[{"data":1,"prerenderedAt":78},["ShallowReactive",2],{"subject-shen-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2525,"shen-qi","神祇","神祇画高清赏析","精选中国历代神祇题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a2ab42d694db735e6d2550b1caa93e.jpg",0,3,[14,39,62],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":24,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":11,"mainColor":38},222145,"di-shi-tian-tu-dong-bi-yi-ming-222145","帝释天图东壁","明","佚名","法海寺","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,24,25,26,27,28,29,30,31,32,7],"高清","壁画","佛教","设色","人物","祥云","帝释天","梵天","二十诸天","礼佛护法","高3.2米,长14米","",[],69,1,"795548",{"id":40,"slug":41,"title":42,"dynasty":43,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":56,"material":57,"size":58,"collection":34,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},226548,"zhen-yan-mi-mi-tu-xiang-chao-man-tu-luo-juan-cai-hui-juan-ri-ben-zhen-yan-zong-seng-hui-shen-226548","《真言秘密图像钞》（曼荼罗卷）彩绘卷","不详","日本－真言宗僧惠什","藏地不详","日本真言宗僧惠什撰。又称尊容钞、惠什钞、十卷抄。本书类聚诸尊之梵号、密号、种子、三形、道场观、印契及真言，且绘出诸尊之形像与曼荼罗，并述密供之次第。依今京都鸣泷常乐院所藏之古写本，其内容分为诸佛部、经部、诸菩萨部、观音部、忿怒部、诸天部等六部，总为百尊六法。真言宗，日本佛教主要宗派之一，密宗的一种，空海法师在唐求法，回国后以东寺为道场弘法，故称东密。其后逐渐分为小野、广泽二流，从此二流又分化出大量分派，大致可分为新义、古义二派。真言宗僧惠什，日本和尚，出生年日本真言宗自根本之小野、广泽二流开始，虽衍生众多流派，然中世以来仅大别为新义、古义二派，江户时代，古义派多属高野山，新义派则隶属智山、丰山二山。月不详，本名惠什。",[23,48,49,50,26,51,52,27,53,7,54,55],"书画","长卷","彩绘","工笔","宗教","曼荼罗","法器","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab090e546a33f6addd580955eec18a4.jpg","未知","Xcm*Xcm",[],27,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":75,"material":34,"size":34,"collection":34,"collections":76,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":77},202334,"dou-lao-tian-zun-tu-zhou-ren-xiong-202334","斗姥天尊图轴","清","任熊","上海博物馆","画面中央斗姥天尊端坐莲台，六臂分持法器，身后圆光赫赫，神态庄穆慈悲。周围护法神祇或持械护卫，或捧物随侍，衣袂飘举于云气之间，姿态各异却井然有序。线条工细如丝，衣纹转折灵动；设色淡雅温润，圆光与莲台的金辉更衬出神圣氛围。人物造型精准生动，细节刻画入微——无论是天将的威武、玉女的温婉，还是云气的缥缈，皆显工笔之精湛。整幅作品将宗教题材的肃穆与艺术的灵动完美融合，尽显传统工笔人物画的魅力。",[51,27,52,26,54,71,72,73,74,7,23],"云气","莲台","圆光","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463ac5a1d864dd744ed8b9bd208b3674.jpg",[],"d2cfc3",1777535767794]