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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[181,182,183,184,27,185,186,187,7],"陶瓷","青花","开光","八仙","卷草纹","缠枝纹","葫芦形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f847d3570796d6c528eab3df4a0a5a.jpg","未知","Xcm*Xcm",[],5,{"id":194,"slug":195,"title":196,"dynasty":18,"author":19,"museum":67,"description":197,"tags":198,"thumbUrl":201,"material":189,"size":190,"collection":78,"collections":202,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":61},253946,"tong-fo-xiang-tou-yi-ming-253946","铜佛像头","鎏金虽已斑驳褪去大半，却依旧难掩造像的华贵精致。宝冠层叠错落，遍饰化佛，繁复细节里尽显匠心。佛首面相饱满圆润，眉如弯月轻垂，眼睑半阖，神情恬和静谧，慈悲安然的气韵扑面而来，将菩萨的端温婉雅尽数诠释。古朴铜色与残金交织晕染，带着岁月沉淀下来的厚重质感，静静承载着旧时的信仰温度，尽显古代造像艺术的精妙造诣，让观者于静默间便沉醉在这份跨越时光的庄严与慈悲之中。",[7,90,199,91,200,27],"鎏金","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef014cf875aaecb407895b4fc7672db3.jpg",[],4,{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":67,"description":179,"tags":208,"thumbUrl":213,"material":189,"size":190,"collection":78,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":98},257661,"cheng-hua-kuan-qing-hua-za-bao-wen-gao-zu-wan-yi-ming-257661","成化款青花杂宝纹高足碗",[181,182,209,210,211,134,212,7],"杂宝纹","高足碗","明代","青花技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336828530df33b0f0acd8b2c876625a2.jpg",[],3,{"id":217,"slug":218,"title":219,"dynasty":18,"author":19,"museum":67,"description":220,"tags":221,"thumbUrl":225,"material":189,"size":190,"collection":78,"collections":226,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":98},257488,"wu-cai-ba-xian-tu-guan-yi-ming-257488","五彩八仙图罐","此罐造型饱满端庄，丰肩敛腹，形制规整雅致。装饰层次分明，肩部以覆瓦纹衬底，开光内饰缠枝纹样，灵动雅致。腹部主体绘八仙群像，以青花勾绘轮廓线条，釉上红绿彩填饰衣袂纹饰，八仙神态各异，或执拂尘、或持宝器，衣袂翩跹间仙风道骨尽显，衬以祥云仙嶂，氤氲出缥缈仙境氛围。近足处绘海水奔涌，呼应道家仙境主题。\n青花发色幽蓝明丽，釉上五彩浓妍鲜亮，彩料搭配和谐古雅，将青花的沉静与五彩的鲜妍相融，尽显明代彩瓷富丽古雅的风韵，承载着祈福纳祥的美好寓意，亦是明代彩瓷工艺与传统题材结合的经典之作。",[181,222,26,27,223,224,7],"五彩","祥云","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936cc7ef2e40d85a988cb0b116f8a259.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":18,"author":19,"museum":67,"description":179,"tags":231,"thumbUrl":238,"material":239,"size":190,"collection":78,"collections":240,"showCount":215,"zanCount":241,"manualWeight":11,"mainColor":61},228547,"qing-hua-hai-shou-bo-tao-wen-tu-jie-gao-zu-bei-qing-shou-bai-tao-yi-ming-228547","青花海兽波涛纹凸节高足杯(青兽白涛)",[182,181,107,232,233,234,7,235,236,237],"波涛","器","釉下彩","高足","海兽纹","波涛纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c08b8eb445fefd97dd595f23080c0d.jpg","瓷器",[],1,{"id":243,"slug":244,"title":245,"dynasty":18,"author":19,"museum":67,"description":179,"tags":246,"thumbUrl":252,"material":189,"size":190,"collection":78,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":61},257370,"wan-li-kuan-qing-hua-song-lu-tu-shi-niu-gai-he-yi-ming-257370","万历款青花松鹿图狮纽盖盒",[211,182,181,247,108,248,107,249,212,250,251,7],"松","狮","盖盒","松鹿纹饰","狮纽装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e7b9afa46f12e46e870d38cd88c4d1.jpg",[],2,{"id":256,"slug":257,"title":258,"dynasty":18,"author":19,"museum":67,"description":259,"tags":260,"thumbUrl":262,"material":189,"size":190,"collection":78,"collections":263,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":98},254621,"tong-zhang-san-feng-li-xiang-yi-ming-254621","铜张三丰立像","此像塑出游方高士风神，面容噙着温和笑意，发髻轻挽自带出尘之姿。衣身錾饰细密纹样，腰间束带利落挺括，袍袂随步履轻扬飘曳，将凌风徐行的自在具象而出。双足踏于云水台座，暗合道门踏云遨游的意象，写实造型里揉入写意仙韵，将宗师自在闲散、脱凡离俗的气质刻画入微，是兼具精工与传神意趣的上乘造像。",[7,90,91,27,261,76],"立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39a33ecdf2a9056a2d765d9da93e8b.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":18,"author":19,"museum":67,"description":268,"tags":269,"thumbUrl":271,"material":189,"size":190,"collection":78,"collections":272,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":98},254302,"tong-shi-nv-deng-tai-yi-ming-254302","铜仕女灯台","此件造像身姿灵动婉约，仕女右臂上扬托举灯盏，衣袂随身形舒展垂落，线条婉转流畅如微风拂过。面容温婉恬和，发髻高绾尽显柔媚端雅。基座处螭龙蜿蜒攀附，刚劲的瑞兽线条与仕女的柔婉身形相互映衬，刚柔相融。\n\n整体铜色沉敛古雅，写实细腻的雕刻将东方仕女的娴静韵致尽数展现，既承载灯台的实用功能，又兼具雕塑的美学价值，尽显匠人精妙的塑形功底，将明代造像的写实特质与古典雅致的审美意趣融为一体。",[89,90,91,270,27,233,7],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bde8b59912e6606f75b50f3cb60126.jpg",[],{"id":274,"slug":275,"title":276,"dynasty":18,"author":19,"museum":67,"description":277,"tags":278,"thumbUrl":283,"material":189,"size":190,"collection":78,"collections":284,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":36},250765,"bai-yu-zi-chen-yuan-pei-yi-ming-250765","白玉子辰圆佩","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[279,91,280,29,281,282,7],"玉石","镂空","鼠","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab1cf7acfd665795203401d3ec792df.jpg",[],{"id":286,"slug":287,"title":288,"dynasty":18,"author":19,"museum":67,"description":277,"tags":289,"thumbUrl":292,"material":189,"size":190,"collection":78,"collections":293,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":36},250754,"bai-yu-lou-diao-chi-huan-pei-yi-ming-250754","白玉镂雕螭环佩",[279,290,291,107,282,7],"镂雕","螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcfe8d3ac33855199f854d1a824e71c.jpg",[],{"id":295,"slug":296,"title":86,"dynasty":18,"author":19,"museum":67,"description":297,"tags":298,"thumbUrl":299,"material":189,"size":190,"collection":78,"collections":300,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":98},243052,"feng-wen-fang-zun-yi-ming-243052","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[89,90,91,92,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b5e15b38d7da503a8661906e99863e.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":18,"author":305,"museum":67,"description":306,"tags":307,"thumbUrl":315,"material":78,"size":78,"collection":78,"collections":316,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":36},239898,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239898","明代名人，申时行等墨宝","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[308,309,310,311,312,313,314,7],"书法","行书","纸本","墨书","长卷","印章","毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9594d4cfaea898026ef3d0d36b31e18.jpg",[],{"id":318,"slug":319,"title":320,"dynasty":18,"author":19,"museum":67,"description":321,"tags":322,"thumbUrl":330,"material":189,"size":190,"collection":331,"collections":332,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":36},257555,"long-quan-yao-qing-you-fo-kan-yi-ming-257555","龙泉窑青釉佛龛","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[181,323,200,233,324,325,7,326,327,328,329],"青釉","刻划纹饰","青瓷","釉色","器物","宗教题材","刻花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a56700060c13aad740c0e2d759d343.jpg","瓷器精选",[331],{"id":334,"slug":335,"title":336,"dynasty":18,"author":19,"museum":67,"description":179,"tags":337,"thumbUrl":343,"material":189,"size":190,"collection":78,"collections":344,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":98},257272,"jia-jing-kuan-qing-hua-yun-he-wen-wan-yi-ming-257272","嘉靖款青花云鹤纹碗",[18,181,182,338,339,340,341,342,7,212],"云纹","鹤纹","云","鹤","青花瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dc4e9262beb316764e9db00cba2341.jpg",[],{"id":346,"slug":347,"title":348,"dynasty":18,"author":19,"museum":67,"description":349,"tags":350,"thumbUrl":351,"material":189,"size":190,"collection":78,"collections":352,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":36},250779,"huang-yu-long-shou-xi-yi-ming-250779","黄玉龙首觽","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[279,91,29,233,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d702e193a24015b013c0047cb612fd.jpg",[],{"id":354,"slug":355,"title":356,"dynasty":18,"author":19,"museum":67,"description":357,"tags":358,"thumbUrl":362,"material":189,"size":190,"collection":78,"collections":363,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":98},249039,"qia-si-fa-lang-zhi-zi-hua-wen-la-tai-yi-ming-249039","掐丝珐琅栀子花纹蜡台","敞口浅盘下，鎏金三足稳稳承托，莹亮的铜胎带着沉实华贵的质感。盘心立柱高挑纤细，专为承托烛火而生。\n\n盘面以掐丝珐琅妆点，青釉为底，栀子花枝蜿蜒舒展，素白花蕊配明黄花心，清丽雅致。掐丝走线婉转流畅，填色匀净鲜亮，将栀子的温婉柔美尽数铺陈。\n\n鎏金的厚重华贵，配着珐琅彩的清新秀雅，两相映衬尽显手工技艺的精妙。它融实用与审美为一体，静静诉说着旧时案头的融融灯火意，是雅致精巧的匠心之作。",[359,360,90,7,361,327,26],"掐丝珐琅","珐琅器","栀子花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a9e3fc5dc45e8a4a2cdb093625264e.jpg",[],{"id":365,"slug":366,"title":367,"dynasty":18,"author":19,"museum":67,"description":368,"tags":369,"thumbUrl":370,"material":189,"size":190,"collection":78,"collections":371,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":98},243287,"su-hu-yi-ming-243287","素壶","敞口束颈，丰肩鼓腹下敛，圈足沉稳，器形利落端庄。深褐铜色凝敛厚重，包浆莹润，自带岁月沉穆质感。通体以错银饰纹，口沿与圈足回纹勾边，规整雅致；颈部蕉叶纹舒展，暗含礼器古意。腹部银丝婉转勾勒缠卷兽面纹，狞厉古意被柔化在流畅线条间，虚实相衬，于沉朴底色间晕开清雅灵动。整器兼得青铜古器的庄严遗韵与明代文人审美下的秀雅风骨，简约中藏精巧工艺，静穆间尽显含蓄风华。",[90,91,7,233,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd48c04fd2e47092a225dd82c38974a5.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":18,"author":376,"museum":377,"description":378,"tags":379,"thumbUrl":383,"material":384,"size":385,"collection":78,"collections":386,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":387},222291,"nan-hua-zhen-jing-44-wang-chong-222291","南华真经44","王宠","荣宝斋","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[145,308,24,309,380,7,381,382],"墨迹","毛笔书写","汉字作品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63152ec9b86134c4f46a62fc07efa538.jpg","白纸本","每开尺寸长19.1、宽12.5厘米",[],"FDD835",{"id":389,"slug":390,"title":391,"dynasty":18,"author":19,"museum":67,"description":179,"tags":392,"thumbUrl":396,"material":189,"size":190,"collection":78,"collections":397,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},257378,"qing-hua-long-feng-wen-chu-ji-hua-gu-yi-ming-257378","青花龙凤纹出戟花觚",[181,182,7,25,29,393,394,338,75,395],"凤","牡丹","出戟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60f4fe4399f24b9b1b83539c5df2ea7.jpg",[],{"id":399,"slug":400,"title":401,"dynasty":18,"author":19,"museum":67,"description":402,"tags":403,"thumbUrl":406,"material":189,"size":190,"collection":78,"collections":407,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},257316,"jia-jing-kuan-huang-di-lv-cai-ying-xi-ren-wu-tu-wan-yi-ming-257316","嘉靖款黄地绿彩婴戏人物图碗","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[181,7,404,91,26,405,338,233],"黄地绿彩","婴戏人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa030dc434cdc6e5223e9cac903a8a1e.jpg",[],{"id":409,"slug":410,"title":411,"dynasty":18,"author":19,"museum":67,"description":179,"tags":412,"thumbUrl":414,"material":189,"size":190,"collection":78,"collections":415,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},257264,"jia-jing-kuan-qing-hua-yun-long-wen-ping-yi-ming-257264","嘉靖款青花云龙纹瓶",[18,181,182,413,29,340,212,7],"云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34ee6f91465eeb41a47f5c90bb8fe5c.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":18,"author":19,"museum":67,"description":420,"tags":421,"thumbUrl":426,"material":189,"size":190,"collection":78,"collections":427,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},257239,"xian-hong-you-bai-yu-wen-pan-yi-ming-257239","鲜红釉白鱼纹盘","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[181,422,423,424,7,425],"鲜红釉","留白","鱼","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1d20f88b6aa54a30a8c2c88d3e8136.jpg",[],{"id":429,"slug":430,"title":431,"dynasty":18,"author":19,"museum":67,"description":179,"tags":432,"thumbUrl":434,"material":189,"size":190,"collection":78,"collections":435,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},257220,"qing-hua-ren-wu-tu-guan-yi-ming-257220","青花人物图罐",[181,182,27,433,46,338,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863c812410490d34cb496f2411adfccc.jpg",[],{"id":437,"slug":438,"title":439,"dynasty":18,"author":19,"museum":67,"description":420,"tags":440,"thumbUrl":444,"material":189,"size":190,"collection":78,"collections":445,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},257157,"xuan-de-kuan-xian-hong-you-pan-yi-ming-257157","宣德款鲜红釉盘",[181,233,422,441,442,7,443],"高温铜红釉","釉彩","铜红釉烧制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948f59698f86ba678a3dac88add49959.jpg",[],{"id":447,"slug":448,"title":449,"dynasty":18,"author":19,"museum":67,"description":179,"tags":450,"thumbUrl":452,"material":189,"size":190,"collection":78,"collections":453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},257120,"qing-hua-chan-zhi-lian-wen-wan-yi-ming-257120","青花缠枝莲纹碗",[181,182,186,451,7],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfcc7758211765318be25394cf6985c.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":18,"author":19,"museum":67,"description":458,"tags":459,"thumbUrl":467,"material":189,"size":190,"collection":78,"collections":468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},256510,"huang-you-miao-jin-shuang-xi-zun-yi-ming-256510","黄釉描金双系尊","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[181,460,461,462,211,463,464,327,465,7,442,466],"黄釉","描金","双系","釉器","单色釉","描金技法","系部装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9505466324b8c2a674719fc74e215b.jpg",[],{"id":470,"slug":471,"title":472,"dynasty":18,"author":19,"museum":67,"description":179,"tags":473,"thumbUrl":476,"material":189,"size":190,"collection":78,"collections":477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256402,"cheng-hua-kuan-qing-hua-hua-guo-wen-wan-yi-ming-256402","成化款青花花果纹碗",[7,181,182,234,25,474,475,233],"花果","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb638827fb6a7f25e55b7d3fc52a5c941.jpg",[],{"id":479,"slug":480,"title":481,"dynasty":18,"author":19,"museum":67,"description":179,"tags":482,"thumbUrl":486,"material":189,"size":190,"collection":78,"collections":487,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},256335,"qing-hua-ju-ban-wen-wan-yi-ming-256335","青花菊瓣纹碗",[181,182,234,483,484,185,7,224,485],"菊瓣纹","回纹","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4818740d47b95268b37ca014feac151c.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":18,"author":19,"museum":67,"description":492,"tags":493,"thumbUrl":498,"material":189,"size":190,"collection":78,"collections":499,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},256139,"shi-sou-kuan-guan-yin-zuo-xiang-yi-ming-256139","“石叟”款观音坐像","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。",[90,91,200,27,494,7,495,496,497],"雕塑","观音造像","衣纹刻画","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad90e7c041483a2b21d6b7812b20d0d.jpg",[],{"id":501,"slug":502,"title":503,"dynasty":18,"author":19,"museum":67,"description":504,"tags":505,"thumbUrl":509,"material":189,"size":190,"collection":78,"collections":510,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},255384,"mu-diao-cai-hui-chi-wu-guai-ren-li-xiang-yi-ming-255384","木雕彩绘持物怪人立像","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。",[7,506,91,507,26,27,508],"木质","彩绘","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3171ac900f5ccbad10cd64fe3a0b39f0.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":18,"author":19,"museum":67,"description":504,"tags":515,"thumbUrl":517,"material":189,"size":190,"collection":78,"collections":518,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},255344,"mu-diao-cai-hui-wen-li-xiang-yi-ming-255344","木雕彩绘文吏像",[506,91,507,27,516,7],"文吏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc696f2e1cf91c975a185e0511eba96a.jpg",[],{"id":520,"slug":521,"title":522,"dynasty":18,"author":19,"museum":67,"description":523,"tags":524,"thumbUrl":530,"material":189,"size":190,"collection":78,"collections":531,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":98},255054,"tao-zi-lv-you-li-yong-yi-ming-255054","陶紫绿釉立俑","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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