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御制御书，这种书很少出现在早期文献中。",[23,125,25,27,43,7],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302d8893bf0d679ca79da4cd434b166.jpg","49x49",[],18,{"id":131,"slug":132,"title":133,"dynasty":68,"author":19,"museum":20,"description":134,"tags":135,"thumbUrl":138,"material":31,"size":31,"collection":93,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":35},227070,"bei-wei-wang-song-qi-yuan-gui-fei-mu-zhi-ming-yi-ming-227070","北魏王诵妻元贵妃墓志铭","王诵（482~528年），字国章，琅琊临沂（今山东省临沂市）人。北魏大臣，黄门侍郎王融的儿子。\n出身琅琊王氏，颇有文才，神气清秀，风流俊美。起家员外散骑侍郎、迁前将军、通直散骑常侍，迎娶安丰王元猛之女元贵妃。正光末年，出任左将军、幽州刺史，入朝担任秘书监、度支尚书，迁给事黄门侍郎。\n建义元年，遇害于河阴之变，获赠骠骑大将军、司空公、尚书左仆射、徐州都督，谥号文宣。",[27,25,43,71,7,136,68,59,58,137],"拓印","墓志铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc2e43c873bcdc5f33b0bf6d5cdf263.jpg",[93],15,{"id":142,"slug":143,"title":144,"dynasty":68,"author":19,"museum":20,"description":111,"tags":145,"thumbUrl":146,"material":82,"size":83,"collection":31,"collections":147,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":35},226525,"yuan-lve-mu-zhi-yi-ming-226525","元略墓志",[23,27,25,43,71,58,7,59,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea21c648984611ee319190732f9880.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":68,"author":19,"museum":20,"description":111,"tags":152,"thumbUrl":154,"material":82,"size":83,"collection":31,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":35},226529,"yuan-zuan-yuan-mu-zhi-yi-ming-226529","元钻远墓志",[23,27,25,43,153,7],"雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6d619fca8afdca5dfad29e0e82973b.jpg",[],13,{"id":158,"slug":159,"title":160,"dynasty":68,"author":19,"museum":161,"description":162,"tags":163,"thumbUrl":165,"material":43,"size":166,"collection":93,"collections":167,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":35},226528,"yuan-qin-mu-zhi-yi-ming-226528","元钦墓志","辽宁省博物馆","北魏墓志中保存了许多史书未曾记载或载之不详的重要史料，《元钦墓志》为其一种。元钦是恭景穆帝之孙，官至侍中司空公开国侯，赠侍中太师、骠骑大将军、定州刺史。史书记载，公元528年，河北起义军将领葛荣率军进攻洛阳，北魏朝廷为之震动。尔朱荣受遣，率精锐骑兵至邺县，击溃义军，俘杀葛荣。尔朱荣也因此掌握了军政实权，并于同年，杀害无上王元劭、开始平王元子正等十三王及公卿以下两千余人。元钦墓志中的“上天不吊，降祸斯人”即喻元钦是这次政变的受害人之一。",[23,27,25,43,58,164,7,59],"魏晋南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b84b33fdb908748824e3060102eb11.jpg","高八二点八厘米，宽八六点一厘米",[93],{"id":169,"slug":170,"title":171,"dynasty":68,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":174,"material":31,"size":31,"collection":31,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":35},227068,"bei-wei-si-ma-xian-zi-mu-zhi-ming-yi-ming-227068","北魏司马显姿墓志铭","全称《魏故世宗宣武皇帝第一贵嫔夫人司马氏墓志铭》。高67.1厘米，宽67.3厘米，1927年在洛阳城北安驾沟西南出土，曾经于右任先生收藏。此志书刻皆精，为其时墓志铭中的上品，梁启超评为“于俊拔之中，别饶韶秀”，是初学楷书的佳品。\n\n此志的保存状态非常良好。具有张力感的字体，给人以清晰的印象，可谓充分表现出北魏的书风，颇具厚重风格的作品。字形向左倾斜为其特征。笔划较少的文字写得偏小，与笔划较多的文字保持一种协调均衡，使整体具有一种统一感。撇划很有特点，在文字中最为犀利，成为字体的核心笔划。因此，字体左侧形成的紧凑空间，其行气与字距相互呼应，构成了巧妙的配合。将同一时代的《张猛龙碑》与此志相比较来鉴赏，可资理解这一时代的书法风格。",[27,43,25,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255c6e2f5cca1fcb347131d1ee77f7d3.jpg",[],12,{"id":178,"slug":179,"title":180,"dynasty":120,"author":181,"museum":20,"description":182,"tags":183,"thumbUrl":185,"material":31,"size":186,"collection":93,"collections":187,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":35},221099,"yu-tai-ming-qu-ling-wen-221099","峿台铭","瞿令问","唐代瞿令问篆书《峿台铭》，元结撰文，唐大曆二年(767)六月刻。据载是出自瞿令问的手笔，原石刻在湖南祁阳县峿溪崖石上，此铭书写的是悬针篆，悬针是小篆的别体，直接由玉箸篆演变而来，只是“字必垂书细末，细末纤直如悬针”。",[23,125,184,27,25,7],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91399f9edc484136c6dbf52099688da9.jpg","纵185厘米，横95厘米",[93],{"id":189,"slug":190,"title":191,"dynasty":192,"author":19,"museum":20,"description":193,"tags":194,"thumbUrl":195,"material":31,"size":31,"collection":31,"collections":196,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":35},232794,"long-men-er-shi-pin-yi-ming-232794","龍門二十品","五代十国","从河南洛阳南行十三公里左右，就到了著名的“四大佛窟”之一的龙门石窟。这里两山夹峙，有如门阙，伊水长流，一边，是唐代大诗人白居易长眠的香山；一边，是龙门山。在龙门山上，有自北魏至北宋开凿的大大小小的佛窟，至今尚存的就有一千三百五十二个，有佛龛二千三百四十五个，造像多至十万余尊，是中国雕塑艺术的宝库。\u2028 这些造像，大多都有题记。人们在龙门造佛像，有的是为君，有的是为友，有的是为亡妻，有的是为夭女。造好像后，有的人就要刻石记载这一件事，这就是龙门造像题记的来历。许多题记书法都十分精美，尤其是北魏造像题记，是魏碑书法的代表作品，被康有为称为“雄峻伟茂，极意发宕，方笔之极轨也”（《广艺舟双楫·余论》）。\u2028 清代碑学大兴以后，龙门石窟造像题记引起了人们的注意，开始搜求椎拓。开始仅由黄易拓《始平公造像记》一品，后来增至《四品》《十品》《二十品》《五百品》乃至《龙门全山》。其中，以《龙门二十品》最为实用，影响也最大。\u2028 《龙门二十品》是经过许多书家选择的，很具有代表性，所选题记，都是北魏书法中的精品。这二十品是：\u2028\u2028　　《始平公造像记》\u2028\u2028　　《孙秋生造像记》\u2028\u2028　　《尉迟造像记》\u2028\u2028　　《解伯达造像记》\u2028\u2028　　《一弗氏造像记》\u2028\u2028　　《比丘惠感造像记》\u2028\u2028　　《元详造像记》\u2028\u2028　　《魏灵藏造像记》\u2028\u2028　　《杨大眼造像记》\u2028\u2028　　《比丘道匠造像记》\u2028\u2028　　《孙保造像记》\u2028\u2028　　《高树造像记》\u2028\u2028　　《郑长遒造像记》\u2028\u2028　　《贺兰汗造像记》\u2028\u2028　　《马振拜造像记》\u2028\u2028　　《太妃侯为幼孙造像记》\u2028\u2028　　《慈香造像记》\u2028\u2028　　《比丘法生造像记》\u2028\u2028　　《元燮造像记》\u2028\u2028　　《元佑造像记》\n《龙门二十品》，有十九品在古阳洞，仅有一品在老龙洞外慈香窟。从《二十品》中，已经可以大致窥见龙门书风。所书大致出于民间书手，一派天真，有人称之为粗头乱服，天真烂漫，但奇趣天成。康有为在《广艺舟双楫·十六宗》中说：“魏碑无不佳者，虽穷乡儿女造像，而骨血峻宕，拙厚中皆有异态，构字亦紧密非常，岂与晋世皆当书之会耶？何其工也。譬江、汉游女之风诗，汉、魏儿童之谣谚，自能蕴蓄古雅，有后世学士所不能为者，故能择魏世‘造像记’学之，已自能书矣。”\u2028　　龙门造像题记书法对后世的影响非常大，康有为甚至认为有了魏碑，南碑（指南方之碑，如《爨宝子》《爨龙颜》）、齐碑、周碑、隋碑都可以不要了，因为它们所有的风格在魏碑中就已经有了。在这里，我们可以寻到后代许多著名书法家的源头，如赵孟頫、邓石如、赵之谦等。近现代书家，也都把龙门造像题记作为自己学习的极则。",[27,25,43,71,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5877464a7433cc0eb7c0c93312c26a.jpg",[],10,{"id":199,"slug":200,"title":201,"dynasty":68,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":204,"material":31,"size":31,"collection":31,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":35},227063,"bei-zhou-zhang-sun-jun-qi-luo-shi-mu-zhi-ming-yi-ming-227063","北周长孙君妻罗氏墓志铭","长孙稚在寿春任扬州刺史时，长孙绍远时年十三。他记忆力惊人，有人拿《礼记月令》测试他，他只看一遍，马上背诵如流，被人所叹服。解褐司徒府参军事，除给事中直。后随父征讨河东、蜀、薛有功，封东阿县伯。\n\n魏孝武帝西奔长安投靠宇文泰，长孙绍远与父亲兄弟跟随，大统元年，孝武帝即位后，转冠军将军，朱衣直阁，尝食典御，安城县侯，邑九百户。后拜司徒右长史，加车骑，太常卿。大统二年拜中书令，俄而袭父爵上党王，后例降为冯翊郡公。历任过四曹尚书，仪同三司，置佐开府散骑常侍、侍中，加骠骑，大行台，录尚书。\n\n北周建立后，设立六官，长孙绍远任大司乐，随即改任礼部中大夫，复封上党郡公。寻拜京兆尹，历少保、小司空，出为河州刺史。政存简恕，百姓悦服。入为小宗伯。保定五年（565年）夏在泾州赵平乡去世，年六十[1]。周武帝下诏追赠柱国大将军，郏、中、熊、邵、义五州诸军事，郏州刺史，谥曰献。长孙绍远精通礼乐，才华横溢，号称乐祖，死后配飨庙庭（入太庙共享祭祀）。有子长孙览。",[27,43,25,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ef32adb08d58e827bec67dde8566d.jpg",[],9,{"id":208,"slug":209,"title":210,"dynasty":18,"author":19,"museum":20,"description":211,"tags":212,"thumbUrl":215,"material":82,"size":83,"collection":31,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":218},281121,"ju-chao-liu-jun-mu-shi-yang-ke-shi-yi-ming-281121","居巢刘君墓石羊刻石","西汉的石刻很少见，据宋尤袤《砚北杂记》说：“闻自新莽恶称汉德，凡有石刻，皆令仆而磨之，仍严其禁。大多采用阴线刻和阳线刻两种雕刻方式。\n”赵明诚《金石录》仅著录《居摄两坟坛》、《五凤刻石》两种。其他西汉石刻是清以后才陆续发现的，所以伪刻较多。近人徐森玉《西汉石刻文字初探》所收集计有十种，有《霍去病墓石刻字》、《莱子侯刻石》等十种。以上石刻仅仅是作为坟坛、宫殿的计时标志，属于“小品”性质。从以上西汉的时刻来看，隶书的波磔还不明显，严格的讲，都非正规的汉隶碑刻，其实，西汉的隶书已经成熟，具有波磔挑笔。可以从1972年山东临沂银雀山汉墓出土的《孙子兵法简》、《孙膑兵法简》中看到，笔画都带有燕尾波挑。\n东汉“碑碣云起”。刻碑之风盛行的原因之一是，当时的门生故吏很多，为府主歌功颂德，或封山祭祀之用。自郦道元《水经注》便见诸于著录，有三百多件，碑刻、拓片流传至今者（包括近所发现）的约有二百余种。清代朱彝尊在《跋汉华山碑》中把汉隶分成三种类型风格：方正、流丽、奇古。其实从形制上可以分为碑刻和摩崖两大类。从艺术特点上可以把其分为：典雅、秀逸、拙朴、雄浑、纵肆、平整、古峭、奇谲。它们的代表作品分别为：《史晨碑》、《乙瑛碑》，《礼器碑》、《曹全碑》，《张迁碑》，《西狭碑》，《石门颂》，《熹平石经》，《裴岑碑》，《夏承碑》。",[153,213,214,7],"石羊","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa60b570fa2acdc19ef5ded3058a9f7f.jpg",[],8,"BDBDBD",{"id":220,"slug":221,"title":222,"dynasty":68,"author":19,"museum":20,"description":223,"tags":224,"thumbUrl":225,"material":31,"size":31,"collection":31,"collections":226,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":218},227071,"nv-shang-shu-wang-seng-nan-mu-zhi-yi-ming-227071","女尚书王僧男墓志","1917年河南洛阳城南石山村出土《女尚书王僧男墓志》，北魏正光二年（521年）九月二十日刻。志高39.5厘米，宽35厘米，十五行，行十六字，共255字。有盖，二行，行三字，题“魏品一墓志铭”。志、盖俱正书。字体古茂朴拙、天真率趣，是典型的魏书。",[27,25,43,68,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d80c10b030db2d505f36e466a6a05.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":18,"author":19,"museum":20,"description":111,"tags":231,"thumbUrl":234,"material":82,"size":83,"collection":31,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":35},227036,"dong-wei-zhang-man-mu-zhi-bing-gai-yi-ming-227036","东魏张满墓志并盖",[23,27,25,184,43,7,232,58,233],"墓志","拓印技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd1d4e0fd90ae09826f3e302abe5cd.jpg",[],7,{"id":238,"slug":239,"title":240,"dynasty":18,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":243,"material":82,"size":83,"collection":31,"collections":244,"showCount":236,"zanCount":34,"manualWeight":11,"mainColor":35},226540,"kao-wei-wei-zhen-hou-can-shi-yi-ming-226540","考卫尉贞侯残石","汉代地下墓室、墓地祠堂、墓阙和庙阙等建筑上雕刻画像的建筑构石。所属建筑，绝大多数为丧葬礼制性建筑，因此，本质上汉画像石是一种祭祀性丧葬艺术。画像石不仅是汉代以前中国古典美术艺术发展的巅峰，而且对汉代以后的美术艺术也产生了深远的影响，在中国美术史上占有承前启后的重要地位。",[23,24,25,27,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa683d821fcb194aa10bc8f3c1b211251.jpg",[],{"id":246,"slug":247,"title":248,"dynasty":68,"author":19,"museum":20,"description":249,"tags":250,"thumbUrl":254,"material":82,"size":83,"collection":31,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":106},252903,"di-xun-sheng-zao-shi-guan-yin-xiang-yi-ming-252903","邸荀生造石观音像","尖形背光舒展如叶，浅刻卷纹晕出朦胧佛光。观音面容温婉沉静，宝冠整饬，发丝层叠，右手轻抬似在予人慰藉，身形秀挺立于莲台。饱满莲瓣层层舒展，稳稳承托出圣洁身形。\n\n经年风化让石面晕开斑驳肌理，方座刻痕虽漫漶，却沉淀下岁月的厚重。造像刀法洗练克制，将神性的端宁与手工的温度相融，褪去鲜亮的石色间，仍能窥见往昔造像时的虔诚，静穆之中尽显东方造像含蓄雅致的审美意趣。",[68,7,153,44,251,252,253],"佛教","人物","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd299f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永瑆 石刻惇叙殿柏梁体联句册","清","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[27,25,43,284,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9cef39a539e1e8f540d07791b4f11e.jpg",[],5,{"id":289,"slug":290,"title":291,"dynasty":18,"author":19,"museum":20,"description":292,"tags":293,"thumbUrl":296,"material":82,"size":83,"collection":31,"collections":297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":106},281426,"san-ti-shi-jing-yi-ming-281426","三体石经","原立于魏都洛阳南郊太学讲堂西侧。因碑文每字皆用古文、小篆和汉隶三种字体写刻，故名。石经刻有《尚书》、《春秋》和部分《左传》，是继东汉《熹平石经》后建立的第二部石经。《三体石经》在中国书法史和汉字的演进发展史上具有非常重要的意义。",[25,184,26,58,294,7,295],"残石","石经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36e9deca3dbfe4d61c72cec4625b3c16.jpg",[],4,{"id":300,"slug":301,"title":302,"dynasty":40,"author":19,"museum":20,"description":303,"tags":304,"thumbUrl":306,"material":82,"size":83,"collection":31,"collections":307,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":35},252936,"shi-fu-zuo-xiang-yi-ming-252936","石佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese 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。",[45,7,44,252,305,153],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77c294f70c34f339f0dbd3d7c6df8dd.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":68,"author":19,"museum":20,"description":312,"tags":313,"thumbUrl":316,"material":82,"size":83,"collection":31,"collections":317,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":35},281390,"chen-shen-jiang-jing-chuang-ke-shi-yi-ming-281390","陈神姜经幢刻石","整体质朴厚重，石面带着岁月剥蚀的斑驳痕迹。顶部浮雕纹饰古雅端严，幢身分层凿龛造像，佛尊皆结跏端坐，排布齐整肃穆，将宗教的庄严感融于雕刻秩序之中。匠人们以刀代笔，把佛陀沉静慈悲的神态凝于石上，尽显浑厚朴拙的典型风貌，既承载着古时的虔诚信仰，亦是雕刻工艺的匠心遗存，静静沉敛着千年前的宗教审美与匠人巧思。",[153,7,44,314,315],"佛像","经幢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405e29c75aea6583a61f1bf5c5a4bde.jpg",[],3,{"id":320,"slug":321,"title":322,"dynasty":280,"author":19,"museum":20,"description":323,"tags":324,"thumbUrl":331,"material":82,"size":83,"collection":31,"collections":332,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":106},269354,"zi-tan-diao-chan-zhi-lian-wen-qian-qing-shi-ke-shan-shui-lou-ge-tu-tuo-yuan-he-yi-ming-269354","紫檀雕缠枝莲纹嵌青石刻山水楼阁图椭圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[325,153,326,7,327,328,329,330],"木质","缠枝莲纹","山水","楼阁","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbaf8def913e85608cf032872a91881.jpg",[],{"id":334,"slug":335,"title":336,"dynasty":68,"author":19,"museum":20,"description":337,"tags":338,"thumbUrl":340,"material":82,"size":83,"collection":31,"collections":341,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":106},255032,"shi-gong-yang-ren-xiang-tou-yi-ming-255032","石供养人像头","双丫发髻古朴灵动，柔和撑起上部轮廓。面庞线条舒展温润，眉眼弯阖似带着静谧笑意，鼻唇饱满圆融，晕开平和安然的神态。砂石质地带着时光摩挲的痕迹，褪去繁饰，仅以素朴肌理留存下千年前的气韵。沉静的面容仿佛仍带着供养人虔诚的祈愿，将清隽温婉的气质静静定格，让观者触摸到那个时代的审美脉搏，感知信仰浸润下的柔和温度。",[68,7,153,252,339,44],"供养人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f665ab89ea1e5b56550def6aa12d50b.jpg",[],{"id":343,"slug":344,"title":345,"dynasty":40,"author":19,"museum":20,"description":346,"tags":347,"thumbUrl":350,"material":82,"size":83,"collection":31,"collections":351,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":106},253589,"shi-zhang-hui-fei-deng-zao-shuang-guan-yin-xiang-yi-ming-253589","石张晖妃等造双观音像","这尊造像虽有残损，却依旧气韵沉静端严。两尊观音身姿挺秀，衣褶线条古雅简约，神情温婉恬和，带着独有的温润质感。石表斑驳的风霜痕迹，凝着千余年的时光印记。宝冠、璎珞细节虽经磨蚀，仍可窥见当年工匠的细腻用心。\n双像对称排布，褪去浮华修饰，尽显石雕质朴厚重的肌理，将古远的信仰虔诚凝刻于石上，静静晕开平和肃穆的氛围，让观者触摸到跨越岁月的沉静力量。",[7,153,44,252,348,45,349],"石质","佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac528fc7f14945756e1ee43e10618e22.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":68,"author":19,"museum":20,"description":356,"tags":357,"thumbUrl":359,"material":82,"size":83,"collection":31,"collections":360,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":106},252905,"shi-hui-shan-zao-guan-yin-pu-sa-li-xiang-yi-ming-252905","石惠善造观音菩萨立像","此作取汉白玉为材，质地莹润素洁。菩萨身姿修挺秀雅，头戴宝冠，面容柔婉沉静，垂目敛神间，慈悲气韵尽显。右手施无畏印，抚慰世间忧怖，左手轻执净瓶，暗含渡世之意。衣袂垂坠舒展，纹路流畅自然，将秀骨清像的造像风格展现尽致。\n\n舟形背光简约素净，衬得人物飘然出尘，方正台座沉稳大气，与秀雅立像相映成趣。整体既有佛教造像的庄严肃穆，又不失灵动秀逸之美，尽显古时匠人精湛的雕刻功力，以及对宗教美学的精妙诠释。",[68,7,153,44,252,358,348],"菩萨立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48725846031a39f6de5e115e6888294.jpg",[],{"id":362,"slug":363,"title":364,"dynasty":261,"author":19,"museum":20,"description":365,"tags":366,"thumbUrl":369,"material":82,"size":83,"collection":31,"collections":370,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":35},227550,"fu-shuo-mo-li-zhi-tian-jing-yi-ming-227550","佛说摩利支天经","佛说摩利支天菩萨陀罗尼经是佛给末世众人的一部修行宝典，时常念诵可以避免诸难，一切邪魔外道不敢欺诳，所希求之事只要诚心合理，便能得到感应。",[44,27,25,367,43,252,7,368],"写经","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d59ee1bf5a4d86a51d894eee11a47d.jpg",[],{"id":372,"slug":373,"title":374,"dynasty":261,"author":19,"museum":20,"description":375,"tags":376,"thumbUrl":379,"material":82,"size":83,"collection":31,"collections":380,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":106},227517,"bu-xiang-yi-ming-227517","不详","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。",[264,7,377,153,252,44,378],"浮雕","线刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ca680160d6121a71ffc221205f51f7.jpg",[],{"id":382,"slug":383,"title":384,"dynasty":120,"author":19,"museum":20,"description":385,"tags":386,"thumbUrl":387,"material":31,"size":31,"collection":31,"collections":388,"showCount":318,"zanCount":11,"manualWeight":11,"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赵建遂及夫人董氏王氏合葬墓志. 正书原刻. 易县, 唐大中9年[855]2月17日葬. 拓片墨纸尺寸: 44.5 x 44厘米. 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