[{"data":1,"prerenderedAt":136},["ShallowReactive",2],{"subject-mi-le-fo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},9798,"mi-le-fo","弥勒佛","弥勒佛画高清赏析","精选中国历代弥勒佛题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7080edcf0819146e82b97b194bf2f1.jpg",0,10,[14,39,50,63,76,89,98,108,118,126],{"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":11,"manualWeight":11,"mainColor":38},267343,"xiu-mi-le-fo-xiang-zhou-yi-ming-267343","绣弥勒佛像轴","清","佚名","藏地不详","中央弥勒法相端严，结跏趺坐于莲台之上，朱红织金袈裟华贵雅致，抬手结印，宝光环身，莲云簇拥间尽显沉静慈悲。下方两胁侍身姿灵动，气韵各具，一飘然持物，一凝眸肃穆，烘托出佛域的祥和氛围。\n\n背景晕染出苍山流云，青蓝天色衬出天界辽远空灵。四周朱地绣满规整法纹，庄重古朴，与画芯柔丽晕染相映成趣。针线代笔，将刺绣工艺的细腻精妙尽数展现，配色浓烈和谐，将信仰的肃穆与工巧的精美相融，佛国净土的庄严神圣呼之欲出。",[23,24,25,26,7,27,28,29,30,31],"立轴","刺绣","宗教","佛教","菩萨","祥云","山水","设色","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a4cbfda1fa39677ae9621ffffdbb5c.jpg","未知","Xcm*Xcm","",[],9,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":20,"description":43,"tags":44,"thumbUrl":47,"material":33,"size":34,"collection":35,"collections":48,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":38},263659,"man-xiu-mi-le-fo-xiang-zhou-yi-ming-263659","满绣弥勒佛像轴","此作以三重弥勒尊为核心上下排布，诸佛安坐莲台，身覆璎珞宝衣，宝相慈悲庄严。胁侍护法、灵禽瑞兽与祥云圣境交织环绕，将雪域佛国景致铺陈开来，色彩浓艳古雅，晕染过渡自然柔和。\n\n四周以连绵万字纹环衬，寓意福寿无尽绵长。通幅以满绣技法施艺，针脚细密平齐，织物肌理饱满紧实，佛造像衣袂褶皱层叠灵动，将刺绣的温润质感与宗教造像的神圣感相融兼具藏地唐卡的雄浑富丽，又尽显极致精妙的工致匠心，是宗教工艺美术中信仰表达与匠造造诣相融的上乘之作。",[23,24,45,25,7,31,46],"满绣","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbb51c99cf81d6123afc346d435772a.jpg",[],6,{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},254148,"shou-shan-shi-mi-le-fo-zuo-xiang-yi-ming-254148","寿山石弥勒佛坐像","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。",[56,57,58,25,31,7,59],"清代","雕刻","寿山石","坐像",[],3,"795548",{"id":64,"slug":65,"title":66,"dynasty":67,"author":19,"museum":20,"description":68,"tags":69,"thumbUrl":72,"material":33,"size":34,"collection":35,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},277951,"mi-le-xiang-niu-yi-chen-bu-ran-dun-wu-zhen-kong-yin-yi-ming-277951","弥勒像纽“一尘不染顿悟真空”印","明","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。",[70,71,57,7,26],"印章","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a92d4aea5aec7298e5b4a3a737dae32.jpg",[],1,"FFFFFF",{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":80,"tags":81,"thumbUrl":86,"material":33,"size":34,"collection":87,"collections":88,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":62},261169,"de-hua-yao-bai-you-he-ye-shi-gong-dao-bei-yi-ming-261169","德化窑白釉荷叶式公道杯","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。",[82,83,84,7,85,26],"陶瓷","白釉","荷叶造型","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b2ed2d2fe63d79981610d5e3dbe48c.jpg","瓷器精选",[87],{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":54,"tags":93,"thumbUrl":96,"material":33,"size":34,"collection":35,"collections":97,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":62},255745,"zhu-diao-mi-le-fo-zuo-xiang-yi-ming-255745","竹雕弥勒佛坐像",[56,94,57,25,31,59,7,95],"竹雕","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c45eb4cad68289e0d096335e65b121.jpg",[],{"id":99,"slug":100,"title":101,"dynasty":18,"author":19,"museum":20,"description":102,"tags":103,"thumbUrl":106,"material":33,"size":34,"collection":35,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},267349,"xiu-mi-le-fo-sheng-jie-zhou-yi-ming-267349","绣弥勒佛圣界轴","此件以精妙刺绣铺陈净土胜境，画面中心主次分明，弥勒圣界诸佛、菩萨与护法错落排布，宝刹莲台掩映祥云之间，灵动饱满的造像尽显净土祥和殊胜。四周以朱红地满织梵文真言，烘托出庄严肃穆的宗教氛围。\n\n配色浓丽鲜亮，衣纹璎珞以金线勾勒，光华华贵，针脚细密平整，晕染自然柔润，将织绣工法与宗教意趣完美融合，以匠心织就极乐图景，尽显精湛工艺水准，让神圣佛国以绣色之美具象浮现。",[23,24,26,7,104,105],"宗教画","宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f560c205b85bb407b42135897ef89a1.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":20,"description":80,"tags":112,"thumbUrl":116,"material":33,"size":34,"collection":87,"collections":117,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},262263,"de-hua-yao-wu-cai-ci-ren-yi-ming-262263","德化窑五彩瓷人",[82,113,114,7,31,115],"五彩","瓷塑","喜悦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d5b2bc61aac15f0b5895d4ffa50500.jpg",[87],{"id":119,"slug":120,"title":121,"dynasty":67,"author":19,"museum":20,"description":80,"tags":122,"thumbUrl":123,"material":33,"size":34,"collection":87,"collections":124,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":125},260624,"de-hua-yao-bai-you-mi-le-xiang-yi-ming-260624","德化窑白釉弥勒像",[82,83,7,105,57,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecac8b09959f659bed84ae27860d6ce3.jpg",[87],"37474F",{"id":127,"slug":128,"title":129,"dynasty":18,"author":19,"museum":20,"description":54,"tags":130,"thumbUrl":134,"material":33,"size":34,"collection":35,"collections":135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},255300,"tong-liu-jin-mi-le-fo-zuo-xiang-yi-ming-255300","铜鎏金弥勒佛坐像",[56,25,131,132,57,31,7,133],"铜制","鎏金","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc7e709b3d8d6effe302a8118424a3a.jpg",[],1777535734527]