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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。",[306,90,307,24,87,308,309,310,311,7],"宗教","琉璃","莲花座","须弥座","坐像","施釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d632addcd5767ea83f998544428070.jpg",[],6,{"id":316,"slug":317,"title":318,"dynasty":18,"author":19,"museum":20,"description":319,"tags":320,"thumbUrl":327,"material":74,"size":75,"collection":30,"collections":328,"showCount":314,"zanCount":58,"manualWeight":11,"mainColor":78},241709,"bi-xi-chao-zhu-yi-ming-241709","碧玺朝珠","这串朝珠以粉碧玺为主体串珠，如揉碎春日桃花凝就珠玑，莹润柔和带着温婉甜美的气韵。佛头、记捻配搭清透翡翠，浓丽的红宝石背云如心口朱砂，撞色鲜明却又和谐相融，衬得整体层次丰盈。垂下的小坠灵动雅致，轻摇间漾出细碎柔光。\n\n它形制规整、工艺精巧，将礼制要求与材质风华完美结合，尽显清代宫廷配饰的华贵雅致，静静诉说着旧时宫廷的庄重仪轨与极致审美意趣。",[42,52,321,322,24,43,323,324,49,7,325,326],"碧玺","玉石","珠子","坠饰","串饰","宝石装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54789e1e8361a8982186716405e03d82.jpg",[],{"id":330,"slug":331,"title":332,"dynasty":18,"author":19,"museum":20,"description":333,"tags":334,"thumbUrl":338,"material":74,"size":75,"collection":30,"collections":339,"showCount":314,"zanCount":11,"manualWeight":11,"mainColor":35},234443,"qing-ren-shi-lun-wang-fo-xiang-zhou-yi-ming-234443","清人时轮王佛像轴","主尊为时轮金刚双身像，蓝调本尊配黄身明妃，多臂分持诸般法器，展立姿相拥，身背烈焰宝环，尽显忿怒威严的密教本尊仪轨相。背景以青绿重彩绘就雪域山川，浮空祥云端坐散尊，下方安奉胁侍护法，构图饱满严整。以朱砂、石青、石黄等矿物颜料设色，晕染浓艳厚重且鲜亮沉稳，线条细密流畅，将密教无上瑜珈部的神性威仪与藏地佛画的装饰审美相融，兼具极强宗教价值与艺术价值。",[116,118,87,306,90,335,280,86,7,336,337],"祥云","多臂神像","护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c5978e9c646e345ad0873ac488803c.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":18,"author":19,"museum":20,"description":304,"tags":344,"thumbUrl":351,"material":74,"size":75,"collection":30,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":107},254829,"tong-liu-jin-wu-liang-shou-fu-zuo-xiang-yi-ming-254829","铜鎏金无量寿佛坐像",[18,294,345,24,306,346,43,347,308,310,348,162,349,350,7],"鎏金","人物造像","绿松石","无量寿佛","传统工艺","造像艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde2b57df97c5cac2e048294d8acf701.jpg",[],5,{"id":355,"slug":356,"title":357,"dynasty":18,"author":19,"museum":20,"description":358,"tags":359,"thumbUrl":368,"material":74,"size":75,"collection":103,"collections":369,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":107},238622,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238622","平定台湾战图册","这幅作品以全景山水承载战事纪实，层峦叠嶂间铺展水乡战地风貌，将行军、驻营的战事情节散落排布，既有山水笔墨的章法意趣，亦还原战事的真实脉络。\n前景将校策马引兵穿行谷道，右上角城池严整列阵，细节处将军士阵列、行军队形刻画详实入微。左侧题诗与画面呼应，以图文合璧记录战事历程。以传统山水画皴染勾勒地貌，工整细致复刻战地实景，让征伐往事具象呈现，兼具历史档案价值与军事题材绘画的独特表现力。",[116,117,89,86,360,298,90,187,280,91,361,362,285,363,281,282,364,365,366,367,296,7],"白描","古道","兵器","堡垒","路径","战场景象","线描","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a8e49b30110e036d279dab688753f.jpg",[103],{"id":371,"slug":372,"title":373,"dynasty":18,"author":19,"museum":20,"description":374,"tags":375,"thumbUrl":381,"material":129,"size":30,"collection":30,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":35},216683,"hong-lou-meng-fu-tu-ce-39-yi-ming-216683","红楼梦赋图册-39","绢素之上，笔墨如诉。线条纤细却含筋骨，勾画出红楼儿女的衣袂翩跹与眉眼间的幽微心事；设色淡雅如春日烟霞，晕染出庭院深深的静谧与花事阑珊的怅惘。帧帧图绘与赋文相映，将书中的绮梦与苍凉凝作可视的诗意。纸页泛着时光的暖黄，似是岁月为这份古典情韵覆上的薄纱，每一道纹理都藏着红楼的旧影。笔墨流转间，古典的温柔与深沉悄然铺展，让观者在光影交错里，触摸那份跨越时空的绮丽与怅惘，坠入那片静谧而悠远的红楼之境。",[115,89,86,87,90,376,377,378,379,380,7],"美人","仕女","古典服饰","场景","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e3adb63f9b2992df421d6f81b848ad.jpg",[],4,{"id":385,"slug":386,"title":387,"dynasty":18,"author":19,"museum":20,"description":388,"tags":389,"thumbUrl":391,"material":74,"size":75,"collection":30,"collections":392,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":78},254930,"tong-liu-jin-duo-wen-tian-wang-xiang-yi-ming-254930","铜鎏金多闻天王像","此造像威容赫赫，天王瞋目圆睁，虬髯贲张，锁子甲纹饰细密入微，尽显精工。左手托举吐宝鼠，右手高擎宝幢，坐于昂首咆哮的瑞狮之上，将护法神祇的勇武刚猛尽显无余。\n\n通体鎏金厚重莹润，宝光内敛。莲座瓣尖饱满圆润，底座款识錾刻规整。它融合藏地造像的狞厉神性与中原錾刻的细腻工致，法度庄严又不失工巧细腻，是汉藏佛造像技艺合璧的精品，沉稳间尽显护法天王的慑人气度。",[18,294,345,24,306,90,28,390,7],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0798f6c49a8230d84a037737a1b505.jpg",[],{"id":394,"slug":395,"title":242,"dynasty":18,"author":19,"museum":20,"description":396,"tags":397,"thumbUrl":403,"material":74,"size":75,"collection":30,"collections":404,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":251},241941,"dian-cui-chuan-zhu-hua-yi-ming-241941","此簪以蝙蝠衔云为形，缉米珠铺就蝠身，朱红米粒串联出莹润肌理，点翠晕染云翅，澄澈幽蓝与暖红米色相衬，撞色鲜亮灵动。以浓绿翠玉为蝠首，珍珠点缀触须，红宝嵌于云纹，金质骨架缠绕串联，花丝工艺勾勒细腻轮廓，将点翠、缉珠工艺相融。\n\n纤巧簪头藏纳祈福吉意，既有工造的规整精致，又带着闺阁妆饰的柔婉灵韵。珠翠在光影里交相辉映，轻摇鬓间时，便把晚清妆饰的绮丽风雅尽数铺展，将旧时祈愿凝于方寸，藏着东方配饰独有的雅致华贵。",[7,215,398,399,400,323,401,49,402,52],"穿珠","累丝","花形","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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[42,613,1053,65,24,448,1054,1055,927,1056,1057,7],"雕漆","八宝纹","供器","佛手","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9091dc2cb5dcf601431a9378c7497bc2.jpg",[],{"id":1061,"slug":1062,"title":1063,"dynasty":18,"author":19,"museum":20,"description":1064,"tags":1065,"thumbUrl":1069,"material":74,"size":75,"collection":30,"collections":1070,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},246928,"ti-hong-kui-feng-wen-dai-zuo-shuang-er-gai-lu-yi-ming-246928","剔红夔凤纹带座双耳盖炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[7,613,1053,24,1066,203,1067,1068,143],"夔凤纹","双耳","盖炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca0d3d16d9158ec9278374f96d985bc9.jpg",[],{"id":1072,"slug":1073,"title":1074,"dynasty":18,"author":19,"museum":20,"description":1075,"tags":1076,"thumbUrl":1080,"material":74,"size":75,"collection":30,"collections":1081,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},246897,"ti-hong-kui-long-jiao-ye-wen-dai-zuo-fang-sheng-shi-si-ceng-hua-cha-yi-ming-246897","剔红夔龙蕉叶纹带座方胜式四层花插","此花插取方胜连体造型，形制别致清雅，自带古吉意趣。朱漆层层髹涂，雕工精湛细腻，四层纹饰疏密得宜：首以回纹卷草打底，浅浮雕夔龙盘桓辗转，线条劲健古拙；次为仰覆蕉叶，舒展柔婉，尽显清雅之态；下一层缠枝花卉饱满繁茂，生机盎然。口沿包铜提亮，更衬红漆莹润厚重。整器繁饰而不冗杂，雕纹层次分明，刀锋圆融利落，将传统纹饰与吉祥形制相融，尽显庄重雅致的审美意韵，陈设插花皆相宜，是清代雕漆工艺的精巧之作。",[65,613,24,848,1077,1078,1079,7],"蕉叶纹","方胜式","花插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55307201fbee5b9868292f49a359238d.jpg",[],{"id":1083,"slug":1084,"title":1085,"dynasty":18,"author":19,"museum":20,"description":63,"tags":1086,"thumbUrl":1088,"material":74,"size":75,"collection":30,"collections":1089,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":251},246874,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246874","剔红乾隆御制诗笔筒",[65,613,24,510,7,259,450,1087],"笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1026b2c80b8e83c917d9bc0ed3fb3d19.jpg",[],{"id":1091,"slug":1092,"title":1093,"dynasty":18,"author":19,"museum":20,"description":748,"tags":1094,"thumbUrl":1096,"material":74,"size":75,"collection":30,"collections":1097,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},246851,"ti-hong-fan-wen-chan-zhi-lian-wen-tong-li-wan-yi-ming-246851","剔红梵文缠枝莲纹铜里碗",[7,613,24,1095,413,65,294,856],"梵文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec3f991770544618b3c0b429f343f75.jpg",[],{"id":1099,"slug":1100,"title":1101,"dynasty":18,"author":19,"museum":20,"description":409,"tags":1102,"thumbUrl":1105,"material":74,"size":75,"collection":30,"collections":1106,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},246668,"ti-hong-jiao-ye-kui-long-wen-shuang-er-fang-ping-yi-ming-246668","剔红蕉叶夔龙纹双耳方瓶",[7,613,24,65,848,1077,27,1103,1104],"蕉叶","方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1af3a97957f5a26e3af862a67e5aa3.jpg",[],{"id":1108,"slug":1109,"title":1110,"dynasty":18,"author":19,"museum":20,"description":748,"tags":1111,"thumbUrl":1115,"material":74,"size":75,"collection":30,"collections":1116,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},246388,"qian-long-kuan-ti-hong-yu-zhi-shi-jin-li-wan-yi-ming-246388","乾隆款剔红御制诗金里碗",[42,65,613,24,259,510,936,1112,1113,1114,7],"回纹","御制诗","金里","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397a3fefffb57fcc0b7b8d3a97912827.jpg",[],{"id":1118,"slug":1119,"title":1120,"dynasty":18,"author":19,"museum":20,"description":1121,"tags":1122,"thumbUrl":1123,"material":74,"size":75,"collection":30,"collections":1124,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":107},245971,"jin-bian-zhong-ying-zhong-yi-ming-245971","金编钟-应钟","最早的钟原本是指古代汉族 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