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Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[18,381,384,383,505,7,506,507,508],"陶塑","动物造型","陶制器物","古物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb625188f8c3d01de96a5a7246dd52ec3.jpg",[],{"id":512,"slug":513,"title":514,"dynasty":18,"author":19,"museum":20,"description":21,"tags":515,"thumbUrl":516,"material":29,"size":30,"collection":31,"collections":517,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":34},226467,"ku-yong-dao-bei-bi-yi-ming-226467","窟甬道北壁",[23,24,41,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de0a5d9539b1183372fd7c10d7e485c.jpg",[],{"id":519,"slug":520,"title":76,"dynasty":18,"author":19,"museum":20,"description":21,"tags":521,"thumbUrl":522,"material":29,"size":30,"collection":31,"collections":523,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":34},226465,"ku-qian-shi-xi-bi-yi-ming-226465",[23,40,24,41,7,45,470,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8239f0ae78e72552ed7823d7a6ad02e4.jpg",[],{"id":525,"slug":526,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":527,"thumbUrl":529,"material":29,"size":30,"collection":31,"collections":530,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":123},226423,"ku-yong-dao-ding-bu-yi-ming-226423",[23,24,40,27,25,131,7,182,528,323],"纹样装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21824c6696a4a07a8c0cf2b8239bb771.jpg",[],{"id":532,"slug":533,"title":534,"dynasty":18,"author":19,"museum":20,"description":21,"tags":535,"thumbUrl":536,"material":29,"size":30,"collection":31,"collections":537,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":34},226382,"ku-yong-dao-nan-pi-yi-ming-226382","窟甬道南披",[23,40,24,45,41,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae4ecf7e99df290c3b4edead2f80549.jpg",[],{"id":539,"slug":540,"title":336,"dynasty":18,"author":19,"museum":20,"description":21,"tags":541,"thumbUrl":543,"material":29,"size":30,"collection":31,"collections":544,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":101},226324,"ku-zhu-shi-zhong-xin-zhu-nan-xiang-mian-yi-ming-226324",[23,40,24,41,144,156,7,169,182,542],"石窟艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db82f923f0be49bcbbb79f75b01ce25.jpg",[],{"id":546,"slug":547,"title":253,"dynasty":18,"author":19,"museum":20,"description":21,"tags":548,"thumbUrl":552,"material":29,"size":30,"collection":31,"collections":553,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":34},226307,"ku-qian-shi-nan-bi-yi-ming-226307",[23,40,24,27,7,549,550,551],"斑驳","壁面","浮雕式装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5aaf17fe43578de6dc4f1c86a5a8ae2.jpg",[],{"id":555,"slug":556,"title":378,"dynasty":18,"author":19,"museum":139,"description":557,"tags":558,"thumbUrl":561,"material":29,"size":30,"collection":31,"collections":562,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":34},254411,"san-cai-zhen-mu-shou-yi-ming-254411","它面含凶戾，阔耳外支，眉峰怒蹙，虬髯覆颌，森然威严扑面而来。头顶独角冲天傲立，凌厉挺拔，尽显慑退邪祟的凛然气势。釉色交融流淌，褐、绿、白三色肆意晕染，如流云过境，将盛唐釉彩的灵动绚烂尽数铺展，晕出淋漓变幻的肌理质感。\n\n身形敦实沉稳，把神异怪诞的幽冥瑞兽具象成型，既带着镇墓瑞兽的狰狞诡谲，又不失陶瓷雕塑的雄浑厚重，凝着古时匠人的奇绝想象与精湛技艺，将护佑安宁的祈愿熔铸为这件传世造像。",[381,382,383,559,7,560],"雕塑","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72b2ce67dade46e58af6af0ede19042.jpg",[],{"id":564,"slug":565,"title":566,"dynasty":18,"author":19,"museum":139,"description":567,"tags":568,"thumbUrl":569,"material":29,"size":30,"collection":31,"collections":570,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":34},254358,"tao-zhu-ru-yong-yi-ming-254358","陶侏儒俑","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。",[381,384,41,144,505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd677f88b2f745bcd4f472d06aed58f.jpg",[],{"id":572,"slug":573,"title":574,"dynasty":18,"author":19,"museum":139,"description":575,"tags":576,"thumbUrl":577,"material":29,"size":30,"collection":31,"collections":578,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":101},253624,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253624","铜鎏金杨柳枝观音菩萨立像","鎏金虽已斑驳晕散，却依旧晕染出旧时华贵底色。菩萨面容沉静温婉，宝冠高束，躯体修长舒展，尽显灵动丰腴之态。右手持净瓶，左手轻执杨柳，贴体衣纹流转自然，环身璎珞雅致细腻。身姿微侧，立于莲台之上，既有神性的庄严端凝，又带着人间的温婉亲和，将佛教造像世俗化的审美意趣融于一身。岁月磨洗之下，不减其精湛工艺，尽显典雅气韵，是兼具宗教神性与艺术美感的精巧之作。",[18,142,143,144,40,41,145,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa521a6e6c43abc2d5b46a20e0076565e.jpg",[],{"id":580,"slug":581,"title":582,"dynasty":18,"author":19,"museum":139,"description":583,"tags":584,"thumbUrl":596,"material":29,"size":30,"collection":31,"collections":597,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":101},252947,"shi-chui-pai-xiao-ji-le-zuo-xiang-yi-ming-252947","石吹排箫伎乐坐像","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。",[78,585,144,586,41,587,588,589,590,40,591,592,7,593,594,595],"石雕","伎乐","乐器","排箫","坐像","石质","乐舞","石质雕刻","伎乐形象","乐器演奏","坐像造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0fb4f4ad8788546ddc5afcf0f8475e.jpg",[],{"id":599,"slug":600,"title":601,"dynasty":18,"author":19,"museum":139,"description":602,"tags":603,"thumbUrl":608,"material":29,"size":30,"collection":31,"collections":609,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":123},244679,"huan-bing-bei-yi-ming-244679","环柄杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[303,142,604,605,606,7,607],"饮酒器","环柄","三足","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa00c631ab50b295bf6dc40815c37bd64.jpg",[],{"id":611,"slug":612,"title":514,"dynasty":18,"author":19,"museum":20,"description":21,"tags":613,"thumbUrl":614,"material":29,"size":30,"collection":31,"collections":615,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":123},226379,"ku-yong-dao-bei-bi-yi-ming-226379",[59,23,24,41,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0ab1f7cf1c17e40ebc04e01f1ce7ce.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":18,"author":620,"museum":621,"description":622,"tags":623,"thumbUrl":628,"material":625,"size":629,"collection":31,"collections":630,"showCount":49,"zanCount":11,"manualWeight":11,"mainColor":123},220187,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-25-liu-gong-quan-220187","神策军碑-皇帝巡幸左神策军纪圣德碑25","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[64,624,625,626,7,627],"楷书","拓本","碑刻","碑拓技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F583744250ba60d5366cd4b88885eebcf.jpg","58X46",[],{"id":632,"slug":633,"title":634,"dynasty":18,"author":19,"museum":139,"description":635,"tags":636,"thumbUrl":639,"material":29,"size":30,"collection":31,"collections":640,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256138,"tong-liu-jin-pu-sa-li-xiang-yi-ming-256138","铜鎏金菩萨立像","此像身形修长舒展，尽显盛唐造像独特风韵。菩萨高冠束发，面容沉静端雅，身姿微侧，衣纹璎珞线条洗练流畅，将灵动柔婉的体态勾勒尽致。鎏金虽经岁月经年有所磨损，却晕染出愈发古雅厚重的质感，为造像更添岁月沉淀的沉静韵味。整体造型含蓄温润，慈悲平和的气韵扑面而来，凝萃着千年前的虔敬匠心，尽显东方古典造像的典雅之美。",[78,40,142,143,144,637,145,41,638,7],"菩萨","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39613656359a3c3021b5ae199dd8532.jpg",[],{"id":642,"slug":643,"title":634,"dynasty":18,"author":19,"museum":139,"description":644,"tags":645,"thumbUrl":646,"material":29,"size":30,"collection":31,"collections":647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},256119,"tong-liu-jin-pu-sa-li-xiang-yi-ming-256119","鎏金残褪，铜胎晕开深浅不一的铜绿，时光将虔敬凝塑成这寸尺造像。菩萨面容温婉恬和，宝冠古朴端方，衣袂垂拂如流云舒展，线条简练却带着独有的雍容柔韵。莲瓣形背光托举着身姿，旧金的暖光在斑驳里晕开沉缓的古韵，静穆伫立间，将千年前的信仰温度封存于铜身之中。朴拙的錾刻带着手工的温度，残痕皆是岁月的吻痕，沉静里透出跨越时光的神圣气韵。",[142,143,144,40,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedf146e9d8874cf1df49868e047578c8.jpg",[],{"id":649,"slug":650,"title":651,"dynasty":18,"author":19,"museum":139,"description":567,"tags":652,"thumbUrl":656,"material":29,"size":30,"collection":31,"collections":657,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255672,"tao-nv-li-yong-yi-ming-255672","陶女立俑",[18,505,653,384,654,41,655,7],"陶","女俑","立姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F466572510d573b7f45f6066dc7de7e60.jpg",[],{"id":659,"slug":660,"title":661,"dynasty":18,"author":19,"museum":139,"description":503,"tags":662,"thumbUrl":664,"material":29,"size":30,"collection":31,"collections":665,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},255655,"tao-hua-cai-ma-yi-ming-255655","陶画彩马",[381,24,663,383,384,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