[{"data":1,"prerenderedAt":358},["ShallowReactive",2],{"subject-nan-bei-chao-feng-ge":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5463,"nan-bei-chao-feng-ge","南北朝风格","南北朝风格画高清赏析","精选中国历代南北朝风格题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a62d2883cac04e8b299e670573b7.jpg",0,33,[14,42,62,77,91,103,120,129,140,148,162,171,181,189,196,202,209,220,230,237,246,253,262,268,275,283,294,303,310,318,326,342,350],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},227062,"ku-zhu-shi-dong-bi-yi-ming-227062","窟主室东壁","南北朝","佚名","藏地不详","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。",[23,7,24,25,26,27,28,29,30,31,32,33,34,35],"壁画","宗教题材","线条勾勒","设色","佛像","菩萨","飞天","供养人","古代服饰","背光","人物群像","宗教壁画技法","壁面绘制","未知","Xcm*Xcm","",[],117,"795548",{"id":43,"slug":44,"title":45,"dynasty":18,"author":19,"museum":20,"description":46,"tags":47,"thumbUrl":57,"material":36,"size":37,"collection":38,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},226530,"yuan-xian-jun-mu-zhi-ming-yi-ming-226530","元顯儁墓誌銘","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字",[48,49,50,51,52,53,54,7,55,56],"高清","拓本","书法","楷书","碑刻","雕刻","龟形","文字","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417e6dae5e8c8ca2108ba2bef47cfcd7.jpg",[],31,1,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":73,"material":36,"size":37,"collection":38,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":76},252957,"shi-fu-li-xiang-yi-ming-252957","石佛立像","此造像沉静端方，面容饱满柔和，眉目低垂间自有慈悲安然的气度。衣褶层叠垂坠，线条舒展流畅，将织物的柔润质感凝于冷硬白石之上，兼具写实意趣与空灵禅意。\n\n身后背光虽有残损，仍能窥见当初的庄严规制，莲台与方座质朴厚重，稳稳托住佛身，衬得造像愈发清逸出尘。整尊造像褪去匠气，以极简刀工刻画出佛性圆融的沉静之美，让观者于静默间，便能触摸到跨越岁月的平和禅韵，感受到石刻中藏着的温柔佛心。",[7,68,69,70,53,71,72],"宗教","人物","圆雕","石质","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93caaa335d37bcbd6fa56efd0760e55f.jpg",[],22,"37474F",{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":88,"material":36,"size":37,"collection":38,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":41},250288,"yu-pan-chi-wen-pei-yi-ming-250288","玉蟠螭纹佩","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。 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。",[83,53,84,85,86,87,7],"玉石","饰品","龙","兽","蟠螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608ebcdfd0f5aa597d9f10c1430ee4f.jpg",[],10,{"id":92,"slug":93,"title":94,"dynasty":18,"author":19,"museum":20,"description":95,"tags":96,"thumbUrl":99,"material":36,"size":37,"collection":38,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":102},250738,"bai-yu-lou-diao-pan-chi-pei-yi-ming-250738","白玉镂雕蟠螭佩","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。",[7,97,83,98,86,85,84],"镂雕","蟠螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680c63d4d09d5e36dac6521434e0f9d.jpg",[],5,"F48FB1",{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":107,"tags":108,"thumbUrl":117,"material":36,"size":37,"collection":38,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":76},256968,"qian-huang-you-lv-cai-lian-ban-wen-guan-yi-ming-256968","铅黄釉绿彩莲瓣纹罐","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。",[109,110,111,112,113,7,114,115,116],"陶瓷","铅黄釉","绿彩","刻划","莲瓣纹","低温铅釉","器","宗教纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfc4444e47da85ca6b3e8941d27e034f.jpg",[],4,{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":20,"description":124,"tags":125,"thumbUrl":127,"material":36,"size":37,"collection":38,"collections":128,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":76},253346,"tao-hua-cai-nan-li-yong-yi-ming-253346","陶画彩男立俑","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。",[109,26,69,126,53,7],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81482d43373ca3ca990992d4756d70e.jpg",[],{"id":130,"slug":131,"title":132,"dynasty":18,"author":19,"museum":20,"description":133,"tags":134,"thumbUrl":138,"material":36,"size":37,"collection":38,"collections":139,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":76},252907,"shi-pu-sa-li-xiang-yi-ming-252907","石菩萨立像","这尊造像身姿清隽挺秀，菩萨面容温婉沉静，宝冠高束，右手施无畏印安抚众生，左手轻牵披帛，衣褶垂落如流云舒卷，柔婉间带着规整的雕刻韵律。\n\n残损的背光之上，还留存着依稀彩绘痕迹，恍可见往日飞天缠枝的灵动余韵。莲台之下的基座，瑞兽拱卫炉瓶，晕开古朴祥瑞之气。\n\n白石质地温润，刀工洗练克制，将神性的端宁与世俗的柔美相融，尽显南北朝造像独有的雅致风骨。岁月侵蚀留下的残痕，为其添上厚重古拙的沧桑感，静静沉淀着往昔佛韵风华。",[53,71,68,69,28,72,7,135,136,137],"莲花座","浮雕","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf80f1b0ea166138b62af7420065c505.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":18,"author":19,"museum":20,"description":81,"tags":144,"thumbUrl":146,"material":36,"size":37,"collection":38,"collections":147,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":76},252547,"yu-pan-chi-wen-jian-shi-yi-ming-252547","玉蟠螭纹剑饰",[83,53,98,85,86,84,145,7],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3112e439885f3107e7084b5bf13562c.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":18,"author":19,"museum":20,"description":152,"tags":153,"thumbUrl":159,"material":36,"size":37,"collection":38,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":76},254516,"tong-guan-shi-yin-pu-sa-li-xiang-yi-ming-254516","铜观世音菩萨立像","这尊造像以古铜凝萃岁月质感，尖顶背光满刻火焰纹，翻卷灵动如佛光炽盛，将菩萨身形温柔托举。\n\n菩萨面容圆和，垂目含慈，衣纹简练古拙，随身形舒展沉稳静穆，举手间自带沉静悲悯的气度。下方莲台饱满，方座敦实沉稳，整体造型朴拙厚重，尽显浑融沉静的宗教意韵。古铜包浆厚重温润，将千余年的信仰温度封存其中，形制虽简，却带着独有的浑朴庄严，于无声处传递出澄澈安宁的力量。",[154,155,53,68,69,7,72,156,157,158],"铜制","青铜器","佛教造像","金属工艺","传统雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ccfacd83e7431b2c1df6790ddb8d75.jpg",[],3,{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":169,"material":36,"size":37,"collection":38,"collections":170,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":76},252962,"shi-le-ling-xiu-zao-guan-shi-yin-pu-sa-li-xiang-yi-ming-252962","石乐零秀造观世音菩萨立像","这尊汉白玉造像虽已残损，却依旧带着沉静隽秀的气韵。菩萨头戴宝冠，身姿端立，垂落的衣袂顺着身形铺展，缓缓覆于下方仰莲台座之上，衣纹褶皱古朴流畅，带着清逸温婉的南北朝造像风骨。\n\n褪去旧时妆彩，汉白玉的素洁底色晕开时光的厚重，残损的痕迹化作岁月注脚，晕开千年前的虔诚心意，尽显中古造像的秀逸审美。",[68,53,168,69,72,7],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b377bc104b69fdc3ee2a4871178f75.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":178,"material":36,"size":37,"collection":38,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":76},254688,"tong-lian-hua-shou-guan-shi-yin-pu-sa-xiang-yi-ming-254688","铜莲花手观世音菩萨像","此造像浑朴古雅，尽显雄浑厚重的北朝气质。菩萨身形挺拔刚健，右手高挑执莲，左手轻握净瓶，衣褶线条简练硬朗，带着游牧审美浸染下的豪迈质感。\n\n背光以层叠涡旋纹铺展，似佛光漫溢周身，粗犷刻痕里藏着细腻巧思。三足方台以柔婉纹饰点缀，与造像的刚健形成视觉反差，平衡整体层次。沉郁的青铜包浆凝住岁月摩挲的痕迹，虽无繁缛细节，却将早期造像的肃穆威仪诠释尽致，褪去纤柔浮华，以质朴大气定格了那个时代的宗教审美底色。",[155,53,68,156,7,69,177],"菩萨造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4092bcdfaf80637802996bbead807e.jpg",[],2,{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":187,"material":36,"size":37,"collection":38,"collections":188,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":76},253951,"tong-pu-sa-li-xiang-yi-ming-253951","铜菩萨立像","这尊造像自带沉静古雅的气韵，尖弧状莲瓣背光以错银勾勒缠枝卷草，柔婉纹饰衬得合十而立的菩萨愈发端严。菩萨面容清癯温婉，眉目间带着冲淡祥和的笑意，尽显南北朝造像典型的秀骨清相风骨。\n\n深褐铜色裹着厚重包浆，将千余年的岁月凝于一身。简洁的榫卯式方座褪去繁饰，尽显拙朴古雅的匠造意趣。整体造型虽小巧却具足庄严沉静的宗教氛围感，尽显当时造像的审美意匠与冶铸工艺之精妙。",[154,53,68,69,72,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91eeccee1868c60e5fa06790f41852b.jpg",[],{"id":190,"slug":191,"title":192,"dynasty":18,"author":19,"museum":20,"description":124,"tags":193,"thumbUrl":194,"material":36,"size":37,"collection":38,"collections":195,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":41},253439,"tao-nan-li-yong-yi-ming-253439","陶男立俑",[109,126,69,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0e0ced0e75f151148f68d2167ae09cf.jpg",[],{"id":197,"slug":198,"title":192,"dynasty":18,"author":19,"museum":20,"description":124,"tags":199,"thumbUrl":200,"material":36,"size":37,"collection":38,"collections":201,"showCount":180,"zanCount":11,"manualWeight":11,"m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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。",[68,53,226,69,227,7],"石雕","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff8e361e09a5f3b6a57eafc606bd1a1.jpg",[],{"id":231,"slug":232,"title":192,"dynasty":18,"author":19,"museum":20,"description":124,"tags":233,"thumbUrl":235,"material":36,"size":37,"collection":38,"collections":236,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":41},254783,"tao-nan-li-yong-yi-ming-254783",[7,234,126,69,53],"陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674511135d3cf03e8453156c4226d046.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":244,"material":36,"size":37,"collection":38,"collections":245,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":76},254748,"tong-liu-jin-yin-fa-zi-zao-guan-shi-yin-pu-sa-li-xiang-yi-ming-254748","铜鎏金尹乏子造观世音菩萨立像","此造像身形小巧却气度沉穆，菩萨垂眸静立，双手合十，面容温婉慈悲，尽显清净超然的气韵。莲台承托佛身，下接方座，座身錾刻款识，留存着古朴的岁月印记。莲瓣形背光舒展灵动，浅刻的火焰纹流畅回转，烘托出庄严神圣的佛韵。鎏金虽已斑驳褪色，却依旧能窥见往昔的华贵烁金质感，带着时光摩挲后的温润包浆。整体承袭了简澹古雅的造像风格，将信众至诚礼佛之心凝缩其中，朴拙造型里蕴含肃穆沉静的禅意，尽显小型造像的精巧肃穆之美。",[68,155,154,243,53,69,72,7],"鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392235ff50227e32038b2048b2999037.jpg",[],{"id":247,"slug":248,"title":249,"dynasty":18,"author":19,"museum":20,"description":224,"tags":250,"thumbUrl":251,"material":36,"size":37,"collection":38,"collections":252,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":41},254529,"tong-liu-shi-zao-er-fu-bing-zuo-xiang-yi-ming-254529","铜刘氏造二佛并坐像",[154,53,155,68,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae92399f9a7010c74ff94358464c5831.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":18,"author":19,"museum":20,"description":124,"tags":257,"thumbUrl":260,"material":36,"size":37,"collection":38,"collections":261,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":76},254276,"tao-hua-cai-wu-shi-yong-yi-ming-254276","陶画彩武士俑",[109,126,69,26,258,259,7],"彩绘","武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924788b1842d820e4d8f65f182212d1a.jpg",[],{"id":263,"slug":264,"title":123,"dynasty":18,"author":19,"museum":20,"description":124,"tags":265,"thumbUrl":266,"material":36,"size":37,"collection":38,"collections":267,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":41},253348,"tao-hua-cai-nan-li-yong-yi-ming-253348",[109,126,26,69,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc895f2552fdd90af5285e45fa99cf8a8.jpg",[],{"id":269,"slug":270,"title":192,"dynasty":18,"author":19,"museum":20,"description":124,"tags":271,"thumbUrl":273,"material":36,"size":37,"collection":38,"collections":274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},255662,"tao-nan-li-yong-yi-ming-255662",[109,126,69,53,7,272],"陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06abc10534abd509d225468dff73d74.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":19,"museum":20,"description":279,"tags":280,"thumbUrl":281,"material":36,"size":37,"collection":38,"collections":282,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254791,"tong-chen-yu-zhi-zao-guan-shi-yin-pu-sa-li-xiang-yi-ming-254791","铜陈玉之造观世音菩萨立像","灵动舒展的莲瓣状背光如涟漪铺展，裹挟古朴纹饰晕开沉静气场。五叶宝冠覆顶尽显神性庄重，菩萨面容圆和含笑，将慈悲柔意融在眉目之间，消解了神祇的疏离感。衣褶线条简约却自带流动韵律，双手姿态沉静典雅，静静伫立在饱满规整的莲台之上。古铜色肌理带着岁月摩挲的苍润质感，将南北朝造像兼具神性庄严与世俗温情的独特气韵尽数藏纳，是佛教造像本土化初期的精巧遗存，藏着那个时代特有的美学意趣。",[155,154,53,68,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6623d62b0ec6c80d5c23e2e87627dc2f.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":287,"tags":288,"thumbUrl":292,"material":36,"size":37,"collection":38,"collections":293,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254711,"tao-niu-che-yi-ming-254711","陶牛车","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。",[7,272,234,289,126,86,290,291],"牛","古拙","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfc89415f8a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