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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。",[66,7,27,55,43,24,44,67,68],"清代","兽","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113fd95e2856d59f206e5270acaada05.jpg",[],9,"795548",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":78,"description":79,"tags":80,"thumbUrl":86,"material":29,"size":30,"collection":31,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":35},226337,"ku-zhu-shi-zhong-xin-zhu-nan-xiang-mian-yi-ming-226337","窟主室中心柱南向面","唐","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。",[81,82,27,24,44,55,83,84,85,7],"唐代","壁画","石窟","佛教造像","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9cbe146c9b9ed7e38877224435e1ba.jpg",[],8,{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":96,"material":29,"size":30,"collection":31,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":35},252832,"ni-ren-zhang-su-ba-xian-han-xiang-zi-xiang-yi-ming-252832","泥人张塑八仙韩湘子像","这尊造像定格了韩湘子吹笛的悠然瞬间，他双颊轻鼓，眉眼含着融融笑意，全然沉醉在悠扬乐声里，神态鲜活逼真。\n石青色衣袍晕染出雅致古意，衣摆暗饰兰草浅纹，暗合人物清雅出尘的仙者气质。匠师以精湛技艺塑就衣褶垂坠自然舒展，发丝柔润服帖，发间蓝带利落鲜活。整体气韵闲适飘逸，将这位寄情丝竹、不沾俗尘的仙人形象诠释得形神兼备，尽显彩塑工艺的精妙意趣。",[7,55,44,24,95,56],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f0533c2ab74f36172da6817e7ebb5eb.jpg",[],7,{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":107,"material":29,"size":30,"collection":31,"collections":108,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":35},252823,"ni-ren-zhang-su-cai-hui-chi-hua-shi-nv-xiang-yi-ming-252823","泥人张塑彩绘持花仕女像","这尊彩塑仕女眉眼含情，温婉柔丽，鬓畔簪花衬得容色愈发秀雅动人。身姿袅娜，持花而立时衣袂轻扬，静中藏动。衣色搭配雅致沉静，米白素衣辅以石青、朱红点缀，衣缘錾刻细腻纹饰，将闺秀的雅致仪态尽数勾勒。\n造像拿捏精妙写实，把仕女柔婉的体态、含蓄恬美的神态刻画入微，带着民间造像的灵动意趣，兼具写实与写意之美，将东方女子的温婉娴雅凝于泥胎，尽显传统彩塑的手工匠心。",[7,43,66,44,105,106],"美人","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d038ed9e4620cce48103d90fd09f02.jpg",[],{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":20,"description":113,"tags":114,"thumbUrl":118,"material":29,"size":30,"collection":31,"collections":119,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":72},252792,"ni-ren-zhang-su-cai-hui-lu-xing-xiang-yi-ming-252792","泥人张塑彩绘禄星像","此作塑工精湛，禄星面容方正威严，虬髯垂胸自带威仪。宝冠嵌饰精巧，朱红袍身遍绘墨色游龙，纹饰灵动流畅，宝带束腰更衬身姿端方挺拔。\n施彩古雅厚重，红褐底色沉稳大气，衣褶晕染写实自然，垂坠感十足，将天官显贵雍容气度凝练于泥塑之上。既不失民俗造像的朴拙生动，又尽显匠人精妙功底，把福禄吉庆的美好意涵融于每一处细节，尽显传统彩塑的匠心神采，是民俗手工艺的上乘之作。",[7,43,55,44,115,116,117],"神仙","龙","民间工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148d0b38109424c46925328f6f0ebe3e.jpg",[],{"id":121,"slug":122,"title":123,"dynasty":124,"author":19,"museum":20,"description":125,"tags":126,"thumbUrl":131,"material":29,"size":30,"collection":31,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":72},253199,"ni-su-cai-su-wu-dao-nv-li-xiang-yi-ming-253199","泥塑彩塑舞蹈女立像","明","屈膝蹲姿的少女抬手展袖，将起舞的瞬间定格。彩塑敷色虽历经岁月斑驳，衣袂间的青绿与朱红依旧沉敛雅致，晕染出旧时光的暖意。眉眼含着融融笑意，神态娇憨灵动，仿佛下一刻就要旋动长袖，将曼妙舞韵铺展开来。\n\n匠师以刀代笔，将软泥化作柔婉身姿，衣褶线条利落又带着柔和张力，把少女的灵动情态刻画入微，让静止的造像拥有了即将起舞的鲜活气韵，把古早的浪漫情思藏在斑驳彩衣之间，尽显手工造像的动人魅力。",[127,7,128,55,44,129,130],"明代","彩塑","舞蹈","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b388d5809d882f1783d0af9850a183.jpg",[],6,{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":142,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":35},252791,"ni-ren-zhang-su-cai-hui-fu-xing-xiang-yi-ming-252791","泥人张塑彩绘福星像","此作以泥塑施彩，将神祇化作儒雅文官模样，面庞方正虬髯飘然，神色端凝却暗含温慈。幼童攀附肩头，咧嘴憨笑，鲜活灵动的稚气消解了神祗的肃穆，揉入俗世温情。\n衣褶流转自然，晕染沉雅端庄，青蓝主调衬出庄重仪范，衣摆纹饰繁丽精巧，暗合祥瑞之意。作品兼顾神性威仪与人间烟火气，将护佑苍生的祈愿藏进鲜活情态，形神兼备，尽显民间工艺的匠心独到。",[66,7,43,44,140,141,117],"福星","童子",[],{"id":144,"slug":145,"title":146,"dynasty":18,"author":19,"museum":20,"description":147,"tags":148,"thumbUrl":153,"material":29,"size":30,"collection":31,"collections":154,"showCount":155,"zanCount":34,"manualWeight":11,"mainColor":72},273359,"ni-zhi-tu-er-ye-yi-ming-273359","泥制兔儿爷","兔首人身，顶戴暖帽镶饰红绒，兔耳覆白毛垂落，粉面朱唇，威严中透着灵动憨态。身着朱红外袍，腰束玉带，安坐瑞鹿之背。瑞鹿以绿彩铺身，留白勾勒胸腹，顶生枯枝代角，古拙可爱。\n\n整体敷色浓艳明快，撞色大胆却和谐，带着民间手作的朴拙生机。将神性威仪与世俗童趣相融，凝缩了老北京中秋纳祥的民俗意涵，尽显民间泥塑的匠心意趣，藏着市井烟火里鲜活的节庆灵气。",[7,43,149,150,151,152],"兔","鹿","俑","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc077666f050fd49819bbc29e4226d866.jpg",[],5,{"id":157,"slug":158,"title":17,"dynasty":18,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":161,"material":29,"size":30,"collection":31,"collections":162,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":35},255489,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255489","螺髻饱满齐整，金箔虽斑驳剥落，却晕开旧时光的厚重暖意。面相丰润柔和，眼睑低垂，神态沉静安谧，将佛陀的悲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Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[412,55,421,67,151,462,85,43,463,7],"陶塑","动物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbf5fce05df20b411740a317546fc6a.jpg",[],{"id":467,"slug":468,"title":17,"dynasty":18,"author":19,"museum":20,"description":469,"tags":470,"thumbUrl":471,"material":29,"size":30,"collection":31,"collections":472,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},255487,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255487","肉髻饱满高挺，螺粒排布齐整，额间白毫虽经磨损仍依稀可辨。面容丰腴圆润，眼睑低垂敛目，目光内敛而沉静，似在观照世间万象。鼻型敦厚柔和，唇角噙着浅淡笑意，将佛陀的慈悲平和尽融其中。表层金漆虽已皲裂剥落，却晕染出古朴沧桑的岁月质感，沉淀着时光浸润后的厚重禅意，静静流淌出佛门静谧安然的平和意蕴，诉尽往昔梵音旧事。",[18,7,23,24,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d26ba4e526717a8a1a4b92ab655475.jpg",[],{"id":474,"slug":475,"title":17,"dynasty":18,"author":19,"museum":20,"description":476,"tags":477,"thumbUrl":478,"material":29,"size":30,"collection":31,"collections":479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},255486,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255486","螺髻饱满层叠，依旧带着规整肃穆的秩序感。眉眼低垂弯如新月，眼睑线条柔缓舒展，将沉静的悲悯藏于阖起的双目间，鼻唇轮廓温润柔和，尽显圆融慈悲的气韵。\n\n岁月剥蚀了表层金彩，斑驳的胎体带着时光镌刻的痕迹，残存的金痕似旧年梵音的余温，晕开沉静厚重的氛围感。风化的肌理里藏着沉淀的信仰力量，静默伫立间，平和安宁的气息扑面而来，将过往的虔诚与从容凝于方寸之间。",[7,23,24,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18035d106ed3144361d3ced89a0232fe.jpg",[],{"id":481,"slug":482,"title":17,"dynasty":18,"author":19,"museum":20,"description":483,"tags":484,"thumbUrl":485,"material":29,"size":30,"collection":31,"collections":486,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},255485,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255485","这尊佛头螺髻层叠排布，顶珠圆融饱满，勾勒出规整庄严的头型轮廓。面形丰腴柔和，眼睑低垂敛目，神情静谧安然，唇角微扬，晕开一抹平和慈悲的笑意，将佛陀的温润神性尽藏其中。\n泥金虽已斑驳脱落，露出底色，却晕染出岁月沉淀的厚重质感，沧桑痕迹里更衬出造像沉静肃穆的气韵，静静诉说着时光洗练后的平和禅意，尽显佛家超然物外的安然境界。",[66,7,23,24,44,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17eb33dbd98606dd5af36f17c98defae.jpg",[],{"id":488,"slug":489,"title":17,"dynasty":18,"author":19,"museum":20,"description":490,"tags":491,"thumbUrl":493,"material":29,"size":30,"collection":31,"collections":494,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},255484,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255484","这尊佛头螺髻饱满层叠，带着拙朴的庄重质感。面庞圆润柔和，眼睑低垂敛目，似在静思观心，神态平和悲悯，自带安然沉静的气场。\n\n表层金漆虽已斑驳脱落，泥胎底色大半显露，却为其晕染出厚重的岁月质感。每一处残损都是时光镌刻的印记，质朴泥胎与残存金辉交织，将佛性的沉静烘托得愈发浓厚，仿佛仍裹挟着往昔的虔敬温度，静静诉说着曾经的信仰与匠人之思。",[18,7,23,24,492],"佛像头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc084df0c0bf763ac999fc58ca880e2e1.jpg",[],{"id":496,"slug":497,"title":449,"dynasty":18,"author":19,"museum":20,"description":64,"tags":498,"thumbUrl":503,"material":29,"size":30,"collection":31,"collections":504,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},255416,"ni-ca-ca-fu-zuo-xiang-yi-ming-255416",[7,499,43,24,500,25,68,501,502,452,443],"脱模","佛教","结跏趺坐","合十","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eceed52d832b92d8d503b338d7fa55a.jpg",[],{"id":506,"slug":507,"title":508,"dynasty":18,"author":19,"museum":20,"description":509,"tags":510,"thumbUrl":512,"material":29,"size":30,"collection":31,"collections":513,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},255415,"ni-su-tie-jin-ren-xiang-yi-ming-255415","泥塑贴金人像","这尊残像衣纹褶皱层叠婉转，垂坠自然舒展，仿佛能窥见端坐之人的端方姿态。斑驳脱落的贴金与白漆，是时光亲手晕开的痕迹，如旧卷上褪却的朱印，晕染出沉沉年岁。\n\n双手交叠敛于身前，沉静安然的气度未曾随残损消散，将旧时人物的端庄风骨凝于泥胎之中。剥落的漆皮是岁月的吻痕，带着古旧的温度，让残像褪去匠气，只剩跨越年岁的沉静力量，静静诉说着被遗忘的过往，在残损里留住了独属旧时光的温婉肃穆。",[7,511,44,66,27],"贴金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe824a9f8e8614e3aa0740ffbf40f1d2b.jpg",[],{"id":515,"slug":516,"title":517,"dynasty":18,"author":19,"museum":20,"description":64,"tags":518,"thumbUrl":521,"material":29,"size":30,"collection":31,"collections":522,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},255414,"ni-ca-ca-jin-qi-fu-zuo-xiang-yi-ming-255414","泥擦擦金漆佛坐像",[18,443,7,519,520,24,68],"擦擦","金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e32518237659e383fee6e070e63fd0.jpg",[],{"id":524,"slug":525,"title":526,"dynasty":124,"author":19,"museum":20,"description":52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