[{"data":1,"prerenderedAt":266},["ShallowReactive",2],{"subject-qi-ma":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3964,"qi-ma","骑马","骑马画高清赏析","精选中国历代骑马题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg",0,20,[14,41,73,100,116,134,149,159,166,176,190,198,206,213,226,234,240,246,252,258],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":35,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},223561,"you-qi-tu-juan-yi-ming-223561","游骑图卷","宋","佚名","北京故宫博物院","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[23,24,25,26,27,28,29,30,31,7],"高清","名画","宋代","长卷","工笔","白描","设色","人物","马","绢本淡设色","47x195","宋画精选",[34,36,37],"人物画精选","设色画精选",50,1,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},222941,"hong-lou-meng-66-sun-wen-222941","红楼梦66","清","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,27,29,30,31,50,51,52,53,54,55,56,57,58,59,60,61,62,63,64,7,65],"轿子","树木","房屋","旗帜","侍从","官员","百姓","服饰","抬轿","行旅","乡村","草地","建筑","传统服饰","仪仗","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3077a0780ad3e7dda59e8ad480e3a44f.jpg","绢本","纵43.3厘米、横76.5厘米","",[],16,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":78,"description":79,"tags":80,"thumbUrl":97,"material":69,"size":69,"collection":69,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":72},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","不详","藏地不详","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[81,82,83,29,84,31,30,85,86,87,52,88,89,90,91,92,7,93,51,94,95,96],"浮世绘","木刻","版画","桥","雪","山","水","松树","雪地","河流","冬季","行人","积雪","小屋","雪景","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],15,{"id":101,"slug":102,"title":103,"dynasty":45,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":111,"material":112,"size":113,"collection":69,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":72},233046,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233046","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[106,107,108,29,27,109,30,110,7],"国画","书画","册","山水","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ce673029ffda53c9fc143cf47071a6.jpg","纸本，设色","长55.6厘米，宽91.1厘米",[],8,{"id":117,"slug":118,"title":119,"dynasty":120,"author":19,"museum":78,"description":121,"tags":122,"thumbUrl":128,"material":129,"size":130,"collection":69,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":133},253281,"san-cai-qi-ma-nan-yong-yi-ming-253281","三彩骑马男俑","唐","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。",[123,124,125,126,30,31,7,127,29],"唐代","三彩","陶瓷","俑","低温釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787a3b259b14ef1a68e831b83a2f62eb.jpg","未知","Xcm*Xcm",[],4,"37474F",{"id":135,"slug":136,"title":137,"dynasty":138,"author":19,"museum":78,"description":139,"tags":140,"thumbUrl":146,"material":129,"size":130,"collection":69,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":133},254285,"tao-huang-you-qi-ma-chui-di-yong-yi-ming-254285","陶黄釉骑马吹笛俑","隋","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。",[141,125,142,143,126,7,30,144,145,31],"隋代","陶塑","黄釉","乐器","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f9294b76c98ca173a6643df2bc663.jpg",[],3,{"id":150,"slug":151,"title":152,"dynasty":120,"author":19,"museum":78,"description":139,"tags":153,"thumbUrl":156,"material":129,"size":130,"collection":69,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":40},254287,"tao-huang-you-qi-ma-chui-xiao-yong-yi-ming-254287","陶黄釉骑马吹箫俑",[120,125,126,154,143,7,30,144,155,31],"雕塑","吹箫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef3cccadc76e52ad475844317bc77b4.jpg",[],2,{"id":160,"slug":161,"title":162,"dynasty":120,"author":19,"museum":78,"description":139,"tags":163,"thumbUrl":164,"material":129,"size":130,"collection":69,"collections":165,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},254207,"tao-huang-you-qi-ma-nan-yong-yi-ming-254207","陶黄釉骑马男俑",[120,125,126,31,30,143,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b27264204d8dc71693d6b1a14556c87.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":18,"author":19,"museum":78,"description":170,"tags":171,"thumbUrl":174,"material":129,"size":130,"collection":69,"collections":175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":133},255977,"bai-ci-qi-ma-ren-xiang-yi-ming-255977","白瓷骑马人像","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[25,125,154,172,30,31,7,173],"白釉","人像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9071993131807fd31c873103b094cdab.jpg",[],{"id":177,"slug":178,"title":179,"dynasty":180,"author":19,"museum":78,"description":181,"tags":182,"thumbUrl":188,"material":129,"size":130,"collection":69,"collections":189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":133},255319,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255319","木雕镂空彩绘骑马人像","明","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。",[180,183,184,185,30,31,186,187,29,7],"木雕","镂空","彩绘","雕刻","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73ffc93efcfc257cbee6bd28b87e62d.jpg",[],{"id":191,"slug":192,"title":162,"dynasty":120,"author":19,"museum":78,"description":139,"tags":193,"thumbUrl":196,"material":129,"size":130,"collection":69,"collections":197,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":133},254650,"tao-huang-you-qi-ma-nan-yong-yi-ming-254650",[123,194,125,143,126,195,31,30,154,7],"陶","男俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf78480a6ce11516c5bdbf3d8ab133d.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":120,"author":19,"museum":78,"description":139,"tags":202,"thumbUrl":204,"material":129,"size":130,"collection":69,"collections":205,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":133},254585,"tao-huang-you-qi-ma-nv-yong-yi-ming-254585","陶黄釉骑马女俑",[123,125,143,126,30,31,7,203],"模塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d7f78f99f1169c963316dcb9b593fc.jpg",[],{"id":207,"slug":208,"title":209,"dynasty":120,"author":19,"museum":78,"description":121,"tags":210,"thumbUrl":211,"material":129,"size":130,"collection":69,"collections":212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},254526,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254526","陶画彩骑马男俑",[120,126,125,29,185,142,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109bac1eb1db65076aba699c4c0aa72a.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":120,"author":19,"museum":78,"description":121,"tags":217,"thumbUrl":224,"material":129,"size":130,"collection":69,"collections":225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":133},254434,"tao-qi-ma-nan-yong-yi-ming-254434","陶骑马男俑",[120,194,126,7,30,31,142,185,218,219,220,195,221,222,223],"唐代风格","彩绘陶俑","骑马俑","陶器","人物俑","马俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c0c2bc0a2d6b64ec3fa31229dae59c.jpg",[],{"id":227,"slug":228,"title":229,"dynasty":120,"author":19,"museum":78,"description":139,"tags":230,"thumbUrl":232,"material":129,"size":130,"collection":69,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},254286,"tao-huang-you-qi-ma-ji-gu-yong-yi-ming-254286","陶黄釉骑马击鼓俑",[120,125,126,143,7,30,31,231,186],"击鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9307b2f7a4208120b2c48e6250e91.jpg",[],{"id":235,"slug":236,"title":162,"dynasty":120,"author":19,"museum":78,"description":139,"tags":237,"thumbUrl":238,"material":129,"size":130,"collection":69,"collections":239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},254206,"tao-huang-you-qi-ma-nan-yong-yi-ming-254206",[125,126,31,30,142,143,218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38720b8d7e3b45a9668e93ff583e97d.jpg",[],{"id":241,"slug":242,"title":209,"dynasty":180,"author":19,"museum":78,"description":121,"tags":243,"thumbUrl":244,"material":129,"size":130,"collection":69,"collections":245,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},253973,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253973",[125,126,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b02d12f61ae70de310a19a5712bd1.jpg",[],{"id":247,"slug":248,"title":162,"dynasty":120,"author":19,"museum":78,"description":139,"tags":249,"thumbUrl":250,"material":129,"size":130,"collection":69,"collections":251,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},253787,"tao-huang-you-qi-ma-nan-yong-yi-ming-253787",[125,126,30,31,143,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6944753ebaae4bfc37282d23c658ad.jpg",[],{"id":253,"slug":254,"title":201,"dynasty":120,"author":19,"museum":78,"description":139,"tags":255,"thumbUrl":256,"material":129,"size":130,"collection":69,"collections":257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},253312,"tao-huang-you-qi-ma-nv-yong-yi-ming-253312",[120,125,186,126,30,31,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70962129fb1f4d7b9335682189d4e25f.jpg",[],{"id":259,"slug":260,"title":261,"dynasty":120,"author":19,"museum":78,"description":121,"tags":262,"thumbUrl":264,"material":129,"size":130,"collection":69,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},253311,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253311","陶画彩骑马女俑",[120,125,126,30,31,185,29,142,7,263],"女俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2365dc8a82c9be3938939f6d450328a8.jpg",[],1777535720495]