[{"data":1,"prerenderedAt":201},["ShallowReactive",2],{"subject-piao-dai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},790,"piao-dai","飘带","飘带画高清赏析","精选中国历代飘带题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841c75ed411d6ea186f2dde6f54fee57.jpg",0,12,[14,42,63,75,92,109,123,137,153,167,177,191],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","唐","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","国画","书画","长卷","宗教","白描","人物","楼阁","祥云","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm","人物画精选",[37],5500,51,"F48FB1",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":55,"material":56,"size":57,"collection":37,"collections":58,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":62},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","清","徐玫","大英博物馆","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[23,24,25,51,52,53,29,54,7],"立轴","工笔","设色","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg","绢本,设色","",[37,59],"设色画精选",448,9,"795548",{"id":64,"slug":65,"title":66,"dynasty":46,"author":67,"museum":48,"description":68,"tags":69,"thumbUrl":72,"material":56,"size":57,"collection":37,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":62},219541,"luo-shen-tu-yi-ming-219541","洛神图","佚名","洛神凌波徐行，素色罗裙晕着浅蓝镶边，飘带随水波漾动缱绻，将乘虚而行的柔婉轻盈尽数勾勒。她手持灵草，眉含轻愁、眼波低垂，清冷眉目间带着神女独有的幽怨缱绻。暗沉底色衬出人物素洁清丽，线条秀雅工细，设色简淡古雅，将洛神出尘仙姿与脉脉情思揉入笔底，把缥缈神女的古典美感定格于绢素之上，尽显传统仕女画的含蓄温婉意韵。",[23,70,24,25,53,52,29,54,7,71],"名画","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93171803f70c792a8db19d4ca0123d4b.jpg",[37],367,{"id":76,"slug":77,"title":17,"dynasty":18,"author":19,"museum":78,"description":79,"tags":80,"thumbUrl":85,"material":86,"size":87,"collection":57,"collections":88,"showCount":89,"zanCount":90,"manualWeight":11,"mainColor":91},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","藏地不详","图中以道教故事为题材，描绘了以东华帝君、南极帝君、扶桑大帝为主的八十七位列队行进的神仙，画面纯以线条表现出八十七位神仙出行的宏大场景，形神刻画细致入微。画面笔墨遒劲洒脱，根根线条都表现了无限的生命力，如行云流水，充满韵律感，代表了中国唐代白描绘画的最高水平。",[23,24,25,26,28,29,27,7,81,32,82,83,33,84],"云纹","发髻","服饰","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg","未知","Xcm*Xcm",[],358,3,"BDBDBD",{"id":93,"slug":94,"title":95,"dynasty":96,"author":97,"museum":98,"description":99,"tags":100,"thumbUrl":104,"material":56,"size":105,"collection":37,"collections":106,"showCount":107,"zanCount":108,"manualWeight":11,"mainColor":62},219908,"huang-jin-lv-tu-liu-yuan-219908","黄金缕图","元","刘元","辛辛那提艺术博物馆","图绘司马才仲昼寝入梦、苏小小翩然而至的情景。笔致精工，不论是人物的情态、衣着，还是廊柱、台阶以及室内之桌椅，均极为精细。",[23,24,52,53,29,101,28,102,103,83,7],"绢本","烟雾","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d4b71eeaa09ae87d84db9d741bd8e7.jpg","28.9x73.4厘米",[37],98,2,{"id":110,"slug":111,"title":112,"dynasty":46,"author":113,"museum":48,"description":114,"tags":115,"thumbUrl":119,"material":56,"size":120,"collection":57,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":91},218329,"shen-xian-gu-shi-tu-ce-8-leng-mei-218329","神仙故事图册-8","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,70,53,52,29,54,116,117,118,83,7],"神仙","云","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518a2424dfa8a7b97c0876e9d26a005.jpg","38x42",[],53,{"id":124,"slug":125,"title":126,"dynasty":46,"author":67,"museum":127,"description":128,"tags":129,"thumbUrl":133,"material":56,"size":134,"collection":57,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":62},214335,"da-bei-shen-zhou-fo-xiang-3-yi-ming-214335","大悲神咒佛像-3","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,25,53,52,27,29,118,130,131,83,7,132],"佛像","神咒","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675029d17e74ae020b3464aadad3b83c.jpg","27.5x16",[],16,{"id":138,"slug":139,"title":140,"dynasty":46,"author":67,"museum":141,"description":142,"tags":143,"thumbUrl":150,"material":53,"size":57,"collection":57,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":91},217297,"gu-xiu-wu-shi-san-can-tu-ce-23-yi-ming-217297","顾绣·五十三参图册-23","北京故宫博物院","针丝为笔，绣绘相生。云气以淡彩丝线晕染，朦胧若烟；仙女衣袂飘举，蓝白丝带婉转如流，持花枝而立，神态温婉。下方童子踞云憨坐，稚态可掬。右侧武将身披彩甲，火焰纹绣得热烈，腰间佩饰精致，与牵衣童子的互动生动有趣。地面墨线勾出小径，苔草点缀其间，简约雅致。整幅绣品以细腻针法传人物情态，色彩明丽却不失清雅，将佛教故事中的善知识形象与童真意趣巧妙融合，尽显顾绣“以针代笔、以线代墨”的艺术神韵。",[144,53,52,118,29,145,31,146,147,148,27,7,149],"顾绣","童子","山石","花草","飞鸟","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1968c40b44fdfd924bbfcf4ca5b30b.jpg",[],4,{"id":154,"slug":155,"title":156,"dynasty":46,"author":67,"museum":78,"description":157,"tags":158,"thumbUrl":165,"material":86,"size":87,"collection":57,"collections":166,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},268305,"huang-se-duan-xiu-hua-hui-wen-mao-piao-dai-yi-ming-268305","黄色缎绣花卉纹帽飘带","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[159,160,161,162,163,7,164],"衣帽","布料","刺绣","寿纹","花卉","缎绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74c186bccddfdb43a00303196859628.jpg",[],{"id":168,"slug":169,"title":170,"dynasty":46,"author":67,"museum":78,"description":171,"tags":172,"thumbUrl":175,"material":86,"size":87,"collection":57,"collections":176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},268304,"hu-se-luo-xiu-hua-hui-wen-piao-dai-yi-ming-268304","湖色罗绣花卉纹飘带","湖色罗底清透柔润，紫花配翠叶错落铺陈，粉蝶彩蛾翅羽晕染细腻，翅脉纤毫毕现，灵动鲜活似欲振翅翻飞。花叶绣线饱满匀整，配色明丽又不失柔和，与底色相互映衬更显清新雅致。纹样排布疏密有致，留白处暗纹点缀，让整体层次愈加丰盈，将春日郊野的生机凝于尺幅之间，带着闺阁细作的温婉灵秀，把东方雅致的柔美意趣融于一针一线之中，尽显精巧雅致的女工造诣。",[160,173,7,161,163,174],"饰品","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311a90055226fb56e0c4344b35aa4af0.jpg",[],{"id":178,"slug":179,"title":180,"dynasty":18,"author":67,"museum":78,"description":181,"tags":182,"thumbUrl":189,"material":86,"size":87,"collection":57,"collections":190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},227149,"dun-huang-20-yi-ming-227149","敦煌20","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。",[183,27,29,184,53,52,185,132,186,187,7,188],"唐代","菩萨","敦煌","宝冠","璎珞","莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5c8afa165c1971694bcf87f03c9dd.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":18,"author":67,"museum":78,"description":181,"tags":195,"thumbUrl":199,"material":86,"size":87,"collection":57,"collections":200,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":62},227148,"dun-huang-19-yi-ming-227148","敦煌19",[183,185,196,27,29,53,52,132,186,7,197,198],"壁画","光环","首饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c25df39b93c2a0b4bbe18a7cff77b1.jpg",[],1777535729331]