[{"data":1,"prerenderedAt":820},["ShallowReactive",2],{"subject-sui-dai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2627,"sui-dai","隋代","隋代画高清赏析","精选中国历代隋代题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75c73203388b50e52164530ccf72203.jpg",0,94,[14,35,62,77,90,99,109,123,134,145,154,162,173,181,192,199,205,213,222,229,239,246,253,263,272,283,291,298,306,314,321,330,337,347,355,362,371,378,386,393,399,408,415,424,431,438,448,454,461,467,477,484,493,503,511,520,527,535,541,550,559,567,574,581,587,594,601,608,618,627,633,639,648,654,662,671,679,688,695,703,711,717,725,734,743,749,758,766,774,781,789,797,804,812],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},214311,"deng-zhou-she-li-ta-xia-ming-yi-ming-214311","邓州舍利塔下铭","隋","佚名","藏地不详","这座塔铭的形式为圆形柱础，直径80.5厘米，厚13厘米；竖铭由14行组成，共13个字，全铭154个字的楷书，刻在石板中央，排列成方形。该塔铭的书法风格融合了汉代和北魏的风格，楷书精致有力，典雅大方，节奏感强，书法功底深厚。",[23,24,25,26,27,28,7],"高清","拓本","书法","楷书","宗教","石刻","纸本,拓本","80.5x80.5","",[],40,"795548",{"id":36,"slug":37,"title":38,"dynasty":18,"author":19,"museum":20,"description":39,"tags":40,"thumbUrl":57,"material":58,"size":59,"collection":31,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":34},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[7,41,42,43,44,45,46,47,48,49,50,51,52,53,54,55,56],"铜制","青铜器","雕刻","鼠","牛","虎","兔","龙","蛇","马","羊","猴","鸡","狗","猪","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg","未知","Xcm*Xcm",[],23,{"id":63,"slug":64,"title":65,"dynasty":18,"author":19,"museum":20,"description":66,"tags":67,"thumbUrl":73,"material":58,"size":59,"collection":31,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":76},252843,"tao-bai-you-hua-cai-nan-li-yong-yi-ming-252843","陶白釉画彩男立俑","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[7,68,69,70,43,71,72],"陶","白釉","彩绘","人物","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c5d57d5e1e43f81c71ecb255a1af3c.jpg",[],19,"37474F",{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":86,"material":31,"size":31,"collection":87,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":76},253592,"shi-shuang-pu-sa-xiang-yi-ming-253592","石双菩萨像","此作为汉白玉质地，莹润素洁。双菩萨身形修长清秀，带着隋代造像特有的过渡风骨。宝冠高束，面容丰腴温婉，垂目敛神，笑意含蓄内敛，慈悲静谧之感扑面而来。\n\n身着褒衣博带袈裟，衣纹疏朗流畅，轻柔贴体，将衣物垂坠柔软的质感尽显，带着北朝秀骨清像的余韵。二尊对称伫立仰莲台之上，右手施无畏印安抚众生，左手自然垂落，姿态端雅祥和。\n\n虽顶部残损，却更添朴雅沧桑。静穆中晕开沉静的慈悲力量，尽显隋代造像承前启后的独特美学。",[7,83,43,27,71,84,85],"石雕","双像","石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876a66da41fc1fb3e8cbf1040473fd43.jpg","雕塑精选",[87],18,{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":20,"description":39,"tags":94,"thumbUrl":97,"material":58,"size":59,"collection":31,"collections":98,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":34},244728,"guang-liu-su-yue-jing-yi-ming-244728","光流素月镜",[7,41,43,95,96],"龙纹","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f41acc3c32c7270030015aad9c66b.jpg",[],{"id":100,"slug":101,"title":102,"dynasty":18,"author":19,"museum":20,"description":103,"tags":104,"thumbUrl":106,"material":58,"size":59,"collection":31,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":76},252943,"shi-guan-yin-pu-sa-xiang-tou-yi-ming-252943","石观音菩萨像头","这尊造像质地莹润温白，面相丰腴柔婉，眉眼似弯月轻垂，眼睑敛合间流露出沉静恬和的笑意，将菩萨俯瞰世间的慈悲温柔尽数藏在神情里。残存的发髻依稀可见当时造艺的精巧，线条舒展圆融，褪去厚重，尽显空灵俊逸的气韵。工匠以极简的刀工勾勒出东方神性的温婉庄严，把佛教清净无染的意境融于柔和面容之间，含蓄典雅的气韵静静流淌，将悲悯与安宁凝固于此方寸之间。",[43,105,27,71,7],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00898fbfdcc842224002ed21acd10dfb.jpg",[],16,{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":20,"description":113,"tags":114,"thumbUrl":119,"material":58,"size":59,"collection":31,"collections":120,"showCount":121,"zanCount":122,"manualWeight":11,"mainColor":76},253355,"tao-huang-you-gou-yi-ming-253355","陶黄釉狗","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[7,115,116,117,54,118],"陶瓷","陶塑","兽","黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cc57704e2f0192a1dfdf275ad8d009.jpg",[],14,1,{"id":124,"slug":125,"title":126,"dynasty":18,"author":19,"museum":20,"description":113,"tags":127,"thumbUrl":131,"material":58,"size":59,"collection":31,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":76},252765,"tao-huang-you-niu-yi-ming-252765","陶黄釉牛",[115,128,118,56,45,117,129,7,130],"陶制","雕塑","釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa752803ad7745f99861433506dd7795.jpg",[],9,{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":20,"description":138,"tags":139,"thumbUrl":142,"material":58,"size":59,"collection":31,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":76},253851,"tao-hua-cai-nv-li-yong-yi-ming-253851","陶画彩女立俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[7,68,140,72,71,141,115],"画彩","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17110b36d2e76a49a3638a5a7bba3ac.jpg",[],7,{"id":146,"slug":147,"title":148,"dynasty":18,"author":19,"museum":20,"description":149,"tags":150,"thumbUrl":152,"material":58,"size":59,"collection":31,"collections":153,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":34},253761,"tong-wu-fu-li-xiang-yi-ming-253761","铜五佛立像","五尊立像共承方座，齐整排布，静穆安然。造像身披褒衣博带式法服，衣纹褶皱古拙简约，随身形垂坠舒展，尽显沉静端方的气度。莲瓣形头光层叠晕开，如佛光轻笼，衬得佛像愈发安然祥和。\n造像面容方圆柔和，双目垂敛，神态宁和慈悲，自带沉静肃穆的氛围感。古铜色泽沉暗苍古，带着千年岁月浸淫的厚重质感，虽细节微有磨损，却更添质朴沧桑的古韵，尽显时代造像简雅庄严的特质。",[7,41,43,27,71,151],"立像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79af950c3a8f1b9c4b6f200a6802922a.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":19,"museum":20,"description":113,"tags":158,"thumbUrl":160,"material":58,"size":59,"collection":31,"collections":161,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":76},253664,"tao-huang-you-wu-shi-yong-yi-ming-253664","陶黄釉武士俑",[7,115,72,159,118,43],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5d762a4692d581e184db45e9c44b0b.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":18,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":171,"material":58,"size":59,"collection":31,"collections":172,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":34},253371,"tong-liu-jin-di-zang-pu-sa-xiang-yi-ming-253371","铜鎏金地藏菩萨像","此像身姿舒展自在，半跏趺坐于莲台之上，眉目柔和沉静，宝相慈悲端严。透雕火焰纹头光翻卷灵动，烘托出神圣肃穆的法相，将菩萨飘然出尘的气韵尽数彰显。下方枝茎形底座缠绕卷曲，宛如盛放莲枝，让整尊造像更显轻盈空灵。\n\n鎏金历经岁月斑驳脱落，反而晕染出古朴厚重的历史质感，隋代造像的简约雅致与佛教造像的沉静慈悲融为一体，尽显当时造像工艺的纯熟造诣，在沉静中诉说着往昔的宗教美学意趣。",[7,41,168,43,27,169,170],"鎏金","菩萨","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea41b4651ba2e3f0de141da5b9701c89.jpg",[],{"id":174,"slug":175,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":178,"thumbUrl":179,"material":58,"size":59,"collection":31,"collections":180,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":34},253224,"shi-fu-zuo-xiang-yi-ming-253224","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。",[7,27,71,83,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd499db7532761abd5f9b5feaa88c0408.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":18,"author":19,"museum":20,"description":185,"tags":186,"thumbUrl":189,"material":58,"size":59,"collection":31,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":34},256923,"qing-you-tu-niu-lian-ban-wen-quan-yi-ming-256923","青釉兔纽莲瓣纹权","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[115,187,43,47,117,188,7,56],"青釉","莲瓣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac4e691a82c5f03171354b30fc5d189.jpg",[],6,{"id":193,"slug":194,"title":195,"dynasty":18,"author":19,"museum":20,"description":66,"tags":196,"thumbUrl":197,"material":58,"size":59,"collection":31,"collections":198,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":34},256748,"bai-you-guan-yi-ming-256748","白釉罐",[7,115,69,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0461d3370f91dec4d906a40c34dd4088.jpg",[],{"id":200,"slug":201,"title":112,"dynasty":18,"author":19,"museum":20,"description":113,"tags":202,"thumbUrl":203,"material":58,"size":59,"collection":31,"collections":204,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":76},255547,"tao-huang-you-gou-yi-ming-255547",[7,115,118,116,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2512addb0379018f15691a6ff877959.jpg",[],{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":20,"description":138,"tags":209,"thumbUrl":211,"material":58,"size":59,"collection":31,"collections":212,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":76},254391,"tao-mi-you-nv-yong-yi-ming-254391","陶米釉女俑",[7,115,116,210,71,72],"米釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bf949836e96c77b3e89b6c9ff88631.jpg",[],{"id":214,"slug":215,"title":216,"dynasty":18,"author":19,"museum":20,"description":217,"tags":218,"thumbUrl":220,"material":58,"size":59,"collection":31,"collections":221,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":34},253515,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253515","铜鎏金杨柳枝观音菩萨立像","此尊造像身姿修长婉约，宝冠覆顶，面容沉静悲悯，自带渡世的柔和气场。璎珞垂缀周身，衣袂线条舒展柔和，勾勒出菩萨清隽端雅的身形。手持杨柳净瓶，将观音救度众生的经典意象具象呈现。\n\n历经岁月，鎏金虽斑驳脱落，却晕开古拙厚重的质感，背光火焰纹饰依稀可见，悄然烘托出神圣庄严的氛围。整体工艺精简传神，将菩萨慈悲端宁的气韵尽数诠释，古造像含蓄隽永的审美意趣凝缩于此，残损鎏金是时光镌刻的印记，静静诉说着过往的信仰温度。",[7,219,41,27,71,43,169,151],"铜鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef168849385ee7c31ad006ec465c961.jpg",[],{"id":223,"slug":224,"title":225,"dynasty":18,"author":19,"museum":20,"description":138,"tags":226,"thumbUrl":227,"material":58,"size":59,"collection":31,"collections":228,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":76},253474,"tao-hua-cai-gong-shou-nv-li-yong-yi-ming-253474","陶画彩拱手女立俑",[7,115,141,71,72,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be270a3633dfef516d1b677d9880c63.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":18,"author":19,"museum":20,"description":138,"tags":233,"thumbUrl":237,"material":58,"size":59,"collection":31,"collections":238,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":76},253441,"tao-ti-hu-hu-ren-nan-li-yong-yi-ming-253441","陶提壶胡人男立俑",[7,72,115,43,71,234,235,128,236],"胡人","提壶","立俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f4ee5364cc7eb08bc87abc1c326f7f.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":18,"author":19,"museum":20,"description":113,"tags":243,"thumbUrl":244,"material":58,"size":59,"collection":31,"collections":245,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":76},253330,"tao-huang-you-hua-cai-wu-shi-yong-yi-ming-253330","陶黄釉画彩武士俑",[7,115,118,140,159,72,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4288a8b86bfe792e8ed5b1691978d7b4.jpg",[],{"id":247,"slug":248,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":249,"thumbUrl":251,"material":58,"size":59,"collection":31,"collections":252,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":34},252925,"shi-fu-zuo-xiang-yi-ming-252925",[7,27,43,85,71,250],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9f2845df899acf9e47623c26fd836a2.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":18,"author":19,"museum":20,"description":257,"tags":258,"thumbUrl":260,"material":58,"size":59,"collection":31,"collections":261,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":262},252909,"shi-pu-sa-li-xiang-yi-ming-252909","石菩萨立像","此造像面相圆润温婉，神情沉静恬和，宝冠端严，自带着超然出尘的悲悯神性。衣纹垂坠舒展如流泉般柔和自然，周身璎珞细密层叠，将神性的高洁与工艺的精巧相融。\n\n整体造型朴拙中见灵动，背光取莲瓣形制，简约大气，与立像浑然一体，晕开静谧祥和的宗教氛围。石刻肌理带着岁月摩挲的温润质感，线条凝练婉转，将菩萨端方柔美的仪态尽显无遗，静静诉说着中古造像的审美意趣，虽经时光冲刷，依然气韵悠长。",[7,43,27,71,259],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d42f24057d3ba81c11d44fa20326fa.jpg",[],"BDBDBD",{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":269,"material":58,"size":59,"collection":31,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":262},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。",[7,83,27,71,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd710014f7df18dd4077243c4a56a5e6.jpg",[],5,{"id":273,"slug":274,"title":275,"dynasty":18,"author":19,"museum":20,"description":276,"tags":277,"thumbUrl":281,"material":58,"size":59,"collection":31,"collections":282,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":34},254583,"tao-huang-lv-you-niu-che-yi-ming-254583","陶黄绿釉牛车","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[7,115,278,116,45,279,43,280],"黄绿釉","车","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85adab79ec4e3926a4ae958c38b81795.jpg",[],{"id":284,"slug":285,"title":286,"dynasty":18,"author":19,"museum":20,"description":138,"tags":287,"thumbUrl":289,"material":58,"size":59,"collection":31,"collections":290,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":34},254109,"tao-qi-ma-ji-le-yong-yi-ming-254109","陶骑马伎乐俑",[7,115,72,71,50,43,288],"伎乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32419e494f56a1ebf8f3f968c0df9b1c.jpg",[],{"id":292,"slug":293,"title":256,"dynasty":18,"author":19,"museum":20,"description":294,"tags":295,"thumbUrl":296,"material":58,"size":59,"collection":31,"collections":297,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":262},252931,"shi-pu-sa-li-xiang-yi-ming-252931","这件造像以汉白玉雕就，虽首臂残缺，却依旧尽显秀雅端严。通身璎珞层叠垂绕，珠串婉转勾勒出躯体柔美的轮廓，腰间宝带束身，垂饰错落垂落，与垂坠舒展的衣褶相得益彰。\n\n匠师以凝练的刀法刻画出长裙褶皱，线条舒朗流畅，将衣物轻柔垂坠的质感尽显无遗。露于裙外的双足安稳伫立，静穆中自有沉静温婉的神性气韵，残存的细节里藏着独有的典雅审美，在残损中晕开含蓄隽永之美。",[7,27,43,71,85,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0832df9cc9379fb4c9f597f3f0728ff6.jpg",[],{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":20,"description":302,"tags":303,"thumbUrl":304,"material":58,"size":59,"collection":31,"collections":305,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":34},252882,"tong-yang-lan-jing-zao-yi-pu-sa-er-xie-shi-li-xiang-yi-ming-252882","铜杨阑景造一菩萨二胁侍立像","这尊造像凝萃了隋代造像的独特意韵，主尊垂目合十，面容温婉静谧，通肩衣纹垂坠舒展，宝冠端庄，自带慈悲沉静的气度。莲瓣形背光錾刻缠枝细纹，灵动舒展，衬得主尊愈发端严。两侧胁侍恭谨伫立，侧身朝向主尊，尽显仪轨肃穆。青铜包浆厚重古雅，镂空如意底座搭配枝形胁侍支座，将庄严感与精巧工法相融，既留存北朝造像的厚重遗风，又晕染出隋代独有的清隽秀雅，静默间漫出冲淡平和的佛国意趣。",[42,41,27,71,43,151,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca5e594a5cba1bc8186a7a591e6b8562.jpg",[],{"id":307,"slug":308,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":309,"thumbUrl":311,"material":58,"size":59,"collection":31,"collections":312,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},255401,"shi-fu-zuo-xiang-yi-ming-255401",[43,85,27,71,250,7,310],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb384fe0aa53c2af7549df9c178c5c1.jpg",[],4,{"id":315,"slug":316,"title":317,"dynasty":18,"author":19,"museum":20,"description":276,"tags":318,"thumbUrl":319,"material":58,"size":59,"collection":31,"collections":320,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},254584,"tao-hua-cai-gou-yi-ming-254584","陶画彩狗",[7,115,141,117,54,70,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ccd8ab6c1cb7c01255ff79a688e4fe.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":18,"author":19,"museum":20,"description":138,"tags":325,"thumbUrl":328,"material":58,"size":59,"collection":31,"collections":329,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},253936,"tao-hua-cai-pi-feng-yi-nan-yong-yi-ming-253936","陶画彩披风衣男俑",[7,68,140,141,72,71,326,43,327],"男俑","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2615da1fa469596a92146001ff2dfebf.jpg",[],{"id":331,"slug":332,"title":333,"dynasty":18,"author":19,"museum":20,"description":113,"tags":334,"thumbUrl":335,"material":58,"size":59,"collection":31,"collections":336,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":34},253798,"tao-huang-you-ma-yi-ming-253798","陶黄釉马",[7,115,118,50,129,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08fcb01ca7e1bd1b7a055c174a0f40e7.jpg",[],{"id":338,"slug":339,"title":340,"dynasty":18,"author":19,"museum":20,"description":341,"tags":342,"thumbUrl":345,"material":58,"size":59,"collection":31,"collections":346,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":262},253768,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253768","铜鎏金菩萨立像","造像鎏金虽经岁月磨蚀斑驳，却难掩宝相慈悲沉静。头戴花蔓宝冠，面容丰腴温婉，尽显柔和端凝气韵。身着天衣褶皱层叠流畅，垂覆舒展，将衣袂飘然之态尽显无遗，带着厚重圆润的造像风尚。身姿挺拔不失柔和，手势从容内敛，静立莲台之上，莲台虽略有残损，仍可见往昔工艺精巧。残痕亦是时光刻下的印记，将旧时造像技艺的风华静静留存，端庄典雅间，尽显佛造像的沉静大美。",[7,41,343,27,71,43,344],"金器","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb67225d360789557da00606d1c6e6c2.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":18,"author":19,"museum":20,"description":351,"tags":352,"thumbUrl":353,"material":58,"size":59,"collection":31,"collections":354,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},253602,"tong-cheng-zong-zao-pu-sa-li-xiang-yi-ming-253602","铜程□宗造菩萨立像","这尊造像古雅清简，菩萨身姿挺拔修长，轻薄法衣垂覆周身，衣纹婉转柔和，将沉静安然的气度融于线条之中。莲瓣形背光素朴无饰，衬得菩萨身影愈发清逸空灵，仿佛携着幽远禅意。\n\n铜色历经岁月摩挲，沉穆古旧，带着时光浸养的温润质感。极简的台座利落稳重，与造像的雅致融为一体，褪去繁复装饰，以洗练的造型诠释出冲淡平和的审美意趣，静静伫立间尽显虔诚庄重的古拙之美。",[7,27,169,151,41,43,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e2d4c8541e06dc4b122d28079722d75.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":18,"author":19,"museum":20,"description":138,"tags":359,"thumbUrl":360,"material":58,"size":59,"collection":31,"collections":361,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},253430,"tao-nan-li-yong-yi-ming-253430","陶男立俑",[7,72,71,115,128,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2dcb50720cf3c53432eb1ad4e995a33.jpg",[],{"id":363,"slug":364,"title":365,"dynasty":18,"author":19,"museum":20,"description":366,"tags":367,"thumbUrl":369,"material":58,"size":59,"collection":31,"collections":370,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":34},253253,"shi-wo-yang-yi-ming-253253","石卧羊","这尊卧羊静卧沉眠，神态憨实温顺，尽显敦朴厚重之感。匠师以细密阴线刻出层层毛发，将羊毛蓬松质感写实呈现，精准勾勒出公羊昂扬神态与健硕体态。底座满饰网格纹路，与羊身毛发呼应，让整体更显协调规整。\n\n石材周身斑驳包浆晕开岁月痕迹，粗粝石面带着时光打磨的沉静古韵。整体雕工简约却传神，寥寥刀笔便将卧羊的静穆姿态刻画入微，尽显古拙内敛的审美意趣，尽显匠人的写实功力。",[7,85,43,117,51,368],"卧姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b13034e3efd2424edc30def00c9f7f8.jpg",[],{"id":372,"slug":373,"title":374,"dynasty":18,"author":19,"museum":20,"description":138,"tags":375,"thumbUrl":376,"material":58,"size":59,"collection":31,"collections":377,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},253140,"tao-hua-cai-wu-shi-yong-yi-ming-253140","陶画彩武士俑",[115,141,72,71,43,70,7,159,128,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6844f4227ceddf92c2b7a6853e46112.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":18,"author":19,"museum":20,"description":382,"tags":383,"thumbUrl":384,"material":58,"size":59,"collection":31,"collections":385,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},253050,"tong-wu-zi-xiang-zao-fu-li-xiang-yi-ming-253050","铜吴子葙造佛立像","这尊造像小巧凝练，高背火焰纹背光线条犀利利落，层叠排布的焰纹如炬火升腾，烘托出庄严神圣的氛围感。\n\n本尊结跏趺坐于方座之上，双手合十垂目，面容沉静端方，头后圆形头光錾刻细密光环纹理，衬得佛容愈发悲悯祥和。铜像包浆厚重古雅，衣褶纹路历经岁月仍清晰利落，极简造型暗含沉静内敛的东方禅意，以质朴无华的铜范凝缩着信众对佛国的憧憬，是早期造像中虔诚质朴的典范之作。",[7,27,71,41,43,42,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6efd70cbcaf41a9997f0e56d37b969.jpg",[],{"id":387,"slug":388,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":389,"thumbUrl":391,"material":58,"size":59,"collection":31,"collections":392,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":76},252948,"shi-fu-zuo-xiang-yi-ming-252948",[43,27,71,390,7],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451dc18e461c5a58830fc5096f59e076.jpg",[],{"id":394,"slug":395,"title":176,"dynasty":18,"author":19,"museum":20,"description":177,"tags":396,"thumbUrl":397,"material":58,"size":59,"collection":31,"collections":398,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":34},252936,"shi-fu-zuo-xiang-yi-ming-252936",[7,28,27,71,250,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77c294f70c34f339f0dbd3d7c6df8dd.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":18,"author":19,"museum":20,"description":66,"tags":403,"thumbUrl":405,"material":58,"size":59,"collection":31,"collections":406,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":262},256895,"bai-you-wan-yi-ming-256895","白釉碗",[7,115,69,404],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a7fd655e4db99a4a39bccae871fbfb.jpg",[],3,{"id":409,"slug":410,"title":411,"dynasty":18,"author":19,"museum":20,"description":66,"tags":412,"thumbUrl":413,"material":58,"size":59,"collection":31,"collections":414,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":34},256747,"bai-you-yu-lou-zun-yi-ming-256747","白釉鱼篓尊",[7,115,69,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157feab528f6c86577deebf8ef27320b.jpg",[],{"id":416,"slug":417,"title":418,"dynasty":18,"author":19,"museum":20,"description":276,"tags":419,"thumbUrl":422,"material":58,"size":59,"collection":31,"collections":423,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":34},254603,"tao-hua-cai-ya-yi-ming-254603","陶画彩鸭",[7,115,140,141,420,421,129],"禽鸟","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc7a7eacd7d1a7786412b11deeedb4.jpg",[],{"id":425,"slug":426,"title":427,"dynasty":18,"author":19,"museum":20,"description":113,"tags":428,"thumbUrl":429,"material":58,"size":59,"collection":31,"collections":430,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":34},254392,"tao-huang-you-hu-ren-yong-yi-ming-254392","陶黄釉胡人俑",[7,115,118,72,234,71,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247acd55b7934c99ee9fa2bb743bd1e7.jpg",[],{"id":432,"slug":433,"title":434,"dynasty":18,"author":19,"museum":20,"description":138,"tags":435,"thumbUrl":436,"material":58,"size":59,"collection":31,"collections":437,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},254354,"tao-nan-yong-yi-ming-254354","陶男俑",[7,128,43,71,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046152084f53a9d37bb629d6ed7397a0.jpg",[],{"id":439,"slug":440,"title":441,"dynasty":18,"author":19,"museum":20,"description":113,"tags":442,"thumbUrl":446,"material":58,"size":59,"collection":31,"collections":447,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},254285,"tao-huang-you-qi-ma-chui-di-yong-yi-ming-254285","陶黄釉骑马吹笛俑",[7,115,116,118,72,443,71,444,445,50],"骑马","乐器","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f9294b76c98ca173a6643df2bc663.jpg",[],{"id":449,"slug":450,"title":157,"dynasty":18,"author":19,"museum":20,"description":113,"tags":451,"thumbUrl":452,"material":58,"size":59,"collection":31,"collections":453,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},254228,"tao-huang-you-wu-shi-yong-yi-ming-254228",[7,115,118,72,159,43,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5b6099866dc8aaec9fb0faab2bf25a.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":18,"author":19,"museum":20,"description":138,"tags":458,"thumbUrl":459,"material":58,"size":59,"collection":31,"collections":460,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":34},254210,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254210","陶画彩骑马男俑",[7,68,140,72,71,50,141,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1223c4d044dee869bec4af4436f8916c.jpg",[],{"id":462,"slug":463,"title":457,"dynasty":18,"author":19,"museum":20,"description":138,"tags":464,"thumbUrl":465,"material":58,"size":59,"collection":31,"collections":466,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},254209,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254209",[7,115,140,141,72,50,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81619f7103bb02ad946f4a13bb20e4e.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":18,"author":19,"museum":20,"description":138,"tags":471,"thumbUrl":475,"material":58,"size":59,"collection":31,"collections":476,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":34},253920,"tao-ji-le-nan-zuo-yong-yi-ming-253920","陶伎乐男坐俑",[7,115,72,71,288,250,116,472,473,474],"古代","男性形象","乐舞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb24106d7a492ede28a5168bbb6acc95.jpg",[],{"id":478,"slug":479,"title":480,"dynasty":18,"author":19,"museum":20,"description":185,"tags":481,"thumbUrl":482,"material":58,"size":59,"collection":31,"collections":483,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},253722,"tao-qing-you-wu-shi-yong-yi-ming-253722","陶青釉武士俑",[115,72,71,187,43,7,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f82bab71479bf8ed6cdfffa38bdb9.jpg",[],{"id":485,"slug":486,"title":487,"dynasty":18,"author":19,"museum":20,"description":488,"tags":489,"thumbUrl":491,"material":58,"size":59,"collection":31,"collections":492,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},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。",[28,43,27,71,85,7,490],"佛教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac528fc7f14945756e1ee43e10618e22.jpg",[],{"id":494,"slug":495,"title":157,"dynasty":18,"author":19,"museum":20,"description":113,"tags":496,"thumbUrl":501,"material":58,"size":59,"collection":31,"collections":502,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},253328,"tao-huang-you-wu-shi-yong-yi-ming-253328",[115,72,43,71,118,7,497,498,499,500],"陶俑","武士形象","釉色","立体造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95cad851acd440b2d3e02beb6929931.jpg",[],{"id":504,"slug":505,"title":506,"dynasty":18,"author":19,"museum":20,"description":507,"tags":508,"thumbUrl":509,"material":58,"size":59,"collection":31,"collections":510,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":76},253049,"tong-sun-shi-zao-pu-sa-li-xiang-yi-ming-253049","铜孙氏造菩萨立像","这尊造像承袭前朝遗韵，古拙凝练。舟形背光浅刻纹饰，晕出朦胧佛境，将菩萨裹挟其中，愈显沉静端严。菩萨双手合十伫立，衣纹简约洗练，带着朴拙的写实质感，褪去繁复装饰，尽显清简肃穆的神性。\n\n双层四足台座沉稳厚重，与造像身形呼应，更衬出威仪。古铜包浆晕染出岁月痕迹，每一处磨损都沉淀着时光厚重，尽显这一时期造像承前启后的独特气质，拙朴间带着静谧的宗教肃穆感，是早期佛教造像质朴美学的典型缩影。",[41,43,27,71,169,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65bb1114bd531bd7dcb42e161a25e0d.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":18,"author":19,"museum":20,"description":515,"tags":516,"thumbUrl":517,"material":58,"size":59,"collection":31,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},256140,"chang-cong-zao-tong-liu-jin-guan-shi-yin-xiang-yi-ming-256140","常聪造铜鎏金观世音像","身姿修长挺拔，兼具南北朝秀骨清像的遗韵，又展露初唐端雅雏形。观音面容温婉，弯眉垂目，自带沉静悲悯。右手施无畏印，予世人安稳慰藉，左手持净瓶，暗喻遍洒甘露渡化众生。层叠衣纹如垂落清波，斑驳鎏金虽褪去大半，仍能窥见旧时华光。璎珞环身、宝冠覆顶，细节处尽显铸工精妙，将神性庄严与匠者巧思相融。静立莲台之上，裹挟着千年沉静的慈悲气韵，是隋代佛造像风格递变的鲜活注脚，定格了瘦劲向圆融过渡的独特美学。",[7,27,41,168,43,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1672c0b7658632727cf964d2cd1820.jpg",[],2,{"id":521,"slug":522,"title":523,"dynasty":18,"author":19,"museum":20,"description":113,"tags":524,"thumbUrl":525,"material":58,"size":59,"collection":31,"collections":526,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},255667,"tao-huang-you-nan-li-yong-yi-ming-255667","陶黄釉男立俑",[7,72,115,71,43,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ed1406e76a7b1ccb5a13500eba8ab2.jpg",[],{"id":528,"slug":529,"title":530,"dynasty":18,"author":19,"museum":20,"description":113,"tags":531,"thumbUrl":533,"material":58,"size":59,"collection":31,"collections":534,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},255666,"tao-huang-you-wen-li-yong-yi-ming-255666","陶黄釉文吏俑",[7,68,118,72,532,71,43,116],"文吏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e15063d752f185e76ed864804e73e85.jpg",[],{"id":536,"slug":537,"title":112,"dynasty":18,"author":19,"museum":20,"description":113,"tags":538,"thumbUrl":539,"material":58,"size":59,"collection":31,"collections":540,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},255548,"tao-huang-you-gou-yi-ming-255548",[7,116,118,115,117,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695e59bcae0cb6af8782b9d2e80341e0.jpg",[],{"id":542,"slug":543,"title":544,"dynasty":18,"author":19,"museum":20,"description":138,"tags":545,"thumbUrl":548,"material":58,"size":59,"collection":31,"collections":549,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},254605,"tao-gong-shou-nv-li-yong-yi-ming-254605","陶拱手女立俑",[7,128,43,71,546,547,236],"女俑","拱手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb612d4eb0fa72b9a429ff570b1518aa.jpg",[],{"id":551,"slug":552,"title":553,"dynasty":18,"author":19,"museum":20,"description":554,"tags":555,"thumbUrl":557,"material":58,"size":59,"collection":31,"collections":558,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},254517,"tong-liu-jin-shi-jia-duo-bao-fo-xiang-yi-ming-254517","铜鎏金释迦多宝佛像","尖顶背光如焰芒舒展，鎏金虽已斑驳脱落，仍能窥见往昔雍容。二佛并坐颔首，面相圆融祥和，衣褶线条简括凝练，尽显沉静端严的法相。背光上方化佛端坐，层次错落间铺展出悠远韵致。\n\n它承继北朝造像的朴拙遗风，又渐露秀雅温婉的隋代新貌，是佛造像风格递变的鲜活注脚。残损鎏金铭刻岁月流转，沉郁铜色沉淀古早信仰的温度，将庄严法相凝缩方寸之间，自带安定肃穆的沉静力量。",[7,41,168,42,27,43,71,556],"铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc15484241786f9e0ad1b737d676a7.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":18,"author":19,"museum":20,"description":563,"tags":564,"thumbUrl":565,"material":58,"size":59,"collection":31,"collections":566,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},254473,"zhan-tong-zao-tong-pu-sa-li-xiang-yi-ming-254473","旃通造铜菩萨立像","这尊造像秀颀挺拔，莲瓣形背光舒展灵动，边缘柔滑流畅，内中精巧纹饰环拥主尊，将菩萨烘托得愈发端雅肃穆。菩萨面容温婉慈悲，轻薄衣纹若春水漾开，线条简洁灵动，尽显当时审美转向秀逸的意趣。束腰方座沉稳厚重，与上部灵秀形成鲜明对比，衬得造像均衡雅致。古铜包浆凝润厚重，带着岁月沉淀的沉静质感，暗合佛造像从雄浑向柔丽过渡的独特气韵，是那个时代佛造像演进里极具代表性的精妙之作。",[7,42,41,43,27,71,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9686946bcac5c73b242a476a8cdf869.jpg",[],{"id":568,"slug":569,"title":570,"dynasty":18,"author":19,"museum":20,"description":138,"tags":571,"thumbUrl":572,"material":58,"size":59,"collection":31,"collections":573,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},254448,"tao-gong-shou-wen-li-yong-yi-ming-254448","陶拱手文吏俑",[7,115,43,71,532,547,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70d6af04acd5411e2c98c3622f780b0.jpg",[],{"id":575,"slug":576,"title":577,"dynasty":18,"author":19,"museum":20,"description":138,"tags":578,"thumbUrl":579,"material":58,"size":59,"collection":31,"collections":580,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},254418,"tao-mi-you-wen-li-yong-yi-ming-254418","陶米釉文吏俑",[115,72,43,71,210,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d16dd93eeb092939db3dd389108f81.jpg",[],{"id":582,"slug":583,"title":427,"dynasty":18,"author":19,"museum":20,"description":113,"tags":584,"thumbUrl":585,"material":58,"size":59,"collection":31,"collections":586,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},254393,"tao-huang-you-hu-ren-yong-yi-ming-254393",[7,115,118,72,234,71,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F159c8459994d99ac12195cce1ce469fc.jpg",[],{"id":588,"slug":589,"title":590,"dynasty":18,"author":19,"museum":20,"description":113,"tags":591,"thumbUrl":592,"material":58,"size":59,"collection":31,"collections":593,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},254298,"tao-huang-you-shou-yi-ming-254298","陶黄釉兽",[115,43,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cb019f14744c758da29eda6f3b8a0a.jpg",[],{"id":595,"slug":596,"title":597,"dynasty":18,"author":19,"museum":20,"description":138,"tags":598,"thumbUrl":599,"material":58,"size":59,"collection":31,"collections":600,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},254208,"tao-qi-ma-nan-yong-yi-ming-254208","陶骑马男俑",[68,72,50,71,116,70,7,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6dfabdd695eb6879b4524cb34411c6.jpg",[],{"id":602,"slug":603,"title":604,"dynasty":18,"author":19,"museum":20,"description":177,"tags":605,"thumbUrl":606,"material":58,"size":59,"collection":31,"collections":607,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},253996,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-253996","铜鎏金菩萨坐像",[7,41,168,27,71,43,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7711494c1605bd8f17b54cac57bbb0fc.jpg",[],{"id":609,"slug":610,"title":611,"dynasty":18,"author":19,"museum":20,"description":612,"tags":613,"thumbUrl":616,"material":58,"size":59,"collection":31,"collections":617,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},253979,"nv-ren-zhuan-yi-ming-253979","女人砖","浅浮雕技法将仕女身姿凝于青砖之上，眉眼弯弯噙着浅笑，发髻轻绾尽显秀雅韵致。身着交领广袖长裙，双手敛于身前，身形端方秀挺。刀工洗练柔和，未加繁复修饰，却精准捕捉了女子温婉从容的仪态。质朴青砖承载岁月厚重，将千年前闺阁女子的沉静内敛定格，以极简线条勾勒出东方女性的端庄神采，古拙之中尽显匠人的细腻巧思，静默诉说着旧时的审美意趣。",[7,43,614,71,615],"砖雕","女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6f0cd0192ddd2d1fcd388e18dc8b4a.jpg",[],{"id":619,"slug":620,"title":621,"dynasty":18,"author":19,"museum":20,"description":138,"tags":622,"thumbUrl":625,"material":58,"size":59,"collection":31,"collections":626,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},253924,"tao-chi-bo-ji-nv-zuo-yong-yi-ming-253924","陶持簸箕女坐俑",[7,115,72,71,128,623,624,615],"坐俑","持簸箕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e28c51d6472e73cc591f639e2670afe.jpg",[],{"id":628,"slug":629,"title":470,"dynasty":18,"author":19,"museum":20,"description":138,"tags":630,"thumbUrl":631,"material":58,"size":59,"collection":31,"collections":632,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},253923,"tao-ji-le-nan-zuo-yong-yi-ming-253923",[7,115,72,71,43,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07413fd7e77278296cd171c13d60fa40.jpg",[],{"id":634,"slug":635,"title":470,"dynasty":18,"author":19,"museum":20,"description":138,"tags":636,"thumbUrl":637,"material":58,"size":59,"collection":31,"collections":638,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},253922,"tao-ji-le-nan-zuo-yong-yi-ming-253922",[115,72,43,71,444,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccda12dac74de722f2454dc5f7d04b.jpg",[],{"id":640,"slug":641,"title":642,"dynasty":18,"author":19,"museum":20,"description":643,"tags":644,"thumbUrl":646,"material":58,"size":59,"collection":31,"collections":647,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},253905,"tong-jia-zuo-bin-zao-pu-sa-li-xiang-yi-ming-253905","铜贾作傧造菩萨立像","水滴形背光錾刻火焰纹晕染出庄严法相，内圈莲瓣光环环绕，线条古拙洗练，带着北朝造像遗风。菩萨合掌伫立，身姿端严沉静，衣纹垂坠简约柔和，褪去前代层叠繁复，尽显隋代造像向盛唐圆润风格过渡的渐变轨迹。\n\n整体包浆沉厚幽青，高足床座质朴稳重，榫卯相接的工艺尽显匠人的巧思与虔诚。经历岁月磨蚀，造像棱角渐趋温润，却仍传递出澄澈安详的宗教气韵，以极简的錾刻凝练肃穆之感，是民间造像质朴虔诚的典型缩影，暗合隋代造像承上启下的审美转变。",[41,43,27,71,169,7,151,645],"背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381cca065d2c38063b432a66c1f0d53.jpg",[],{"id":649,"slug":650,"title":126,"dynasty":18,"author":19,"museum":20,"description":113,"tags":651,"thumbUrl":652,"material":58,"size":59,"collection":31,"collections":653,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},253800,"tao-huang-you-niu-yi-ming-253800",[7,115,118,45,117,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f89b50286ad8762f077aaf67819f3a.jpg",[],{"id":655,"slug":656,"title":657,"dynasty":18,"author":19,"museum":20,"description":276,"tags":658,"thumbUrl":660,"material":58,"size":59,"collection":31,"collections":661,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},253785,"tao-zhu-yi-ming-253785","陶猪",[7,116,117,55,659,70,129],"古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621574646fb880429885e8a952650fa5.jpg",[],{"id":663,"slug":664,"title":665,"dynasty":18,"author":19,"museum":20,"description":666,"tags":667,"thumbUrl":669,"material":58,"size":59,"collection":31,"collections":670,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":34},253384,"tong-liu-jin-fu-li-xiang-yi-ming-253384","铜鎏金佛立像","此造像身形修挺，莲瓣背光清简雅致，衬得佛颜愈发安和端方。面相圆润饱满，垂眸敛神，自带慈悲静定的气韵。右手施无畏印，予人安定力量，左手轻托法器，衣袂褶皱婉转流畅，贴合身形，尽显清隽秀雅的风骨。\n\n鎏金虽经岁月经年斑驳褪去，古铜包浆晕染出厚重古韵，将佛教造像的神圣感与中古工艺的朴拙凝练相融，静静伫立间，便流转着千年前的虔敬与平和。",[7,27,42,41,168,43,71,151,668],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58dde1c1da0f1f4f77b4411ab08ff28f.jpg",[],{"id":672,"slug":673,"title":674,"dynasty":18,"author":19,"museum":20,"description":177,"tags":675,"thumbUrl":677,"material":58,"size":59,"collection":31,"collections":678,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},253270,"tong-fu-zuo-xiang-yi-ming-253270","铜佛坐像",[7,41,43,27,676,250],"佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a12fcea74e494784096539a3f38ca0.jpg",[],{"id":680,"slug":681,"title":266,"dynasty":18,"author":19,"museum":20,"description":682,"tags":683,"thumbUrl":686,"material":58,"size":59,"collection":31,"collections":687,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},252945,"shi-pu-sa-xiang-tou-yi-ming-252945","发髻高绾，虽残损却难掩端然气度。面相丰圆饱满，是时代审美递变的鲜活注脚。眉眼弯长如新月，眼睑低垂似在静思观照，唇角噙着浅浅笑意，将慈悲温婉的神性与含蓄柔美的气韵融为一体。\n\n刀工舒展柔和，线条圆润细腻，把菩萨安然沉静的神态勾勒得淋漓尽致。残躯之上，依旧留存着千年以前的沉静禅意，让观者于无声中共情那份平和肃穆的东方神性之美，触摸到古石雕精湛的工艺温度。",[7,27,43,71,169,684,668,28,685],"石像","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0707cd5b14c3e4fbdfef80bdd81e389.jpg",[],{"id":689,"slug":690,"title":256,"dynasty":18,"author":19,"museum":20,"description":691,"tags":692,"thumbUrl":693,"material":58,"size":59,"collection":31,"collections":694,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},252930,"shi-pu-sa-li-xiang-yi-ming-252930","这尊白石造像虽存半身，却气韵不减。高髻轻挽，面容温婉沉静，眉目间犹带着悲悯柔和的神采。颈间珠饰虽已斑驳，仍能窥见往日的精致华美。衣褶垂坠舒展，刀笔洗练饱满，将端方柔雅的气度尽数晕开。右手抬作施无畏印，左手轻托净瓶残件，残存躯体依旧裹挟着沉静祥和的宗教气韵，带着独有的厚重凝练。褪去繁饰，以极简的线条勾勒出慈悲端凝的风骨，静默伫立间，跨越千年的安宁力量缓缓流露，藏着往昔造像美学的沉敛意蕴。",[7,43,27,71,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2058321ba44b20708ddd7b7e721f91.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":18,"author":19,"museum":20,"description":699,"tags":700,"thumbUrl":701,"material":58,"size":59,"collection":31,"collections":702,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":76},252913,"shi-luo-han-li-xiang-yi-ming-252913","石罗汉立像","此造像面相圆融柔和，垂目敛眉，神情安宁悲悯，自带沉静肃穆的禅意。僧衣贴体勾勒出挺拔身形，胸前璎珞纹饰层叠有序，线条凝练古朴，在质朴石面上晕开庄重神性。石材质朴肌理带着千年岁月的痕迹，素净灰调褪去浮华，愈发衬出造像温润典雅的气韵，将内敛含蓄的东方禅意藏于眉目衣纹之间，仿佛仍在寂寂禅定之中，静诉着往昔的信仰之美。",[7,27,71,43,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d759093e3f5c3753f4834450fcdb92.jpg",[],{"id":704,"slug":705,"title":523,"dynasty":18,"author":19,"museum":20,"description":113,"tags":706,"thumbUrl":708,"material":58,"size":59,"collection":31,"collections":709,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":710},255682,"tao-huang-you-nan-li-yong-yi-ming-255682",[7,115,72,71,707,118,116],"立姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3895986ad7dc6052010425499b406468.jpg",[],"F48FB1",{"id":712,"slug":713,"title":523,"dynasty":18,"author":19,"museum":20,"description":113,"tags":714,"thumbUrl":715,"material":58,"size":59,"collection":31,"collections":716,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},255679,"tao-huang-you-nan-li-yong-yi-ming-255679",[7,115,72,71,43,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f5451391d69204c9e2f9368701e3b9.jpg",[],{"id":718,"slug":719,"title":720,"dynasty":18,"author":19,"museum":20,"description":66,"tags":721,"thumbUrl":723,"material":58,"size":59,"collection":31,"collections":724,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":34},255642,"tao-bai-you-jing-yi-ming-255642","陶白釉井",[115,69,404,7,722,130,56],"陶器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec4a182d52ad153fdc8dce250e2b1ae.jpg",[],{"id":726,"slug":727,"title":728,"dynasty":18,"author":19,"museum":20,"description":729,"tags":730,"thumbUrl":732,"material":58,"size":59,"collection":31,"collections":733,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},255406,"tong-yi-fu-er-pu-sa-li-xiang-yi-ming-255406","铜一佛二菩萨立像","铜锈凝作翠色包浆，晕开千年时光痕迹。尖楣形背光舒展空灵，浅浮雕头光晕染出主尊沉静端雅的仪态，结跏趺坐于束腰莲台之上，衣袂垂落自带温润禅意。两侧胁侍菩萨身姿修长俏立，花叶座灵动柔美，与主尊形成对称章法，柔化了造像的肃穆感。\n整体铸造朴拙简括，以洗练线条勾勒出清俊温婉的独特气质，佛容慈悲内敛，静穆之中带着平和梵韵，将早期佛造像的传神写意之美尽数展现，斑驳铜色里凝住了经久不散的禅意。",[41,42,43,27,71,731,169,7],"佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d965e8bdb8bd3729da1d431e29b529f.jpg",[],{"id":735,"slug":736,"title":737,"dynasty":18,"author":19,"museum":20,"description":738,"tags":739,"thumbUrl":741,"material":58,"size":59,"collection":31,"collections":742,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":34},255114,"ci-ren-tou-shao-yi-ming-255114","瓷人头哨","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。",[7,115,43,71,56,740],"日用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F063138873e82e4919539b57795985a6a.jpg",[],{"id":744,"slug":745,"title":358,"dynasty":18,"author":19,"museum":20,"description":138,"tags":746,"thumbUrl":747,"material":58,"size":59,"collection":31,"collections":748,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},254557,"tao-nan-li-yong-yi-ming-254557",[7,115,72,71,707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8652edaff7b0fb5e6e5c9a7507746.jpg",[],{"id":750,"slug":751,"title":752,"dynasty":18,"author":19,"museum":20,"description":753,"tags":754,"thumbUrl":756,"material":58,"size":59,"collection":31,"collections":757,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},254514,"tong-liu-neng-zao-guan-yin-pu-sa-li-xiang-yi-ming-254514","铜刘能造观音菩萨立像","此造像周身覆着苍青铜锈，是岁月浸养出的痕迹。菩萨身形修长，立于高方座上，尖顶背光如舒展的莲瓣，晕染出飘逸出尘的轮廓。垂眸敛目间，慈悲沉静的神性漫溢而出，面容温婉清癯，自带安宁祥和的气韵。衣纹凝练简约，贴附身形，将简淡含蓄的审美意趣尽数展现。虽体量小巧，却风骨具足，质朴厚重的质感带着早期佛教造像的独特意韵，将中古时代的虔诚信仰凝缩在这方寸之间，静默流淌着跨越千年的宗教艺术之美。",[7,42,41,43,27,71,151,755],"菩萨像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82362d35e296e6261f235eebf6dd7401.jpg",[],{"id":759,"slug":760,"title":761,"dynasty":18,"author":19,"museum":20,"description":762,"tags":763,"thumbUrl":764,"material":58,"size":59,"collection":31,"collections":765,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":34},254336,"tong-pu-sa-li-xiang-yi-ming-254336","铜菩萨立像","这尊造像身形小巧却气度端严，菩萨面容温婉柔和，垂眸静立，自带沉静慈悲的气韵。简约衣纹顺着身形缓缓铺展，褪去繁饰，以凝练线条勾勒出安然仪态。台座周身錾刻铭文，铜绿锈迹爬满古铜肌理，是时光沉淀下的印记。整体风格朴拙古雅，带着特有的凝练肃穆，将佛教造像的沉静内核融于方寸之间，在极简形制中诉说着往昔的审美意趣与信仰温度，古拙中藏着静谧庄严的宗教美感。",[42,41,43,27,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec2e0533b695fc0564925008e8729a3.jpg",[],{"id":767,"slug":768,"title":769,"dynasty":18,"author":19,"museum":20,"description":770,"tags":771,"thumbUrl":772,"material":58,"size":59,"collection":31,"collections":773,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},254318,"tong-zhang-tang-da-zao-pu-sa-li-xiang-yi-ming-254318","铜张堂达造菩萨立像","菩萨身姿修长秀挺，面容温婉沉静，垂目敛眉间自有慈悲清宁的气韵。身后舟形背光錾刻细密火焰纹，灵动舒展，为造像晕开圣洁庄严的氛围。方凳底座带着铭文刻痕，铜色历经岁月沉郁苍古，斑驳肌理皆是时光印记。整体造型洗练柔和，将隋代造像的典雅清隽尽数诠释，简约却不失法度。素朴的铜身带着厚重的古意，静静伫立间，尽显千年前佛门造像的审美意趣，肃穆沉静间流淌着平和安宁的宗教气韵。",[27,71,41,43,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29089e7baa34e13d239e3e08ec43ff1d.jpg",[],{"id":775,"slug":776,"title":216,"dynasty":18,"author":19,"museum":20,"description":777,"tags":778,"thumbUrl":779,"material":58,"size":59,"collection":31,"collections":780,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},254317,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-254317","此像身姿挺拔端严，面容沉静慈悲，宝冠覆顶自带出尘威仪。身着褒衣博带式法衣，衣纹舒朗流畅，兼具北朝遗风与隋代造像的简约洗练。右手持杨柳枝，左手托净瓶，是杨柳观音的经典法相标识。莲瓣形背光古拙朴厚，与饱满规整的莲台底座呼应，整体气韵肃穆沉静。历经岁月鎏金多已褪去，沉敛的青铜质地更添古雅厚重，凝萃了隋代佛造像神性庄严与质朴洗练的审美意趣，尽显沉静虔敬的宗教意涵。",[42,219,43,27,151,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2261d653cb04f4cc34a660bf5f61b6.jpg",[],{"id":782,"slug":783,"title":784,"dynasty":18,"author":19,"museum":20,"description":785,"tags":786,"thumbUrl":787,"material":58,"size":59,"collection":31,"collections":788,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},254315,"tong-yi-pu-sa-er-xie-shi-li-xiang-yi-ming-254315","铜一菩萨二胁侍立像","尖顶桃形背光覆着苍绿铜锈，晕开岁月痕迹。主尊菩萨端立正中，合掌垂眸，神情沉静温婉，衣纹虽被锈蚀晕化，仍可见洗练克制的线条风韵。两侧胁侍身形小巧恭谨，伴立左右，与主尊呼应，烘托出庄严肃穆的宗教氛围。梯形支架朴拙厚重，稳稳承托整体造像，带着早期佛造像特有的质朴厚重感。铜色沉暗斑驳，凝纳时光厚重，将这尊造像的虔诚素雅静静定格，古雅沉静的宗教美感扑面而来。",[7,41,42,43,27,71,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d12883d68a5657fb502c8bf6fb565c.jpg",[],{"id":790,"slug":791,"title":792,"dynasty":18,"author":19,"museum":20,"description":793,"tags":794,"thumbUrl":795,"material":58,"size":59,"collection":31,"collections":796,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},254106,"tong-ding-yong-da-zao-guan-shi-yin-pu-sa-li-xiang-yi-ming-254106","铜丁永达造观世音菩萨立像","此像身形秀雅温婉，菩萨垂眉敛目、双手合十，宝冠整肃，衣褶垂坠自然，尽显慈悲端凝之态。背光取莲瓣焰纹形制，纤细线条灵动缠绕，似有佛光盈盈流转，烘托出神圣静谧的氛围。\n\n方座敦实沉稳，与上部的秀逸柔美形成刚柔相济的呼应，稳稳承托法相。古铜包浆晕染出岁月的厚重质感，将简约典雅的造像风格融于一身，既有宗教造像的肃穆庄严，又带着东方特有的温婉气韵，静静伫立间便传递出沉静安宁的禅意。",[7,42,41,43,27,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec2ebf1ba3098b53642674061b66691.jpg",[],{"id":798,"slug":799,"title":800,"dynasty":18,"author":19,"museum":20,"description":66,"tags":801,"thumbUrl":802,"material":58,"size":59,"collection":31,"collections":803,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":76},253777,"tao-bai-you-nan-yong-yi-ming-253777","陶白釉男俑",[7,115,72,69,43,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0aadc07b48ce0ca325d39fb58b706fc.jpg",[],{"id":805,"slug":806,"title":807,"dynasty":18,"author":19,"museum":20,"description":808,"tags":809,"thumbUrl":810,"material":58,"size":59,"collection":31,"collections":811,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":34},253603,"tong-liu-jin-guan-yin-pu-sa-li-xiang-yi-ming-253603","铜鎏金观音菩萨立像","身姿颀长清隽，仍带着秀骨清像的余韵，仪容温婉静雅，轻覆的法衣随体态流转，衣纹似微风拂过，勾勒出柔和躯体轮廓，尽显飘逸空灵。莲瓣形背光阴刻火焰纹，纤细线条缠绕舒展，烘托出庄重神性。鎏金大多褪去，古铜底色间斑驳铜绿凝住岁月痕迹，高足方座沉稳古朴，托举清灵造像，肃穆宗教感与精湛冶铸工艺相融，静静晕开中古佛教造像的隽永意趣。",[7,219,27,43,71,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F664f82bd4dfb7cb1c6d0ad334f8c9d2a.jpg",[],{"id":813,"slug":814,"title":815,"dynasty":18,"author":19,"museum":20,"description":177,"tags":816,"thumbUrl":818,"material":58,"size":59,"collection":31,"collections":819,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},255822,"tong-gao-nu-zao-chan-ding-fu-zuo-xiang-yi-ming-255822","铜高奴造禅定佛坐像",[41,43,27,7,71,817,250],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bcb863e3b0c53c82e77df4b44d501b3.jpg",[],1777535704988]