[{"data":1,"prerenderedAt":75},["ShallowReactive",2],{"subject-men-dong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2895,"men-dong","门洞","门洞画高清赏析","精选中国历代门洞题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88d3b750976e2443f6f7f26e0590d60.jpg",0,3,[14,35,52],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},226223,"ku-zhu-shi-dong-bi-yi-ming-226223","窟主室东壁","唐","佚名","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 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。",[23,24,25,26,27,7,28],"壁画","唐代","设色","线描","拱券","残损壁面","未知","Xcm*Xcm","",[],6,"795548",{"id":36,"slug":37,"title":38,"dynasty":39,"author":19,"museum":40,"description":41,"tags":42,"thumbUrl":48,"material":29,"size":30,"collection":31,"collections":49,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},289462,"rembrandt-st-peter-and-st-john-healing-the-paralytic-yi-ming-289462","Rembrandt--St. Peter and St John Healing the Paralytic","不详","藏地不详","这幅速写以洗练线条铺陈神迹场景，瘫坐的乞者伸臂渴求，满含恳切张力。几位老者神色沉凝，圣徒的悲悯庄重呼之欲出。砖石拱门以粗粁笔痕晕开市井烟火气，寥寥数笔便勾勒出人物姿态与情绪流动，光影隐在线条疏密之间，将叙事感拉至顶点。作者以极简笔墨定格互动瞬间，无繁复修饰，却让虔诚、悲悯与希冀的氛围扑面而来。每一道线条都承载情节重量，将宗教故事的神圣质感融入街角日常，质朴却极具感染力，尽显素描语言的动人表现力。",[43,44,45,46,47,7],"素描","人物","宗教","圣经故事","医治瘫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40d0b52abf290f86d23bad297e3eff26.jpg",[],1,"BDBDBD",{"id":53,"slug":54,"title":55,"dynasty":56,"author":19,"museum":57,"description":58,"tags":59,"thumbUrl":72,"material":73,"size":31,"collection":31,"collections":74,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":34},215917,"di-jian-tu-shuo-cai-hui-ben-87-yi-ming-215917","帝鉴图说彩绘本-87","清","法国国家图书馆","画面亭台错落，朱红廊柱与青绿瓦檐相映成趣，庭院花木扶疏，景致雅致古朴。中央车辇为焦点，侍从簇拥左右，似正演绎“羊车选幸”的历史场景——帝王逸乐之态隐于其间，暗合劝诫深意。庭院人物神态生动，或对谈或侍立，动静交织尽显宫廷细节。笔触细腻入微，建筑规制考究，设色明丽却不失古雅，既见清代绘本写实功底，又以视觉叙事传递治世镜鉴。观者赏画时，可从花木扶疏的庭院、侍从恭谨的姿态里，感悟历史智慧与艺术之美交融的独特韵味。",[60,25,61,62,44,63,64,65,66,67,68,69,70,7,71],"国画","界画","工笔","楼阁","庭院","树木","建筑","宫室","轿子","廊庑","石阶","仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c94d90e73b714ec9b621a72a4a26c8.jpg","绢本,设色",[],1777535772834]