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内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[47,48,49,68,24,52,53,25,69,7,70,71,72],"长卷","佛像","飞天","经文","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","纸本","全长1635.5厘米，宽30.4厘米","人物画精选",[76,78],"设色画精选",189,3,"795548",{"id":83,"slug":84,"title":85,"dynasty":86,"author":19,"museum":20,"description":87,"tags":88,"thumbUrl":99,"material":100,"size":101,"collection":32,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":81},227062,"ku-zhu-shi-dong-bi-yi-ming-227062","窟主室东壁","南北朝","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。",[89,90,91,92,53,69,7,70,93,94,95,96,97,98],"壁画","南北朝风格","宗教题材","线条勾勒","供养人","古代服饰","背光","人物群像","宗教壁画技法","壁面绘制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a62d2883cac04e8b299e670573b7.jpg","未知","Xcm*Xcm",[],117,{"id":105,"slug":106,"title":107,"dynasty":18,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":119,"material":120,"size":121,"collection":76,"collections":122,"showCount":123,"zanCount":36,"manualWeight":11,"mainColor":58},223310,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-223310","法界源流图卷","丁观鹏","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[48,68,52,53,112,113,69,7,114,115,116,117,118],"宗教绘画","佛教","佛界人物","瑞兽","佛具法器","祥云","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590947cd8119aa4c54bfeec57db03cf.jpg","纸本，设色","纵33厘米、横1635厘米",[76],73,{"id":125,"slug":126,"title":127,"dynasty":128,"author":19,"museum":51,"description":87,"tags":129,"thumbUrl":131,"material":100,"size":101,"collection":32,"collections":132,"showCount":133,"zanCount":36,"manualWeight":11,"mainColor":81},226179,"ku-zhu-shi-dong-pi-yi-ming-226179","窟主室东披","唐",[89,51,113,130,53,69,7],"宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff34234637a2c315ee37628394c09a5f.jpg",[],58,{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":138,"description":139,"tags":140,"thumbUrl":150,"material":53,"size":32,"collection":76,"collections":151,"showCount":152,"zanCount":36,"manualWeight":11,"mainColor":58},217311,"gu-xiu-wu-shi-san-can-tu-ce-yi-ming-217311","顾绣·五十三参图册","北京故宫博物院","绣线流转间，善财童子的虔诚跃然绢上。顾绣以针代笔，将山水的淡远、人物的温煦凝于丝缕：或见童子俯身问法，衣袂飘举间藏着求道的恳切；或观善知识拈花含笑，眉眼舒展处透着慈悲的从容。针脚细密处晕染出虚实层次，丝线的柔光与笔墨的雅致相融，似有禅意悄然流淌。草木的舒展、山石的肌理，皆以灵动针法勾勒——既存画之韵致，更显绣之精工。每一幅皆是一段求道的缩影，绣工于细节处藏巧思，尽显明清绣艺与释教题材结合的雅致深味，让观者在丝缕交织里触碰到那份千年不变的虔诚与静穆。",[141,142,52,53,24,25,143,144,145,146,147,148,7,149],"顾绣","刺绣","山水","树木","山石","流水","松树","童子","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca39984ae1662855dc39ec30e30b1f4.jpg",[76],52,{"id":154,"slug":155,"title":156,"dynasty":128,"author":19,"museum":51,"description":87,"tags":157,"thumbUrl":166,"material":100,"size":101,"collection":32,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":37},226249,"ku-zhu-shi-xi-bi-yi-ming-226249","窟主室西壁",[89,158,24,53,159,25,69,7,160,93,161,162,163,164,165],"唐代","线描","建筑纹样","佛教题材","色彩晕染","人物造像","洞窟内壁","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061a4f96fab239c644c4c6e2bfc3086c.jpg",[],50,{"id":170,"slug":171,"title":172,"dynasty":18,"author":19,"museum":20,"description":173,"tags":174,"thumbUrl":178,"material":100,"size":101,"collection":32,"collections":179,"showCount":180,"zanCount":181,"manualWeight":11,"mainColor":81},267345,"xiu-ran-deng-fo-xiang-zhou-yi-ming-267345","绣燃灯佛像轴","此作以刺绣为骨，晕染出浓郁的宗教静穆氛围。主尊趺坐莲台，面容慈悲恬和，双手结说法印，朱红织金法衣细密华贵，绣纹流转间尽显堂皇质感。背景以绣线晕织出层叠祥云、青绿峰峦，层次柔和分明，铺就出空灵祥瑞的圣域图景。两侧胁侍菩萨身姿舒展安闲，衣袂飘然，与主尊呼应共生出平和肃穆的场域。外框以重复梵字绣纹环绕，规整庄重，将画面牢牢托于神圣氛围之中。整作针线细密入微，配色饱满浓郁，将藏地唐卡的宗教审美与刺绣工艺精妙融合，尽显匠心与信仰的交融之美。",[175,142,24,113,176,25,53,117,143,7,177],"立轴","燃灯佛","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998f92cc28a96bf3f9ffa3b1bd164074.jpg",[],49,2,{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":186,"tags":187,"thumbUrl":192,"material":100,"size":101,"collection":32,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":81},234421,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234421","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[48,175,24,53,52,25,7,1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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。",[47,214,48,49,24,53,25,479,7,302],"佛祖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2745dfde8da022c5388603d2e1f4287c.jpg",[],8,{"id":484,"slug":485,"title":486,"dynasty":18,"author":19,"museum":20,"description":487,"tags":488,"thumbUrl":493,"material":100,"size":101,"collection":32,"collections":494,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":58},263653,"ke-si-e-mi-tuo-fo-ji-le-shi-jie-tu-zhou-yi-ming-263653","缂丝阿弥陀佛极乐世界图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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记，静静诉说着往昔的信仰温度，尽显古拙虔诚的造像意趣。",[86,24,961,278,288,27,7,783,25,549],"佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531ab7fb787097449f6932b459c6110.jpg",[],{"id":965,"slug":966,"title":967,"dynasty":128,"author":19,"museum":20,"description":968,"tags":969,"thumbUrl":970,"material":100,"size":101,"collection":32,"collections":971,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},253615,"tong-pu-sa-li-xiang-yi-ming-253615","铜菩萨立像","身形修长柔和，高发髻配尖角背光，古朴凝练。铜锈覆身晕染出沉厚岁月感，却丝掩不住沉静慈悲的气韵。寥寥錾刻便勾勒出衣袂垂坠的柔和质感，板凳底座带着匠作质朴的温度，方寸之间将盛唐造像特有的典雅从容尽数铺展，极简刀工晕开清净庄严，尽显佛韵禅意。",[158,24,278,27,30,7,702,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9c2d3a33d4307ae479c024455e2d0a.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":86,"author":19,"museum":20,"description":976,"tags":977,"thumbUrl":978,"material":100,"size":101,"collection":32,"collections":979,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":81},253047,"tong-liu-jin-ren-a-zao-pu-sa-li-xiang-yi-ming-253047","铜鎏金任阿造菩萨立像","鎏金虽已斑驳，仍晕开古旧华贵的暖光。尖状背光錾刻火焰纹路，将菩萨身形衬得分外清隽。菩萨面容温婉恬和，高束发髻，薄衣贴体，衣纹流畅舒展，尽显秀骨清像的风雅神姿。下方方座携刻铭文，带着古时信众的虔敬祈愿，朴拙的器座稳稳承托造像。\n\n整像小巧却具足神采，将神性端严与匠人之思相融，在时光淘洗里沉淀出沉静厚重的信仰温度，静静诉说千年前的虔心与审美意趣。",[86,278,288,27,24,7,30,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e4322828f2a92e0470a4c5d20b2c64.jpg",[],{"id":981,"slug":982,"title":393,"dynasty":128,"author":19,"museum":20,"description":983,"tags":984,"thumbUrl":985,"material":100,"size":101,"collection":32,"collections":986,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},252923,"shi-pu-sa-li-xiang-yi-ming-252923","这尊残像以汉白玉雕就，虽首臂俱失，仍尽显柔婉风姿。腰肢轻款微扭，璎珞垂坠贴合身形，下身覆衫层叠垂落，衣褶如流云舒展，线条圆润婉转，将造像丰腴灵动的特质晕染尽致。\n\n残存躯体里凝着雍容的气韵，每一处刀工都藏着对神性与柔美的追慕，沉静中带着悠然的慈悲意韵，于残缺间留存下跨越千年的典雅神性。",[128,24,27,25,268,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c3acf89e6dce14c31838d0ab40b79a.jpg",[],{"id":988,"slug":989,"title":967,"dynasty":128,"author":19,"museum":20,"description":990,"tags":991,"thumbUrl":994,"material":100,"size":101,"collection":32,"collections":995,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":81},252835,"tong-pu-sa-li-xiang-yi-ming-252835","此像虽双臂佚失，却不改沉静肃穆之态。宝冠高束，面容古雅端方，眉目间带着淡然慈悲。躯体比例舒展合度，衣纹洗练贴体，暗合造像的舒展气度。斑驳铜锈爬满身躯，凝着千年岁月的沉痕。层叠规整的台座稳稳承托身形，整体无繁复修饰，自带着庄严朴素的宗教氛围感。古拙的錾刻线条里，藏着往昔虔诚的信仰温度，残损非但未减其韵，反倒更添沧桑厚重，尽显古造像的朴拙意趣。",[702,278,27,24,7,30,25,992,993],"古拙","沧桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc39fd441e8d81c74a3ca8641d52707c7.jpg",[],{"id":997,"slug":998,"title":679,"dynasty":18,"author":19,"museum":20,"description":999,"tags":1000,"thumbUrl":1001,"material":100,"size":101,"collection":32,"collections":1002,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},274895,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274895","菩萨白身赤足舒坐莲台，身姿曼妙灵动，抬手展具，周身朱焰萦回，青珐琅底色晕染出澄澈清净的佛境，配色鲜亮明快，佛韵盎然。银镀金底座分饰层莲与缠枝瑞纹，錾刻走线细腻古拙，鎏金莹润光泽与珐琅彩的明丽相映成趣，将藏地造像的神性静穆与内地金属细作的精工华贵融于一体，气韵庄严又不失灵动雅致，尽显彼时宗教造像的审美意趣，是匠心独具的供佛佳器。",[24,682,26,7,25,215,27,431,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243d51a1e734e161ea2f5b8411fe9061.jpg",[],{"id":1004,"slug":1005,"title":679,"dynasty":18,"author":19,"museum":20,"description":1006,"tags":1007,"thumbUrl":1009,"material":100,"size":101,"collection":32,"collections":1010,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},274894,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274894","水滴形鎏金佛龛内，菩萨安坐莲台，莹白法身环饰璎珞，神态慈悲自在。蓝底嵌饰细密匀净，托出菩萨明丽衣色与宝相，色彩古雅沉静，尽显殊圣安然。\n\n下方银质莲台舒展层叠，卷草缠枝纹饰柔婉灵动，与鎏金龛沿的繁复雕花彼此呼应。素银冷冽光泽与鎏金华贵金芒相融，藏地造像的雄浑气质与精工巧思交织，将信仰凝注于寸厘工艺中，静静诉说着清净庄严的供养之心，尽显藏地供具的独特美学意涵。",[24,682,26,27,7,53,683,189,1008,130],"工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d8fb5c0f366d5e012b7fb49546ea94.jpg",[],{"id":1012,"slug":1013,"title":285,"dynasty":128,"author":19,"museum":20,"description":1014,"tags":1015,"thumbUrl":1017,"material":100,"size":101,"collection":32,"collections":1018,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},256138,"tong-liu-jin-pu-sa-li-xiang-yi-ming-256138","此像身形修长舒展，尽显盛唐造像独特风韵。菩萨高冠束发，面容沉静端雅，身姿微侧，衣纹璎珞线条洗练流畅，将灵动柔婉的体态勾勒尽致。鎏金虽经岁月经年有所磨损，却晕染出愈发古雅厚重的质感，为造像更添岁月沉淀的沉静韵味。整体造型含蓄温润，慈悲平和的气韵扑面而来，凝萃着千年前的虔敬匠心，尽显东方古典造像的典雅之美。",[158,24,278,288,27,7,30,25,612,1016],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39613656359a3c3021b5ae199dd8532.jpg",[],{"id":1020,"slug":1021,"title":1022,"dynasty":313,"author":19,"museum":20,"description":1023,"tags":1024,"thumbUrl":1032,"material":100,"size":101,"collection":32,"collections":1033,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},256116,"bai-you-ci-yu-lan-guan-yin-pu-sa-li-xiang-yi-ming-256116","白釉瓷鱼篮观音菩萨立像","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[1025,24,25,1026,30,547,1027,1028,1029,7,1030,1031],"陶瓷","白釉","雕塑","白釉瓷","观音","立姿","鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3240b79825e6394a2ea551b0ec46061e.jpg",[],{"id":1035,"slug":1036,"title":1037,"dynasty":18,"author":19,"museum":20,"description":1038,"tags":1039,"thumbUrl":1040,"material":100,"size":101,"collection":32,"collections":1041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},256018,"tong-liu-jin-guan-yin-pu-sa-li-xiang-yi-ming-256018","铜鎏金观音菩萨立像","此尊造像鎏金虽蒙岁月晕染，却依旧凝敛华贵质感。菩萨面庞丰润温婉，眉眼含着静谧笑意，自带慈悲祥和的气韵。宝冠高束，璎珞环身垂坠，衣褶舒展流畅，贴合身形勾勒出秀挺雅致的身姿。右手施无畏印，予人安定力量，左手持净瓶暗合遍洒甘露、渡化世人的意涵，赤足立于饱满舒展的仰莲台之上，更衬造像端雅圣洁。\n\n整作造型规整细腻，将菩萨的悲悯柔和与庄严大气相融，藏着旧时匠人的虔诚匠心，尽显传统造像的古典审美意趣。",[278,288,27,24,25,30,7,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd627601e0ce30b39f855aa00a5cbd7.jpg",[],{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":19,"museum":20,"description":348,"tags":1046,"thumbUrl":1047,"material":100,"size":101,"collection":32,"collections":1048,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255869,"mu-diao-jin-qi-pu-sa-li-xiang-yi-ming-255869","木雕金漆菩萨立像",[23,24,25,7,352,351,584,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79621a8399d204667cfaa016fe158fa.jpg",[],{"id":1050,"slug":1051,"title":867,"dynasty":382,"author":19,"museum":20,"description":477,"tags":1052,"thumbUrl":1055,"material":100,"size":101,"collection":32,"collections":1056,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255845,"tong-pu-sa-zuo-xiang-yi-ming-255845",[382,278,27,24,25,7,300,1053,1054],"台阶","砖墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbcf85f131741111aac969fc7d72c9b.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":128,"author":19,"museum":20,"description":1061,"tags":1062,"thumbUrl":1063,"material":100,"size":101,"collection":32,"collections":1064,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255828,"tong-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-255828","铜杨柳枝观音菩萨立像","此像虽小巧残损，却凝着大唐造像的温婉气韵。宝冠端庄，左手持净瓶的轮廓依旧清晰，原执杨柳枝已佚失，躯体依稀可见褒衣博带的唐风余韵。\n\n铜锈层层叠叠，裹着千年岁月的厚重，周身的镂空卯痕，似在低语当年装銮的精巧工艺。褪去了旧时饰彩，素铜底色愈显沉静，不见繁复雕饰，却自带着慈悲安宁的神性，方寸之间藏着盛唐审美意趣，时光剥蚀后更添朴拙质感，静默中传递出跨越千年的平和力量。",[158,278,27,24,25,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc59c9c393cd6d3afffe0bc506fcc5041.jpg",[],{"id":1066,"slug":1067,"title":1068,"dynasty":63,"author":19,"museum":20,"description":348,"tags":1069,"thumbUrl":1071,"material":100,"size":101,"collection":32,"collections":1072,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255274,"mu-diao-cai-hui-jia-jin-pu-sa-zuo-xiang-yi-ming-255274","木雕彩绘加金菩萨坐像",[350,351,215,1070,24,7,539,27,352],"加金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb99f3645aba9fead04175658dd47f1d.jpg",[],{"id":1074,"slug":1075,"title":1076,"dynasty":63,"author":19,"museum":20,"description":348,"tags":1077,"thumbUrl":1078,"material":100,"size":101,"collection":32,"collections":1079,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255175,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255175","木雕彩绘菩萨立像",[350,351,215,24,25,27,352,549,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1810c8e71b935316f2b41caa6002ea.jpg",[],{"id":1081,"slug":1082,"title":393,"dynasty":86,"author":19,"museum":20,"description":1083,"tags":1084,"thumbUrl":1086,"material":100,"size":101,"collection":32,"collections":1087,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},254898,"shi-pu-sa-li-xiang-yi-ming-254898","叶形背光清简素朴，菩萨仪容温婉端丽，高髻秀挺，眉目柔和内敛，残留的彩绘痕迹依稀可见旧时的精工晕染。衣袂层叠垂坠，璎珞飘带婉转舒展，线条圆融柔润，尽显清隽秀雅的风骨。\n\n时光剥蚀了表层彩饰，却沉淀出沉静肃穆的质感，将神性的慈悲与六朝飘逸气韵融为一体，静默间流露含蓄慈悲，尽显古朴空灵的造像意韵，静静诉说着旧时光里的信仰温度。",[27,269,113,25,86,835,30,7,860,1085],"残彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1cb979afbc0a885a1c52829cc68a4b.jpg",[],{"id":1089,"slug":1090,"title":393,"dynasty":86,"author":19,"museum":20,"description":1091,"tags":1092,"thumbUrl":1094,"material":100,"size":101,"collection":32,"collections":1095,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},254835,"shi-pu-sa-li-xiang-yi-ming-254835","面庞丰润柔和，弯眉下双目低垂，神色静谧安然，自带慈悲温婉的韵致。身着褒衣博带式汉风法服，衣褶疏密有度，线条流转自如，顺着身形垂落，勾勒出秀挺身姿，尽显古朴空灵的质感。\n\n虽残损过半，失却背光与手足细节，却更衬出沉静内敛的神性，尽显此时佛教造像融合中印审美的特质。褪去繁复修饰，以极简的石刻语言，传递出冲淡安宁的禅意，尽显中古造像含蓄典雅的美学意趣。",[86,860,27,24,25,7,30,269,1093,835],"古代雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf499f29356b839b14cd6b8cc36e942f.jpg",[],{"id":1097,"slug":1098,"title":1099,"dynasty":313,"author":19,"museum":20,"description":477,"tags":1100,"thumbUrl":1101,"material":100,"size":101,"collection":32,"collections":1102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},254832,"tong-jin-qi-pu-sa-zuo-xiang-y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