[{"data":1,"prerenderedAt":183},["ShallowReactive",2],{"subject-seng-lv":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1277,"seng-lv","僧侣","僧侣画高清赏析","精选中国历代僧侣题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32de48ae116c43766249311fc454f60d.jpg",0,10,[14,44,62,77,91,113,133,146,158,171],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":40,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","唐","佚名","法国国家图书馆","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37],"名画","国画","书画","长卷","设色","工笔","宗教","人物","敦煌","大象","乐器","树木","莲花","帐篷","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg","设色,拓本","",[],91,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":19,"museum":49,"description":50,"tags":51,"thumbUrl":57,"material":58,"size":59,"collection":40,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":43},290095,"ru-lai-shuo-fa-tu-yi-ming-290095","如来说法图","宋","藏地不详","本幅画一佛半跏趺坐于一大莲座上，座侧二天王、阿难、迦叶和二供养菩萨围绕。该坐佛长眉细目，眉间有白毫，唇上有髭，法相庄严。顶有螺发，肉髻低平，右手施安慰印。身后有一圆形背光，头后圆光边缘尚饰炽然飞动的火焰纹。二天王身穿盔甲，手持剑槊，神情威武。年轻的阿难温文儒雅，双手合什而立，年长的迦叶浓眉深目，双手合握作拳，食指和姆指竖起，结密教的灌顶印。二供养菩萨则手捧供花，仰首望佛，虔诚恭敬。作者充分地掌握每个人物的内在特质。人物神情各异，栩栩如生。",[24,25,52,29,53,54,28,30,55,7,56],"立轴","佛教","白描","佛像","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8ad1776dc909afc9ed35c24e31d2c2.jpg","未知","Xcm*Xcm",[],33,{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":74,"material":39,"size":40,"collection":40,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":43},217283,"jiang-mo-bian-dun-huang-tu-juan-6-yi-ming-217283","降魔变·敦煌图卷-6","画面如叙事长卷徐徐展开：左畔树下群贤毕集，衣袂轻扬间神态恭谨，似在凝神聆听；中段帐幔低垂，魔众袒腹鼓噪或蹙眉挣扎，张力暗涌；右方护法神金甲耀目，怒目圆睁，足下祥云与魔焰交织，威严毕露。线条行云流水，勾勒人物喜怒哀乐；设色古朴淡雅，赭墨交织着岁月痕迹。魔众狰狞、护法刚正、信徒虔诚，三者对比鲜明，将降魔典故的冲突与神圣感渲染得淋漓尽致，尽显敦煌艺术的灵动气韵与厚重底蕴。",[31,68,27,54,26,29,30,34,69,7,70,71,72,73],"唐代","亭子","武士","鬼怪","服饰","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05415e527171ea8c27af2cf1bec6c77.jpg",[],24,{"id":78,"slug":79,"title":80,"dynasty":48,"author":81,"museum":49,"description":82,"tags":83,"thumbUrl":88,"material":58,"size":59,"collection":40,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":43},290329,"hua-luo-han-zhou-li-song-290329","画罗汉轴","李嵩","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[24,23,52,29,53,30,84,7,85,86,27,28,87],"罗汉","枯树","山石","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51594b9dddcd6e6e0a5bfb102e8e42f7.jpg",[],12,{"id":92,"slug":93,"title":94,"dynasty":95,"author":19,"museum":96,"description":97,"tags":98,"thumbUrl":108,"material":109,"size":110,"collection":40,"collections":111,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":112},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","不详","日本京都国立博物馆","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[99,24,26,27,28,30,34,100,101,102,103,86,104,105,7,106,107],"高清","山水","流水","楼阁","小桥","花草","仕女","坐像","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","纸本","31.7×196.6cm",[],"BDBDBD",{"id":114,"slug":115,"title":116,"dynasty":117,"author":118,"museum":119,"description":120,"tags":121,"thumbUrl":128,"material":129,"size":130,"collection":40,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":112},231590,"shi-xiang-tu-chen-xian-231590","释像图","明","陈贤","美国弗瑞尔美术馆","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[99,24,25,26,54,122,30,7,123,86,124,125,126,127],"水墨","松树","虎","牛","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","绫本设色","49.5×731.3厘米",[],11,{"id":134,"slug":135,"title":136,"dynasty":137,"author":19,"museum":49,"description":138,"tags":139,"thumbUrl":144,"material":58,"size":59,"collection":40,"collections":145,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":112},234437,"ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234437","半托迦尊者唐卡","清","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[140,29,53,141,30,102,100,27,142,143,7],"唐卡","半托迦尊者","祥云","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F297b9e9e7c9ef767cfb4c49abee1b76a.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":137,"author":19,"museum":49,"description":150,"tags":151,"thumbUrl":153,"material":154,"size":40,"collection":40,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":157},218123,"fu-hua-luo-han-jiu-zhang-lao-xiang-3-yi-ming-218123","佛画·罗汉九长老像-3","佚名的佛画 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Kneeling","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[29,30,164,7,165,166,167],"素描","跪拜","西方绘画","殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71c43e3964a7a0c1b80ce0af740a879.jpg",[],2,{"id":172,"slug":173,"title":174,"dynasty":95,"author":19,"museum":49,"description":162,"tags":175,"thumbUrl":180,"material":58,"size":59,"collection":40,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":112},288905,"giovanni-battista-tiepolo-illustration-for-a-book-bishops-and-monks-being-received-yi-ming-288905","Giovanni Battista Tiepolo--Illustration for a Book Bishops and Monks Being Received",[164,54,29,176,177,178,7,179],"人物画","书籍插画","主教","宗教仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa530a001232c60fbf8440aa87cf1ced.jpg",[],1,1777535733743]