或安坐凝神，或驭物踏浪，线条挺秀灵动，将仙逸风骨尽显。苍崖虬松点缀云海之间，云水皴法婉转流动，晕染出沧溟浩渺之态，把渡海的超凡奇谲铺陈开来。整体笔墨空灵雅致，将宗教的庄严与文人意趣相融，笔韵悠长，把群贤渡海的逍遥悠远意境刻画得淋漓尽致。",[23,24,27,91,29,30,7,797,110,385,109,717,798],"水","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08e19ff1f56ccc278fabc7830a42577.jpg",[],{"id":802,"slug":803,"title":485,"dynasty":101,"author":121,"museum":20,"description":122,"tags":804,"thumbUrl":806,"material":113,"size":114,"collection":35,"collections":807,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":64},290971,"luo-han-zhou-wu-bin-290971",[24,72,29,30,7,27,28,111,109,805],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b572709720e887cb983288dda892cb.jpg",[],7,{"id":810,"slug":811,"title":812,"dynasty":183,"author":69,"museum":20,"description":813,"tags":814,"thumbUrl":818,"material":113,"size":114,"collection":35,"collections":819,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":39},290795,"wei-du-tu-zhou-yi-ming-290795","苇渡图轴","画中达摩脚踩一叶芦苇，衣袍飞动，飞越江水。人物受明末吴彬夸张变形风格影响，神情夸大，极富趣味。用色鲜艳活泼。",[24,72,48,50,51,148,7,815,203,816,92,817],"一苇渡江","芦苇","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec55356e9a762b91962970217653bc0.jpg",[],{"id":821,"slug":822,"title":823,"dynasty":183,"author":69,"museum":20,"description":619,"tags":824,"thumbUrl":825,"material":113,"size":114,"collection":35,"collections":826,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":39},287772,"di-er-a-zi-da-zun-zhe-yi-ming-287772","第二阿资达尊者",[24,25,72,29,28,30,7,148,109,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea327f67ec8c5c8bbd64df1c99aa3c3.jpg",[],{"id":828,"slug":829,"title":830,"dynasty":168,"author":355,"museum":20,"description":552,"tags":831,"thumbUrl":834,"material":113,"size":114,"collection":35,"collections":835,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":39},287424,"shi-liu-ying-zhen-xiang-di-shi-er-ding-guan-peng-287424","十六应真像(第十二)",[24,25,72,29,148,51,50,30,7,92,545,832,833,111,250],"荷花","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66941476659f3a33338acdaefcd8a57.jpg",[],{"id":837,"slug":838,"title":839,"dynasty":168,"author":355,"museum":560,"description":561,"tags":840,"thumbUrl":843,"material":452,"size":567,"collection":35,"collections":844,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":39},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,24,25,91,50,51,29,30,841,293,191,262,263,842,261,7,265,332,204,77],"亭","宝盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":846,"slug":847,"title":848,"dynasty":314,"author":315,"museum":448,"description":458,"tags":849,"thumbUrl":850,"material":462,"size":463,"collection":35,"collections":851,"showCo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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。",[785,172,29,7,106,108,30,1038],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e124a5c604ebfd11e0627c7710bd9e.jpg",[789],{"id":1042,"slug":1043,"title":1044,"dynasty":1045,"author":69,"museum":20,"description":783,"tags":1046,"thumbUrl":1050,"material":113,"size":114,"collection":789,"collections":1051,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":163},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",[1045,1047,785,1048,29,30,7,1049,172],"石湾窑","红釉","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf10f89e1cc9973c987bc57b7eed27c.jpg",[789],{"id":1053,"slug":1054,"title":446,"dynasty":168,"author":447,"museum":20,"description":1055,"tags":1056,"thumbUrl":1057,"material":35,"size":35,"collection":35,"collections":1058,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":39},236087,"hua-luo-han-ce-leng-mei-236087","画面右侧罗汉颓然卧于石上，沉醉忘形，身侧侍者一人奉茶、一人指认漫天簌簌而落的天花，情态各异，生动传神。设色浅淡清雅，衣纹线条细劲流畅，将布料的柔润质感与人物动态完美结合，罗汉醺然沉醉的神态刻画入微，侍者恭谨的姿态颇具章法。\n\n左侧题字笔致秀逸舒展，诗偈呼应画意，点明天花不着身的无漏禅心，书画相映，禅意悠悠。整体工致秀雅，兼具院体画的精工与文人意趣，将禅家澄明境界融于尺幅之间，静穆生动并存，尽显出尘的禅门意韵。",[24,25,29,30,50,51,111,149,7,52,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26576d943f408476f88ed7f842453cb5.jpg",[],{"id":1060,"slug":1061,"title":1062,"dynasty":183,"author":69,"museum":45,"description":1063,"tags":1064,"thumbUrl":1068,"material":34,"size":1069,"collection":35,"collections":1070,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":64},232259,"ying-zhen-xiang-yi-ming-232259","应真像","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[48,24,29,30,51,27,1065,7,227,1066,111,1067],"晕染","袈裟","沉郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0511087ee38eb77c532302d97cf4bf.jpg","104.1x50.3",[],{"id":1072,"slug":1073,"title":1074,"dynasty":168,"author":69,"museum":20,"description":1075,"tags":1076,"thumbUrl":1078,"material":81,"size":35,"collection":35,"collections":1079,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":163},218123,"fu-hua-luo-han-jiu-zhang-lao-xiang-3-yi-ming-218123","佛画·罗汉九长老像-3","佚名的佛画 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,173,24,29,30,51,50,109,78,545,1077,7,611],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d43c375e41dbbe825f0e2847774d36.jpg",[],{"id":1081,"slug":1082,"title":1083,"dynasty":168,"author":69,"museum":20,"description":1075,"tags":1084,"thumbUrl":1088,"material":81,"size":35,"collection":35,"collections":1089,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":163},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4",[23,24,25,29,51,50,173,7,30,294,107,1085,318,694,1077,109,700,1086,717,1087],"鹤","佛画风格","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":1091,"slug":1092,"title":1093,"dynasty":168,"author":447,"museum":20,"description":1094,"tags":1095,"thumbUrl":1097,"material":34,"size":35,"collection":35,"collections":1098,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":163},217087,"bai-miao-luo-han-34-leng-mei-217087","白描罗汉-34","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,25,26,27,1096,149,111,29,30,7],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f621670f2272e80377ef73cbb18c6e0.jpg",[],{"id":1100,"slug":1101,"title":1102,"dynasty":101,"author":290,"museum":20,"description":1103,"tags":1104,"thumbUrl":1105,"material":623,"size":35,"collection":35,"collections":1106,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":39},217049,"bai-miao-ying-zhen-tu-10-ding-yun-peng-217049","白描应真图-10","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,25,27,29,30,106,318,109,111,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4364e3858380dac094d5e7fd7c29464b.jpg",[],{"id":1108,"slug":1109,"title":1035,"dynasty":101,"author":69,"museum":20,"description":1036,"tags":1110,"thumbUrl":1111,"material":113,"size":114,"collection":789,"collections":1112,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":163},261360,"de-hua-yao-bai-you-fu-hu-luo-han-yi-ming-261360",[785,172,29,7,106,108,1038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99d21f3171b52f294e935a456c7c06e.jpg",[789],2,{"id":1115,"slug":1116,"title":1117,"dynasty":1118,"author":69,"museum":20,"description":767,"tags":1119,"thumbUrl":1122,"material":113,"size":114,"collection":35,"collections":1123,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":64},254870,"tong-liu-jin-luo-han-zuo-xiang-yi-ming-254870","铜鎏金罗汉坐像","唐",[1120,1121,172,29,30,7,832,577],"铜鎏金","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189fa3754bde5b3c5dd45762f6e20fc0.jpg",[],{"id":1125,"slug":1126,"title":1127,"dynasty":168,"author":69,"museum":20,"description":1128,"tags":1129,"thumbUrl":1132,"material":113,"size":114,"collection":35,"collections":1133,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":64},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。",[173,1130,172,29,30,7,1131,577],"寿山石","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821f4a953213f6d4ed9795d3e8615b3c.jpg",[],{"id":1135,"slug":1136,"title":1137,"dynasty":18,"author":69,"museum":20,"description":1138,"tags":1139,"thumbUrl":1144,"material":113,"size":114,"collection":35,"collections":1145,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":39},252782,"mu-diao-shuang-shou-chi-wu-luo-han-zuo-xiang-yi-ming-252782","木雕双手持物罗汉坐像","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。",[1140,1141,29,30,7,577,1142,984,172,1143],"宋代","木雕","持物","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf3c46465223dffc6cb88fa99085d38.jpg",[],{"id":1147,"slug":1148,"title":1149,"dynasty":168,"author":69,"museum":20,"description":1150,"tags":1151,"thumbUrl":1158,"material":113,"size":114,"collection":35,"collections":1159,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":39},234441,"qing-ren-fa-an-luo-fu-duo-zun-zhe-xiang-zhou-yi-ming-234441","清人伐闇罗佛多尊者像轴","主尊安坐青峦，法相沉静肃穆，袈裟织纹繁丽华贵，织锦质感描摹精妙入微。他手持禅杖，杖首宝络垂悬，身侧祥烟萦纡悠然。下方天人躬身奉托供盘，璎珞宝饰周身，尽显虔敬礼佛之心，周遭奇花异宝罗列，晕染出殊胜清净的道场氛围。\n上方虚空两尊佛陀分峙，一坐云轮、一栖莲台，霞气相随烘托梵天胜境。画作设色明丽厚重，矿物颜料晕染出沉稳雅致的质感，线条精细流畅，融藏地唐卡的庄严神性与汉地工笔的细腻柔美于一体，将佛门清寂庄严的灵韵尽数铺展，尽显宗教绘画独特的美学意涵。",[24,72,29,50,51,30,7,656,1152,1153,1154,1155,1156,1157],"天人","禅杖","莲台","道场","庄严","清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ca61273d636c5acd168d087f3b7e7a.jpg",[],{"id":1161,"slug":1162,"title":1163,"dynasty":168,"author":69,"museum":20,"description":1075,"tags":1164,"thumbUrl":1166,"material":81,"size":35,"collection":35,"collections":1167,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":163},218117,"fu-hua-luo-han-jiu-zhang-lao-xiang-6-yi-ming-218117","佛画·罗汉九长老像-6",[23,24,29,173,51,50,30,7,1165,108,92,78,708],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eca845c7f4881d1a05a9baab92c7b1.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":168,"author":69,"museum":20,"description":1075,"tags":1172,"thumbUrl":1173,"material":81,"size":35,"collection":35,"collections":1174,"showCount":1113,"zanCount":11,"manualWeight":11,"mainColor":163},218115,"fu-hua-luo-han-jiu-zhang-lao-xiang-8-yi-ming-218115","佛画·罗汉九长老像-8",[23,24,29,51,50,30,7,107,293,109,697,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b406faa7129ceae6e7d0e534b5beee7.jpg",[],{"id":1176,"slug":1177,"title":1178,"dynasty":168,"author":69,"museum":20,"description":1036,"tags":1179,"thumbUrl":1180,"material":113,"size":114,"collection":789,"collections":1181,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":163},261438,"de-hua-yao-bai-you-xiang-long-luo-han-yi-ming-261438","德化窑白釉降龙罗汉",[785,1038,172,29,7,500,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290c69a39dbd41f96dc713a80fb8ba28.jpg",[789],{"id":1183,"slug":1184,"title":1185,"dynasty":168,"author":69,"museum":20,"description":1186,"tags":1187,"thumbUrl":1189,"material":113,"size":114,"collection":789,"collections":1190,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":163},259673,"yao-bian-you-luo-han-yi-ming-259673","窑变釉罗汉","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[785,29,7,30,1188,172],"窑变釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900d4796079fb6cea3e76d3a2a2c607b.jpg",[789],{"id":1192,"slug":1193,"title":1194,"dynasty":101,"author":69,"museum":20,"description":1195,"tags":1196,"thumbUrl":1204,"material":113,"size":114,"collection":35,"collections":1205,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},256517,"qing-hua-luo-han-tu-zhong-yi-ming-256517","青花罗汉图钟","青花瓷（blue 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author":69,"museum":20,"description":1336,"tags":1337,"thumbUrl":1338,"material":113,"size":114,"collection":35,"collections":1339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274676,"shou-shan-shi-diao-luo-han-yi-ming-274676","此件以双色寿山石巧作施艺，罗汉虬髯环眼，威严神态中带着松弛悠然，抬手托握法环，衣褶流转自然，描金饰于衣襟腰束，更添华贵气韵。身旁瑞兽亲昵依偎其身，憨态可掬，与罗汉形成动静相映。\n\n衣褶婉转写实，刀法圆融洗练，将石材温润凝腻的质感尽数彰显，色彩层次分明，俏色妙用恰到好处。搭配透雕缠枝底座，与主体呼应协调，整体静中藏动，兼具禅意古雅与文房清趣，尽显雕刻工艺的精妙，将佛门罗汉的自在意态与石雕意趣完美融合。",[171,172,29,7,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5e2382dae4e034671c896602aced3d.jpg",[],{"id":1341,"slug":1342,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1343,"tags":1344,"thumbUrl":1345,"material":113,"size":114,"collection":35,"collections":1346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274675,"shou-shan-shi-diao-luo-han-yi-ming-274675","此作以寿山石因材施刻，罗汉虬髯环面、凸目圆睁，抬手探珠，半蹲身形古拙矫健，将高僧不羁自在的神态刻画得入木三分。作者精妙利用石材天然色泽，以灰调石质表现罗汉肌体与素衣，衣边描金提亮，添得几分庄重雅致，又取异色巧雕祥龙盘踞身侧，鳞爪灵动鲜活，与罗汉形成动静相映的妙趣。底座透雕层岩造型，烘托出世外清修的幽寂禅意。整体刀工圆熟洗练，将罗汉降龙的威严与禅者超脱自在的意韵相融，是巧用石色、形神兼备的上乘石雕佳构。",[171,172,29,7,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3714fd0c12f08e99582606d27f27a40e.jpg",[],{"id":1348,"slug":1349,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1350,"tags":1351,"thumbUrl":1353,"material":113,"size":114,"collection":35,"collections":1354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274674,"shou-shan-shi-diao-luo-han-yi-ming-274674","这件造像取温润寿山石雕就，石色橙雅凝腻，自带内敛柔光。造像面容温婉柔和，垂目敛神，神态静谧安然，尽显慈悲端雅的气质。衣褶线条舒展灵动，贴合躯体柔婉流转，将织物轻软质感刻画入微，兼具写实意趣与韵律美感。胸前嵌饰宝珠，于素净中点缀精巧细节，更添雅致。静坐姿态松弛平和，将超然淡然的禅意融于刀石之间，既有寿山石天生的温润质感之美，又将造像的静穆气韵尽显无遗，尽显匠人精湛的雕刻功力与清雅的审美意趣。",[171,172,29,7,1352,319],"造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e1160d85b1f43ae85b8e5ef86e2817.jpg",[],{"id":1356,"slug":1357,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1358,"tags":1359,"thumbUrl":1360,"material":113,"size":114,"collection":35,"collections":1361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274673,"shou-shan-shi-diao-luo-han-yi-ming-274673","此作取寿山石为材，罗汉宽额含笑，神态慈蔼雍容，衣褶婉转流畅，勾勒出随性松弛的禅者姿态。身旁瑞兽憨态可掬，依偎罗汉身侧互动，消解了造像的疏离肃穆，平添几分温情意趣。\n\n匠人巧施圆雕浅刻，将衣料的柔润质感与罗汉的平和神情刻画入微，瑞兽灵动神态跃然石上，依石赋形尽显原石肌理的沉静古雅。配红漆描金底座，缠枝纹饰柔婉精致，素雅底色衬出几分华贵，与造像浑然相融。整体兼具禅意静穆与俗世温情，是清代石雕工艺中颇具人文温度的佳作。",[171,172,29,7,30,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73daa91890b7133eeed2cb4b5486547.jpg",[],{"id":1363,"slug":1364,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1365,"tags":1366,"thumbUrl":1367,"material":113,"size":114,"collection":35,"collections":1368,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274672,"shou-shan-shi-diao-luo-han-yi-ming-274672","此作以温润寿山石圆雕而成，罗汉垂眉含笑，神态安和恬然，衣褶流转柔润，将僧衣的宽绰质感刻画入微。他正与身前瑞兽戏耍互动，打破了出家人惯常的清寂肃穆，增添灵动生机。\n\n匠师巧用石材质色，澄澈素净的石材塑为僧袍，石身天然赤褐雕琢瑞兽，色彩错落间层次尽显。原本清苦的修行意象，因这嬉玩场景添了脉脉温情，静中藏动，将神性与烟火气相融，尽显雕刻工艺的精巧灵韵，把寿山石的天生温润和造像意趣完美结合。",[171,172,29,7,108,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab329af6f7489f77b76231d1ceb76533.jpg",[],{"id":1370,"slug":1371,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1372,"tags":1373,"thumbUrl":1375,"material":113,"size":114,"collection":35,"collections":1376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274671,"shou-shan-shi-diao-luo-han-yi-ming-274671","此作取寿山石莹润材质雕就，罗汉自在趺坐，面相圆和带笑，眉眼弯垂间尽显憨朴和煦的悠然意态，将出世高僧的闲适超然诠释得恰到好处。他双手捧托宝瓶，瓶中轻绽花枝，暗合清净禅意。衣褶婉转贴合身形，刀法舒展自然，将石材温润质感与人物松弛气韵相融无间。髹漆填彩底座古雅别致，缠枝花卉纹饰细腻生动，与素雅石身相映成趣，更衬罗汉出尘气质，是兼具工艺意趣与禅韵的精巧佳构。",[171,172,29,7,30,1374,1330],"喜悦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa8bf0e835872ed05d5c32f67c6f678.jpg",[],{"id":1378,"slug":1379,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1380,"tags":1381,"thumbUrl":1382,"material":113,"size":114,"collection":35,"collections":1383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274670,"shou-shan-shi-diao-luo-han-yi-ming-274670","这件圆雕以双色寿山石巧琢而成，创作者随石赋色，将朱砂色石质化作罗汉僧衣，衣褶垂转自然柔和，线条舒展流畅。罗汉面容沉静慈悲，左手抬举似在演法，右手牵系灵犬，神态超然淡然，眉须纹路皆刻画入微，尽显高僧的肃穆安然。\n\n身旁瑞犬取黄润石质雕琢，昂首摆尾憨态可掬，与罗汉的沉静形成灵动对照。整作刀工细腻写实，衣纹层次分明，灵犬肌理鲜活生动，将石材天然质感与造型意趣相融，静谧中带着灵动生机，尽显清代寿山石雕的精巧工法与雅致禅意。",[1330,171,172,7,29,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d61e97c73bf92a96d0ff45aa4698f1.jpg",[],{"id":1385,"slug":1386,"title":1327,"dynasty":168,"author":69,"museum":20,"description":1387,"tags":1388,"thumbUrl":1389,"material":113,"size":114,"collection":35,"collections":1390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":163},274669,"shou-shan-shi-diao-luo-han-yi-ming-274669","这件石雕以温腻莹润的寿山石为材，将罗汉塑得形神兼具。罗汉半跏趺坐，面露憨然笑意，左手托捧寿桃，右手轻抬似正剔齿，打破了出家人的肃穆刻板，尽显随性诙谐的烟火意趣。\n\n衣褶流转自然柔和，线条兼具挺括感，将僧袍垂坠质感刻画得淋漓尽致，细微之处足见匠者不俗功力。搭配的铜座錾刻古雅纹饰，与石雕相得益彰，更衬得整体愈发古朴沉静。\n\n整作在方寸之间勾勒出罗汉的闲适悠然，将禅意融于日常意趣之中，是清代小品石雕中的精巧之作，尽显传统工艺的雅致韵味。",[171,172,29,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0900f2d8f3ae943669373d5a609d016.jpg",[],{"id":1392,"slug":1393,"title":1327,"dynasty":168,"author":69,"mus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