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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。",[41,24,25,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd499db7532761abd5f9b5feaa88c0408.jpg","未知","Xcm*Xcm",[],7,"795548",{"id":59,"slug":60,"title":61,"dynasty":18,"author":19,"museum":20,"description":50,"tags":62,"thumbUrl":64,"material":53,"size":54,"collection":29,"collections":65,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":33},252918,"shi-si-wei-pu-sa-zuo-xiang-yi-ming-252918","石思惟菩萨坐像",[18,7,24,25,26,63,23],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7af645a11ea4447396a596437d7ebad.jpg",[],{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":72,"material":53,"size":54,"collection":29,"collections":73,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":74},252917,"shi-li-shi-xiang-yi-ming-252917","石力士像","汉白玉凝作躯骸，虽首臂残缺，仍难掩雄浑气魄。右臂攥拳垂落，肌肉块面棱线分明，暗蓄力道千钧。覆身衣袍层叠垂坠，褶皱如斧劈刀斫，既贴合躯体勾勒出劲挺身形，又带着沉静肃穆的质感。足尖稳稳踏于石座，仿佛下一秒便会振臂而起，护法的悍勇与沉凝藏在残损轮廓里，岁月磨蚀不去刚猛神髓，静默间自有慑人气场。",[18,7,24,25,23,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc454bc3e5104f1e83e7fe857b0f9d564.jpg",[],"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":18,"author":19,"museum":20,"description":79,"tags":80,"thumbUrl":83,"material":53,"size":54,"collection":29,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":33},252959,"shi-fu-li-xiang-yi-ming-252959","石佛立像","此造像面相丰润圆融，眉如弯月，垂目含笑，自带清和慈悲的气韵。衣褶层叠垂落，线条舒展柔婉，贴合身形勾勒出雅致体态，兼具肃穆神性与温婉美感。石材质朴的肌理带着经年的风霜痕迹，褪去旧时妆彩，素净的石色更衬出造像的沉静内敛。整体造型洗练克制，无过多繁复修饰，却将那份超脱世俗的安然凝刻其中，静静伫立间，便让观者触摸到跨越岁月的平和禅意。",[18,7,81,25,82,23],"佛教","立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4aaf4c96a748f6592d4e2b62f2f2f20.jpg",[],6,{"id":87,"slug":88,"title":89,"dynasty":38,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":92,"material":53,"size":54,"collection":29,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":74},255033,"shi-pu-sa-xiang-tou-yi-ming-255033","石菩萨像头","这尊汉白玉菩萨头像质地莹润温白，面相丰圆柔和。眼睑低垂，似正沉湎于禅定静思，神情恬然安谧，将悲悯沉静的神性悄然流露。发髻虽有残损，仍可见雕琢精巧的纹饰层叠，带着六朝遗风的温婉，又隐隐透出舒展大气。\n\n斑驳石痕是岁月刻下的印记，消解了匠气，让残像更添沉静肃穆的古韵，尽显东方造像含蓄内敛的美学意境。",[41,7,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd710014f7df18dd4077243c4a56a5e6.jpg",[],5,{"id":96,"slug":97,"title":98,"dynasty":99,"author":19,"museum":20,"description":100,"tags":101,"thumbUrl":104,"material":53,"size":54,"collection":29,"collections":105,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":33},253726,"shi-shi-yi-ming-253726","石狮","唐","这尊残狮虽仅存半身，却不减凛凛威仪。双目圆睁、阔口微张，獠牙隐现间，瑞兽的悍勇喷薄而出。卷曲的鬃毛以流畅洗练的阴刻线条层层铺展，将雄狮的雄健凝练于陶土之上。\n\n粗粝的胎体带着岁月浸出的厚重包浆，残缺的断面裹挟着时光的痕迹，却丝毫无损造物的雄浑气魄。匠者以极简刀工，将瑞兽的狞厉与庄重相融，把昂扬风骨凝固在这方陶土中，即便历经千年磨蚀，依旧能让人触摸到千年前的磅礴气韵，感受古拙刀法下藏着的精妙功力。",[99,23,102,103,7],"石","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36abbcfaba908fe4d183a92fc25a33b1.jpg",[],{"id":107,"slug":108,"title":109,"dynasty":38,"author":19,"museum":20,"description":50,"tags":110,"thumbUrl":111,"material":53,"size":54,"collection":29,"collections":112,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":33},252924,"shi-shuang-fu-zuo-xiang-yi-ming-252924","石双佛坐像",[23,7,24,25,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce4babf3095f45abe2c2895a874d7ed.jpg",[],{"id":114,"slug":115,"title":116,"dynasty":117,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":126,"material":53,"size":54,"collection":29,"collections":127,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":33},224047,"qing-jin-shi-xiao-shan-zi-yi-ming-224047","青金石小山子","清","青金石（英文：lazurite或Lapis lazuli，来源于拉丁语）在中国古代称为璆琳、金精、瑾瑜，青黛等。佛教称为吠努离或璧琉璃，是古代东西方文化交流的见证之一。资料显示，青金石是通过“丝绸之路”从阿富汗传入中国。其通常为集合体产出，呈致密块状、粒状结构。颜色为深蓝色、紫蓝色、天蓝色、绿蓝色等。青金石还是天然蓝色颜料的主要原料。\n青金石在选择上以色泽均匀无裂纹，质地细腻无金星为佳，无白洒金次之，洒金指金星均匀分布如果黄铁矿含量较低，在表面不出现金星也不影响质量。但是如果金星色泽发黑、发暗，或者方解石含量过多在表面形成大面积的白斑，则价值大大降低。\n青金石与绿松石、锆石同为十二月的生辰石。",[120,121,23,122,123,103,124,125,7],"清代","青金石","山","树","飞鸟","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341752f635d05478b24ce8602ecc807d.jpg",[],{"id":129,"slug":130,"title":131,"dynasty":117,"author":19,"museum":20,"description":132,"tags":133,"thumbUrl":139,"material":53,"size":54,"collection":29,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":33},274073,"mu-bian-fang-yan-cheng-shu-diao-shi-yu-zhi-shi-gua-ping-yi-ming-274073","木边方砚丞书雕石御制诗挂屏","木框配铜质挂钮，形制雅正端方。以隶书御制诗文入雕，字形朴厚端庄，恪守隶书波磔意韵，镌刻圆润饱满，字口填色沉敛，与石面底色衬映相融。\n\n行列排布严整匀净，尽显宫廷礼制下的肃穆规整，每一处细节都暗含旧朝宫廷的审美意趣，将书法法度、镌刻工巧与装裱雅致合为一体，静穆之间晕染出传统工艺与翰墨风雅交织的沉静气韵。",[134,135,136,137,7,23,138],"书法","隶书","挂屏","木质","御制诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6b975399a51130c3cc2139a23f6db.jpg",[],3,{"id":143,"slug":144,"title":145,"dynasty":117,"author":19,"museum":20,"description":146,"tags":147,"thumbUrl":10,"material":53,"size":54,"collection":29,"collections":154,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":74},229468,"yong-zheng-song-hua-shi-gua-shi-yan-yi-ming-229468","雍正 松花石瓜式砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[120,148,149,7,150,151,152,153],"松花石","砚","瓜形","藤蔓","叶子","文房用具",[],{"id":156,"slug":157,"title":158,"dynasty":18,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":161,"material":53,"size":54,"collection":29,"collections":162,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":33},252952,"shi-pu-sa-li-xiang-yi-ming-252952","石菩萨立像","此尊残像虽失首与手足，却尽显沉静端雅的气韵。衣身錾刻繁复璎珞饰件，胸间宝环层叠垂坠，腰束革带将身形勾勒得挺拔温婉，下裳覆垂的衣褶婉转流畅，带着柔婉的韵律感，将清秀飘逸的审美意趣融于石质之中。\n\n古拙刀痕留存于简约石面，将菩萨的温婉慈悲凝于残躯之上，虽残犹美。岁月浸磨出温润石质，静静诉说着往昔造像工艺的精妙，于残缺间传递出静穆安然的宗教美感，让观者窥见那个时代佛教造像的美学风骨。",[7,23,24,25,26,18,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77a5e3a57a6100c9d1739623bc3e6f.jpg",[],2,{"id":165,"slug":166,"title":158,"dynasty":18,"author":19,"museum":20,"description":167,"tags":168,"thumbUrl":169,"material":53,"size":54,"collection":29,"collections":170,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":33},252906,"shi-pu-sa-li-xiang-yi-ming-252906","汉白玉质地莹润温凉，菩萨身姿挺秀端方，宝冠覆顶，面容沉静悲悯，自带出尘神性。覆肩天衣垂落的褶皱如流泉蜿蜒，似被微风轻拂漾出柔缓弧度。桃形背光浅刻放射线条，如圣光弥散，将佛门超然氛围晕染开来。\n\n素净方座稳稳承托造像，素雅石色晕开浅淡岁月沁痕，更添古朴厚重。整体造型清瘦飘逸，糅合中原审美意趣与佛教神性，静静伫立间，便将安宁祥和的佛门气韵铺陈开来。",[18,7,24,25,23,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece5da42a1551d8df4811d54ad688c49.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":117,"author":19,"museum":20,"description":175,"tags":176,"thumbUrl":181,"material":53,"size":54,"collection":29,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":57},274080,"mu-bian-shi-diao-shan-shui-tu-cha-ping-yi-ming-274080","木边石雕山水图插屏","这件插屏以石雕为芯，巧借石材天然色差区分景致层次，浅浮雕技法勾勒出悠远山居图景。近山石质沉郁苍劲，纹理摹拟褶皱肌理，林木错落环绕间隐见村居，自有幽居野逸之趣；远山层峦叠嶂，石色浅淡柔和，与下方蜿蜒水纹相映，铺展出淡远空濛的山水意境。实木边框沉稳古雅，与石雕景致浑然相融，将文人山水的笔墨意趣化为立体案头风物，把林泉雅韵凝缩于方寸之间，尽显清隽雅致的文人情致。",[177,23,7,137,178,179,180],"插屏","山水","房屋","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97021715b3f54fa93d27488cedc66b3.jpg",[],1,{"id":185,"slug":186,"title":187,"dynasty":117,"author":19,"museum":20,"description":146,"tags":188,"thumbUrl":190,"material":53,"size":54,"collection":29,"collections":191,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":57},272592,"she-shi-diao-gua-tuo-yuan-yan-yi-ming-272592","歙石雕瓜椭圆砚",[149,7,150,189,153],"椭圆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f0f69bbe3bb55e84b790a3be538f7e.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":117,"author":19,"museum":20,"description":146,"tags":196,"thumbUrl":201,"material":53,"size":54,"collection":29,"collections":202,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":57},272326,"duan-shi-diao-huo-bu-chang-fang-yan-yi-ming-272326","端石雕货布长方砚",[149,197,7,198,199,200],"端石","长方","文房","货布纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8e1e6f42ab861300b16a72d1d8a1f4.jpg",[],{"id":204,"slug":205,"title":206,"dynasty":117,"author":19,"museum":20,"description":146,"tags":207,"thumbUrl":209,"material":53,"size":54,"collection":29,"collections":210,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":57},272310,"duan-shi-jing-tian-sui-xing-yan-yi-ming-272310","端石井田随形砚",[149,197,153,208,7],"随形砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4c3cc1a702210cc93fc48a427b2993.jpg",[],{"id":212,"slug":213,"title":49,"dynasty":18,"author":19,"museum":20,"description":50,"tags":214,"thumbUrl":216,"material":53,"size":54,"collection":29,"collections":217,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":33},254857,"shi-fu-zuo-xiang-yi-ming-254857",[24,23,7,25,63,215],"南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff8e361e09a5f3b6a57eafc606bd1a1.jpg",[],{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":20,"description":222,"tags":223,"thumbUrl":225,"material":53,"size":54,"collection":29,"collections":226,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":33},253591,"wang-shan-si-zao-shi-guan-yin-xiang-yi-ming-253591","王善思造石观音像","这尊汉白玉造像清隽雅致，观音仪容温婉柔丽，宝冠束起秀发，垂落的璎珞与层叠舒展的衣褶，勾勒出曼妙慈悲的仪态，立于莲台之上，沉静端然。残损的背光带着时光凿刻的痕迹，晕开岁月沉淀的厚重质感，将独有的空灵神性揉入汉白玉的温润之中。匠人的精妙刀工，将菩萨的慈悲静穆凝于石间，纵使历经磨蚀，依旧能窥见当年开像的匠心，静立间便漾开祥和安宁的气韵。",[18,7,24,25,23,27,224],"造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ef0bf899a7b61516d7841a99d09d33.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":18,"author":19,"museum":20,"description":50,"tags":231,"thumbUrl":232,"material":53,"size":54,"collection":29,"collections":233,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":33},252963,"shi-bi-qiu-hui-lang-zao-sh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