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，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[58,59,60,61,62,7],"国画","书画","白描","宗教","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab452937c56ebab3c3994f7c7a8a10c.jpg","80x32cm","人物画精选",[65],281,{"id":69,"slug":70,"title":71,"dynasty":18,"author":39,"museum":20,"description":72,"tags":73,"thumbUrl":77,"material":78,"size":79,"collection":29,"collections":80,"showCount":81,"zanCount":82,"manualWeight":11,"mainColor":34},226157,"yin-lu-pu-sa-yu-shi-zhe-yi-ming-226157","引路菩萨与侍者","此画发现于敦煌藏经洞。本幅描绘菩萨为亡灵引路升天国的场面。上有“引路菩（萨）”的题记。前面领路的大菩萨右手执香炉，左手持莲花，莲花旁垂下白幡。菩萨后面跟随的女子为死者生前的形象，人物形象丰腴饱满，洁白晶莹的肌肤闪耀着青春美的光彩，有“周家样”之风。线描写实明快、流畅飞动，接笔处不露痕迹，一气呵成。\n敦煌藏经洞发现。本幅描绘菩萨为亡灵引路升天国的场面。上有[引路菩（萨）]的题记。前面领路的大菩萨右手执柄香炉，左手持莲花，莲花旁垂下白幡。幡分四栏，各栏分绘图案。画左上角菩萨所乘的黄云中隐出一些建筑物，那是亡灵要去的净土世界。菩萨后面跟随的女子为死者生前的形象，梳着典型的唐代妇女的发式。画面中的很多部分如香炉、菩萨之发饰等都描金敷色，全画彩绘艳丽，完好的保存了唐代绘画的面貌。\n唐代“贞观之治”和“开元盛世”的具体表现是经济发展、社会富庶，手工业商业发达，各民族接触密切，中外经济文化交流频繁，创造了辉煌灿烂的文化艺术。这个时期佛教仍为统治阶级所提倡，大规模的石窟造像不断涌现。在敦煌莫高窟、洛阳龙门石窟、太原天龙山石窟等石窟中，唐代造像的规模和艺术水平都特别突出。\n唐代是古代人物画鼎盛时期，在反映贵族生活和宗教题材上都有大成就，在宗教题材作品中也更世俗化，在大量经变故事画和菩萨、罗汉的塑造中显示出明显的人间味。菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，这在敦煌壁画中多有体现。在敦煌，还发现了一帧《引路菩萨像》，绢本，纵85厘米，横53.6厘米，约九世纪后半期作品，现藏大英博物馆。这件作品具有很高超的绘画技巧，设色艳丽，渲染技法娴熟，可以看出后世工笔人物画对它的继承。",[58,59,7,61,62,74,75,76],"设色","工笔","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722fa84e18f98c3ee78c33ac7cd2c8b5.jpg","未知","Xcm*Xcm",[],183,1,{"id":84,"slug":85,"title":86,"dynasty":18,"author":39,"museum":20,"description":87,"tags":88,"thumbUrl":92,"material":78,"size":79,"collection":29,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":34},231004,"mo-gao-ku-329-yi-ming-231004","莫高窟329","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[89,61,74,62,90,7,91,75],"壁画","敦煌","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4418173c3cc1ad02ff65e163e5c89e84.jpg",[],140,{"id":96,"slug":97,"title":98,"dynasty":18,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":105,"material":106,"size":107,"collection":29,"collections":108,"showCount":109,"zanCount":49,"manualWeight":11,"mainColor":50},214206,"ji-wang-sheng-jiao-xu-huai-ren-214206","集王圣教序","怀仁","西安碑林博物馆","据说唐僧玄奘从印度回到长安后，为太宗皇帝翻译了各种佛经，太宗皇帝为他写了一篇序言和一份奏折。这篇序言与太宗皇帝的回信、太子的回文和玄奘的《般若波罗密多心经》译文一起被刻在石头上，成为这块碑。从647年到672年，由于志宁、赖吉、许敬宗、薛元超和李义府历时25年完成，并由诸葛神力润色，朱敬彰刻印。宋代以后，宋以后碑石中断，因捶拓日久，字画逐渐浅细，所以未破损的地形都是宋代的地形。",[103,7,25,23,24,61,104],"高清","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9d33b6ee3ce2f2eadb6650d95c9212.jpg","纸本,水墨","315.3x141.3",[],136,{"id":111,"slug":112,"title":113,"dynasty":18,"author":114,"museum":20,"description":115,"tags":116,"thumbUrl":119,"material":29,"size":29,"collection":29,"collections":120,"showCount":121,"zanCount":82,"manualWeight":11,"mainColor":34},227245,"yan-qin-li-bei-yan-zhen-qing-227245","颜勤礼碑","颜真卿","颜勤礼碑，全称唐故秘书省著作郎、夔州都督府长史、上护军颜公神道碑，由颜真卿于唐大历十四年（779年）撰文并书。碑文原为四面刻，现存正书三面，计44行，每行36字。碑文通篇字体给人以厚重、雄健、精丽的感觉，为颜体楷书的巅峰之作。此碑1922年10月于长安出土，现移置西安碑林。",[7,117,25,23,118],"楷书","碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb634e45afaff7caa9dba5ad400676ce2.jpg",[],128,{"id":123,"slug":124,"title":125,"dynasty":18,"author":126,"museum":127,"description":128,"tags":129,"thumbUrl":136,"material":74,"size":137,"collection":138,"collections":139,"showCount":140,"zanCount":82,"manualWeight":11,"mainColor":34},219724,"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","边鸾","台北故宫博物院","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[58,59,130,75,74,131,132,133,134,7,135],"册","花鸟","山禽","果实","枝叶","名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4","花鸟画精选",[138],124,{"id":142,"slug":143,"title":144,"dynasty":18,"author":145,"museum":20,"description":146,"tags":147,"thumbUrl":148,"material":78,"size":79,"collection":29,"collections":149,"showCount":150,"zanCount":82,"manualWeight":11,"mainColor":34},227259,"xuan-mi-ta-bei-yuan-ke-liu-gong-quan-227259","玄秘塔碑原刻","柳公权","《玄秘塔碑》，全称《唐故左街僧录内供奉三教谈论引驾大德安国寺上座赐紫大达法师玄秘塔碑铭并序》，是唐会昌元年 （841年）由时任宰相的裴休撰文，书法家柳公权书丹而成，为楷书书法作品。现今保存于西安碑林第二室。\n《玄秘塔碑》共28行，每行54字。叙大达法师在德宗、顺宗、宪宗三朝所受恩遇，以纪念大达法师之事迹而告示后人。其结体紧密，笔法锐利，筋骨外露，阳刚十足，字迹如刀刻一般，且笔画粗细变化多端，风格特点显著。 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原刻","《多宝塔碑》全称为《大唐西京千福寺多宝佛塔感应碑》，是唐天宝十一年（752年）由当时的文人岑勋撰文、书法家徐浩题额、书法家颜真卿书丹、碑刻家史华刻石而成，是楷书书法作品。现今保存于西安碑林第二室。\n此碑共三十四行，满行六十六字，内容主要记载了西京龙兴寺禅师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。\n唐朝天宝年间，楚金禅师夜诵《法华经》时，仿佛有多宝佛塔呈现眼前，他想把幻觉中的多宝佛塔变为现实，誓志筹建。在修造期间，甚至出现了种种灵应和神奇的事情。这份诚意感动了唐玄宗，于是赏赐钱帛，并亲题塔额。经过4年的努力，多宝佛塔终于在天宝十一年（752年）建成。\n而时任武部员外郎、44岁的颜真卿被选中来书写碑文。颜真卿和当时的大多数知识分子一样是正统的儒家，但也信奉佛教，他的书法风格直接“二王”、欧、虞、褚余风，而又与唐人写经有明显的相似之处。碑文的作者岑勋，是诗人岑参的从弟；题写碑额的徐浩，年长颜真卿6岁，是当时的书法名家，也是张旭的学生，这是他俩第一次合作书碑；史华则是当时的刻碑高手。\n该碑用笔多中锋，起笔和收笔有明显的顿按。起笔藏锋为主，兼用露锋，方圆并用。有些横画起笔较为外露，不同于柳体的齐头方脚，而是稍存斜尖，并参以含蓄的笔意使之变化丰富；收笔用顿笔和回锋的较多，强调“护尾”，尤其于横画中最为明显，写横行至收笔处，常向右下方重按，顿笔回锋，体现出颜体的雄浑、大气之韵，竖画粗壮，浑厚力强。横、竖笔画粗细对比鲜明，富节奏、韵律美感，也把颜体的一个“筋”的意味完整地表达出来。\n颜体撇画较轻盈挺健，捺画却粗壮有力，有“蚕头燕尾”之称，给人以刚健的动感，尤其是捺脚较长，顿挫后踢出开衩，含蓄而又有峻利之感。另外，颜体捺画的捺脚多与撇画锋尖持平或稍低，不似柳体的撇低捺高，而呈现出一种舒展沉稳之美。《多宝塔碑》转折变化较多，主要有提耸肩顿挫和按笔削肩暗转之法，有方有圆，方圆兼施。该碑具有唐楷“尚法”的典型特征，结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，已初显颜体成熟期正面示人、雄浑豪迈的书风。\n《多宝塔碑》整篇结构严密，字行间有乌丝栏界格，其结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，布势均匀，四周撑满，故气势雄伟，这是“颜体”佛书的又一特色。颜真卿的结体，用的是“外拓”笔法，字势方正，撇捺竭力向左右拓展，气势博大恢弘。无论独体字，还是合体字，都以中心轴线为重心，在结构处理上，既讲究规矩，又生动活泼。在楷书史上还没有一个人有过这样的结体方式，尤其是捺脚，重拙而不作波曳之状，线条涩重雄强，气概非凡。\n《多宝塔碑》的章法之美：整幅作品纵横整齐。从纵看，字的中心在中轴线上；字的大小配合得当。整体雄伟恢弘，实也秀媚多姿。\n明代学者孙鑛《书画跋》：“此是鲁公最匀稳书，亦尽秀媚多姿，第微带俗，正是近世掾史家鼻祖。”\n明代戏曲理论家何良俊《四友斋书论》：“正所谓世下最传者，盖鲁公书妙在险劲，而此书太整齐，失之板耳。”\n现代书法家欧阳中石：“它是颜碑中最讲用笔，法度最为细密严谨的一部。”\n陕西师范大学历史文化学院教授张懋镕：“整篇结构严密，点画圆整，端庄而不呆板。”\n《多宝塔碑》蕴含了“二王”和初唐以来书家的风流，历来为书家珍重。它是唐代“尚法”的代表碑刻之一，学颜体者多从此碑下手，入其堂奥。学子描红、士子举业、居士写经、坊间印书，竞相仿效。至今仍是适用非常广、影响十分巨大的书法作品。\n颜真卿传世书碑之作中，《多宝塔碑》所蕴文献价值是非常大的。其一，此碑书写厚重，石料坚硬细腻，加上运用了直刀深刻法进行镌刻，因而历经1000多年的锤拓仍完好如初，字口清晰，神采奕奕。除康熙年间碑石断裂损泐二十字之外，无缺文、疑字，这对赏鉴颜书、校考碑文、考辨各代拓本流传都甚为有利。其二，碑文撰者岑勋、多宝塔出资助修者许王瓘，检阅史籍后考得生平事迹一二，或可补史志未载。其三，碑文所记禅师楚金事可与同门僧人飞锡撰《楚金禅师碑》及佛教文献互参校考。其四，多宝塔碑叙记之事多有虚诞，但基于唐玄宗时佛教发展达于极盛，伽蓝之数较唐初几增一倍的史实，反观此碑言及，亦无疑是对当时“抑而不毁”的佛教之况、政教关系的一种反映。",[7,117,25,23,118,431],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c0cd473a1a4b8fef76316a36533dd.jpg","高285厘米，宽102厘米",[],40,{"id":437,"slug":438,"title":439,"dynasty":18,"author":39,"museum":20,"description":87,"tags":440,"thumbUrl":441,"material":78,"size":79,"collection":29,"collections":442,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":34},230947,"yu-lin-ku-025-ku-qian-shi-yong-dao-nan-bi-yi-ming-230947","榆林窟025窟前室甬道南壁",[7,89,74,61,62,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1bfbf0de0d7473e46a424328c44bf8.jpg",[],{"id":444,"slug":445,"title":446,"dynasty":18,"author":39,"museum":20,"description":447,"tags":448,"thumbUrl":450,"material":29,"size":29,"collection":380,"collections":451,"showCount":452,"zanCount":11,"manualWeight":11,"mainColor":34},253547,"tao-hua-cai-nv-li-yong-yi-ming-253547","陶画彩女立俑","发髻高挑弯折如新月，仪容温婉沉静，眉眼虽经岁月晕染仍见柔和神态。身着窄袖长裙，垂坠线条勾勒出丰腴秀雅的体态，将盛唐女子的柔美暗藏其中。双手虚抬似正执物侍立，姿态恭谨端方，仿佛正屏息静立侍奉左右。\n\n表层彩绘虽已斑驳剥落，残存釉色晕染依稀可见当年明丽底色，泥土的朴拙与旧时华彩交织，凝住了盛唐闺阁侍女的日常一瞬。她无言伫立，带着千年前安然内敛的气韵，让观者触摸到写实生动、形神兼备的造物匠心，静静诉说着远去时代的审美意趣。",[449,378,62,158,7],"陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4178684daad389b7b29c07914e785a.jpg",[380],39,{"id":454,"slug":455,"title":456,"dynasty":18,"author":457,"museum":20,"description":458,"tags":459,"thumbUrl":465,"material":29,"size":29,"collection":29,"collections":466,"showCount":467,"zanCount":11,"manualWeight":11,"mainColor":34},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","王维","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[103,135,58,59,7,189,74,460,461,462,463,464,190],"皴法","雪山","山石","枯树","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],37,{"id":469,"slug":470,"title":471,"dynasty":18,"author":39,"museum":90,"description":87,"tags":472,"thumbUrl":473,"material":78,"size":79,"collection":29,"collections":474,"showCount":467,"zanCount":11,"manualWeight":11,"mainColor":34},226203,"ku-yong-dao-bei-bi-yi-ming-226203","窟甬道北壁",[89,7,61,62,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e7236b0a3e1df45295caa078c000c8.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":18,"author":479,"museum":20,"description":480,"tags":481,"thumbUrl":482,"material":483,"size":29,"collection":29,"collections":484,"showCount":485,"zanCount":49,"manualWeight":11,"mainColor":50},221149,"meng-fa-shi-bei-chu-sui-liang-221149","孟法师碑","褚遂良","《孟法师碑》全称《京师至德观主孟法师碑》，唐代正书碑刻，唐岑文本撰，褚遂良书，贞观十六年（642）刻，碑石佚次，仅有清代李宗瀚藏唐拓本传世。",[103,23,25,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f5f2d08e77732ccc70e1e946e53183.jpg","碑石佚次，拓本册",[],36,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朱遂良撰。以朱遂良的风格题写。",[7,117,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f74b05c2a9095606b2fc650169bafab.jpg",[],{"id":641,"slug":642,"title":643,"dynasty":18,"author":39,"museum":20,"description":87,"tags":644,"thumbUrl":646,"material":78,"size":79,"collection":29,"collections":647,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":50},230946,"yu-lin-ku-025-ku-qian-shi-xi-pi-yi-ming-230946","榆林窟025窟前室西披",[89,61,74,62,90,7,645,185],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0987f86ff26d1a8a2bdabb587f11ae4.jpg",[],24,{"id":650,"slug":651,"title":523,"dynasty":18,"author":39,"museum":90,"description":87,"tags":652,"thumbUrl":653,"material":78,"size":79,"collection":29,"collections":654,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":34},226299,"ku-zhu-shi-bei-bi-yi-ming-226299",[89,7,61,74,60,62,401,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e8a5cbcecf2d06178ddce3dc7bed8f.jpg",[],{"id":656,"slug":657,"title":658,"dynasty":18,"author":39,"museum":659,"description":660,"tags":661,"thumbUrl":667,"material":668,"size":29,"collection":29,"collections":669,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":34},217283,"jiang-mo-bian-dun-huang-tu-juan-6-yi-ming-217283","降魔变·敦煌图卷-6","法国国家图书馆","画面如叙事长卷徐徐展开：左畔树下群贤毕集，衣袂轻扬间神态恭谨，似在凝神聆听；中段帐幔低垂，魔众袒腹鼓噪或蹙眉挣扎，张力暗涌；右方护法神金甲耀目，怒目圆睁，足下祥云与魔焰交织，威严毕露。线条行云流水，勾勒人物喜怒哀乐；设色古朴淡雅，赭墨交织着岁月痕迹。魔众狰狞、护法刚正、信徒虔诚，三者对比鲜明，将降魔典故的冲突与神圣感渲染得淋漓尽致，尽显敦煌艺术的灵动气韵与厚重底蕴。",[90,7,74,60,213,61,62,532,662,663,664,665,666,389],"亭子","僧侣","武士","鬼怪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05415e527171ea8c27af2cf1bec6c77.jpg","设色,拓本",[],{"id":671,"slug":672,"title":673,"dynasty":18,"author":39,"museum":20,"description":674,"tags":675,"thumbUrl":679,"material":29,"size":29,"collection":29,"collections":680,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":50},227123,"fu-shuo-guan-pu-xian-pu-sa-xing-fa-jing-yi-ming-227123","佛说观普贤菩萨行法经","小说主人公是阿难,释迦牟尼,诸菩萨的小说叫做佛说观普贤菩萨行法经，本小说的作者是佚名所编写的近代社会、社科、人文小说，书中主要讲述了：强烈推荐《佛说观普贤菩萨行法经》这本书，本人特别喜欢这本书，从前看的那些连套路都是一样的，甚至有些文章思维紊乱文笔极。",[7,61,265,117,75,676,189,62,677,678],"描金","大象","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89ed3aaacbebe9a7950d89b2f968183.jpg",[],23,{"id":683,"slug":684,"title":685,"dynasty":18,"author":39,"museum":90,"description":87,"tags":686,"thumbUrl":687,"material":78,"size":79,"collection":29,"collections":688,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":34},226297,"ku-zhu-shi-dong-bi-yi-ming-226297","窟主室东壁",[89,61,74,62,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba5adfc36586470eb789431fcd332a4.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":18,"author":297,"museum":20,"description":693,"tags":694,"thumbUrl":697,"material":29,"size":29,"collection":29,"collections":698,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":34},227249,"dou-niu-tu-dai-song-227249","斗牛图","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[103,58,300,135,7,301,186,62,91,695,696],"石","斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],22,{"id":701,"slug":702,"title":703,"dynasty":18,"author":39,"museum":20,"description":704,"tags":705,"thumbUrl":710,"material":78,"size":79,"collection":29,"collections":711,"showCount":699,"zanCount":11,"manualWeight":11,"mainColor":34},227107,"hai-shou-pu-tao-wen-jing-10-yi-ming-227107","海兽葡萄纹镜-10","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[7,352,43,706,707,708,709],"海兽","葡萄","纹饰","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc080979a45c159d9592049ed6fe2cf2a.jpg",[],{"id":713,"slug":714,"title":563,"dynasty":18,"author":39,"museum":20,"description":715,"tags":716,"thumbUrl":717,"material":29,"size":29,"collection":380,"collections":718,"showCount":719,"zanCount":11,"manualWeight":11,"mainColor":34},253599,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253599","身形颀秀挺拔，菩萨头戴宝冠，面容清隽柔和，衣袂垂坠舒展，尽显典雅灵动。鎏金历经岁月斑驳，青绿铜锈晕染其间，晕开时光沉淀的古拙厚重。背光造型精巧，顶端饰有化佛，衬得主体愈发庄严圣洁，方寸间尽显法度与美感。方形台座简洁沉稳，稳稳承托造像风骨，线条流畅和谐，将圆润饱满与飘逸秀雅融为一体，尽显佛造像的神性之美与工艺匠心，静静诉说着千年前的信仰意趣与审美风尚。",[7,352,567,43,61,62,566,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cb7cb5807c7d44044a2dbd3bdfd514.jpg",[380],21,{"id":721,"slug":722,"title":723,"dynasty":18,"author":39,"museum":20,"description":724,"tags":725,"thumbUrl":726,"material":727,"size":728,"collection":30,"collections":729,"showCount":730,"zanCount":11,"manualWeight":11,"mainColor":179},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[103,135,59,213,117,26,23,104,214,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","纸本，楷书","40X190cm",[30],20,{"id":732,"slug":733,"title":734,"dynasty":18,"author":145,"museum":735,"description":736,"tags":737,"thumbUrl":738,"material":25,"size":739,"collection":29,"collections":740,"showCount":730,"zanCount":11,"manualWeight":11,"mainColor":179},220216,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-1-liu-gong-quan-220216","神策军碑-皇帝巡幸左神策军纪圣德碑1","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。",[117,25,23,214,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0521c13eaf5363388ee6f5cebbcb8025.jpg","58X46",[],{"id":742,"slug":743,"title":744,"dynasty":18,"author":39,"museum":20,"description":745,"tags":746,"thumbUrl":749,"material":78,"size":79,"collection":29,"collections":750,"showCount":751,"zanCount":11,"manualWeight":11,"mainColor":34},253998,"tong-liu-jin-dao-jiao-zuo-xiang-yi-ming-253998","铜鎏金道教坐像","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。",[7,42,567,43,61,747,62,748],"道教","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76746ce230daa117d47827118035e711.jpg",[],19,{"id":753,"slug":754,"title":755,"dynasty":18,"author":39,"museum":90,"description":87,"tags":756,"thumbUrl":757,"material":78,"size":79,"collection":29,"collections":758,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":34},226392,"ku-qian-shi-ding-bu-yi-ming-226392","窟前室顶部",[89,61,74,62,7,157,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe61084b4b0cbc8c11b47a6aa0ac0ce9.jpg",[],18,{"id":761,"slug":762,"title":498,"dynasty":18,"author":39,"museum":90,"description":87,"tags":763,"thumbUrl":766,"material":78,"size":79,"collection":29,"collections":767,"showCount":759,"zanCount":82,"manualWeight":11,"mainColor":50},226268,"ku-yong-dao-ding-bu-yi-ming-226268",[89,7,74,500,764,765,158],"花卉纹样","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821bd5f1b40e065b1c1e206f6c663b42.jpg",[],{"id":769,"slug":770,"title":771,"dynasty":18,"author":39,"museum":20,"description":772,"tags":773,"thumbUrl":777,"material":78,"size":79,"collection":29,"collections":778,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":179},223838,"yue-gong-jing-yi-ming-223838","月宫镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[7,352,43,774,775,776,709],"明月","兔","桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f1600c0f816552865a385e8138c5bb.jpg",[],{"id":780,"slug":781,"title":782,"dynasty":18,"author":39,"museum":20,"description":772,"tags":783,"thumbUrl":786,"material":78,"size":79,"collection":29,"collections":787,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":34},223829,"si-shen-jing-yi-ming-223829","四神镜",[7,352,43,784,388,192,785],"浮雕","花口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d53f39cf665019bdc1f8dc514e5b31b.jpg",[],{"id":789,"slug":790,"title":791,"dynasty":18,"author":792,"museum":793,"description":794,"tags":795,"thumbUrl":797,"material":28,"size":798,"collection":29,"collections":799,"showCount":759,"zanCount":11,"manualWeight":11,"mainColor":34},214309,"shu-kong-zi-yan-zi-zan-can-ke-li-dan-214309","书孔子顔子赞残刻","李旦","首都图书馆","这块碑是在唐朝十一年立的。曲阜孔庙的唐代楷书碑文 孔子与颜子赞 的原貌是根据教会碑文 老子孔子与颜子赞碑（及赵氏诏书），该碑文也刻于开元11年。如果书法也是出自皇帝的墨宝，那么题词应该是 御制御书，这种书很少出现在早期文献中。",[103,7,23,25,117,796],"石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302d8893bf0d679ca79da4cd434b166.jpg","49x49",[],{"id":801,"slug":802,"title":803,"dynasty":18,"author":39,"museum":20,"description":804,"tags":805,"thumbUrl":807,"material":29,"size":29,"collection":380,"collections":808,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":34},253605,"tong-liu-jin-fu-zuo-xiang-yi-ming-253605","铜鎏金佛坐像","此像面容丰润柔和，垂目含笑间尽显沉静慈悲。右手轻扬施无畏印，安稳跏趺于莲台，衣褶流转舒展，带着独属的雍容舒展气度。\n\n莲台上下层叠呼应，六角底座端庄沉稳，镂空设计消解了铜铸的厚重，添了几分灵动精巧。鎏金虽覆斑驳铜锈，却更衬出岁月沉淀的厚重质感，将神性庄严与手工精妙相融，静静流淌着沉静悲悯的佛性，是宗教美学与手工技艺凝练的绝佳缩影。",[7,352,567,61,326,806,43],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa908d2fd9d065d9611d3992a3c85e099.jpg",[380],17,{"id":811,"slug":812,"title":813,"dynasty":18,"author":39,"museum":20,"description":814,"tags":815,"thumbUrl":821,"material":78,"size":79,"collection":29,"collections":822,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":34},251969,"bai-yu-tou-diao-shuang-feng-mu-dan-wen-qian-jian-yi-ming-251969","白玉透雕双凤牡丹纹嵌件","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[816,43,817,818,819,7,820],"玉石","透雕","双凤","牡丹","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43e9d805a281b8525ac3d3f03fb7600.jpg",[],{"id":824,"slug":825,"title":826,"dynasty":18,"author":39,"museum":20,"description":772,"tags":827,"thumbUrl":829,"material":78,"size":79,"collection":29,"collections":830,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":831},223860,"long-feng-jing-1-yi-ming-223860","龙凤镜-1",[7,352,43,192,828,191,157,709],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a7cf55f4b575cebd38c27b2e2cbe53.jpg",[],"FFFFFF",{"id":833,"slug":834,"title":835,"dynasty":18,"author":39,"museum":659,"description":836,"tags":837,"thumbUrl":839,"material":74,"size":29,"collection":29,"collections":840,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":34},217904,"guan-yin-jing-bian-tu-juan-3-yi-ming-217904","观音经变图卷-3","画面以分段式构图铺陈经义，观音端严居中，宝冠华服，衣纹流转若春风拂柳；两侧人物姿态各异，或合十听法，或躬身礼敬，世俗文人的儒雅与众生的恳切相映成趣。墨线勾勒精准简练，设色古雅温润，虽时光浸染，仍透露出唐代艺术的雍容气象。图文交织相生，经文随图像徐徐展开，将抽象教义化为具象场景，既便于信众理解，更藏着唐人对信仰的虔诚与对美的追求。这卷经变图，是宗教与艺术的完美融合，亦是岁月沉淀下的文化瑰宝，尽显“以图释经”的独特韵味。",[58,59,213,61,74,62,75,7,90,265,838],"经变","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30d533b89ab49edf98ce3f096ed1921.jpg",[],{"id":842,"slug":843,"title":755,"dynasty":18,"author":39,"museum":90,"description":87,"tags":844,"thumbUrl":848,"material":78,"size":79,"collection":29,"collections":849,"showCount":850,"zanCount":11,"manualWeight":11,"mainColor":34},226466,"ku-qian-shi-ding-bu-yi-ming-226466",[7,89,61,74,62,185,708,173,845,158,846,156,847],"佛教造像","建筑元素","莲花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5ea8e92db7c1aacd4220fc12109bd.jpg",[],16,{"id":852,"slug":853,"title":854,"dynasty":18,"author":39,"museum":20,"description":855,"tags":856,"thumbUrl":858,"material":29,"size":29,"collection":380,"collections":859,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":34},253578,"tong-liu-jin-shuo-fa-fu-zuo-xiang-yi-ming-253578","铜鎏金说法佛坐像","此像体量虽小，却凝盛唐造像之典雅气韵。斑驳鎏金晕染出岁月痕迹，桃形背光古朴沉静，衬得佛像法相温婉端方，面含浅笑，神色恬然自若。衣褶婉转柔和，贴合身形，抬手说法的姿态沉静安然，似正宣演妙谛。束腰方台古拙稳重，承托出造像的端庄格局。鎏金虽已斑驳脱落，却更添古拙厚重的历史质感，将大唐佛教造像的圆融大气浓缩于方寸，携千年梵音余韵，静静诉说往昔佛风盛景。",[7,352,567,43,61,62,326,806,857],"说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a41995cc00f6ecf491d2a34345f924.jpg",[380],15,{"id":862,"slug":863,"title":685,"dynasty":18,"author":39,"museum":90,"description":87,"tags":864,"thumbUrl":865,"material":78,"size":79,"collection":29,"collections":866,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":34},226410,"ku-zhu-shi-dong-bi-yi-ming-226410",[89,7,61,74,62,326,327,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fbbcce705d842534b8da8f229fe45b.jpg",[],{"id":868,"slug":869,"title":870,"dynasty":18,"author":39,"museum":20,"description":871,"tags":872,"thumbUrl":873,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是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[103,23,24,278,213,1209,7,215,622],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":1213,"slug":1214,"title":1215,"dynasty":18,"author":114,"museum":210,"description":619,"tags":1216,"thumbUrl":1217,"material":622,"size":623,"collection":29,"collections":1218,"showCount":1139,"zanCount":11,"manualWeight":11,"mainColor":50},214418,"da-tang-zhong-xing-song-shang-ce-7-yan-zhen-qing-214418","大唐中兴颂上册-7",[23,117,25,104,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3343d45ef8e21b8785828a9f6d7a371.jpg",[],{"id":1220,"slug":1221,"title":1222,"dynasty":18,"author":39,"museum":20,"description":1223,"tags":1224,"thumbUrl":1226,"material":78,"size":79,"collection":29,"collections":1227,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":50},252893,"san-cai-zhen-mu-shou-yi-ming-252893","三彩镇墓兽","昂首怒目，四爪踞立，扭曲长角凌厉张扬，翻卷的鬃毛似燃动火舌，将狞厉气焰拉满。黄绿褐釉色恣意交融流淌，如凝住的虹霓在躯体晕染野性张力。\n\n作为幽冥守护者，贲张的筋肉、森然獠牙，将雄浑气魄凝于陶土。釉色晕散浑然天成，让冷硬陶塑晕开妖异灵动神采，狞猛里裹着古拙浪漫，把古人对生死的瑰丽想象，淬成这尊震慑邪祟的瑞兽，沉凝着独属于那个时代的狂放与瑰奇。",[7,881,940,1225,74,186],"雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06813605db9772bb65645c852cc79049.jpg",[],7,{"id":1230,"slug":1231,"title":1232,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":1234,"thumbUrl":1237,"material":78,"size":79,"collection":29,"collections":1238,"showCount":1228,"zanCount":82,"manualWeight":11,"mainColor":50},252846,"tao-hua-cai-kai-jia-feng-mao-wu-shi-yong-yi-ming-252846","陶画彩铠甲风帽武士俑","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。",[7,378,881,74,62,1235,1236,43],"铠甲","风帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21fc9173cd45b840bb7754c65c8b2ed.jpg",[],{"id":1240,"slug":1241,"title":1242,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":1243,"thumbUrl":1244,"material":78,"size":79,"collection":29,"collections":1245,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":50},252758,"san-cai-la-ma-yong-yi-ming-252758","三彩拉马俑",[7,881,882,74,62,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd294f4a01d79ce7c90461af81ff44751.jpg",[],{"id":1247,"slug":1248,"title":1249,"dynasty":18,"author":39,"museum":20,"description":983,"tags":1250,"thumbUrl":1253,"material":78,"size":79,"collection":29,"collections":1254,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":34},243246,"tuan-hua-wen-jing-yi-ming-243246","团花纹镜",[7,352,43,1251,1252,709],"团花纹","菱花形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde87ad6c855c790b1b4a10a946c14a64.jpg",[],{"id":1256,"slug":1257,"title":1258,"dynasty":18,"author":39,"museum":20,"description":983,"tags":1259,"thumbUrl":1262,"material":78,"size":79,"collection":29,"collections":1263,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":179},227096,"san-le-jing-yi-ming-227096","三乐镜",[7,352,43,784,62,1260,708,929,1261],"文字","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a53a04701d7fb08f2fdb9fdedd6455.jpg",[],{"id":1265,"slug":1266,"title":498,"dynasty":18,"author":39,"museum":90,"description":87,"tags":1267,"thumbUrl":1272,"material":78,"size":79,"collection":29,"collections":1273,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":34},226471,"ku-yong-dao-ding-bu-yi-ming-226471",[7,89,74,61,75,185,62,193,1268,1269,1270,1271],"坐佛","供养菩萨","台座","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d5f40df538a35fd7afa4235da52aa3.jpg",[],{"id":1275,"slug":1276,"title":1277,"dynasty":18,"author":39,"museum":90,"description":87,"tags":1278,"thumbUrl":1280,"material":78,"size":79,"collection":29,"collections":1281,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":50},226342,"ku-zhu-shi-ping-qi-ding-bei-mian-yi-ming-226342","窟主室平棋顶北面",[89,7,74,402,61,390,1279,159,156],"圆形纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f2fac9683a5bcf3a24328f57d1bd05.jpg",[],{"id":1283,"slug":1284,"title":1285,"dynasty":18,"author":39,"museum":20,"description":772,"tags":1286,"thumbUrl":1287,"material":78,"size":79,"collection":29,"collections":1288,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":34},223826,"shuang-luan-wen-jing-1-yi-ming-223826","双鸾纹镜-1",[7,42,352,43,1056,708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bc0e54e5c21cbcea90919a7c80be44.jpg",[],{"id":1290,"slug":1291,"title":1292,"dynasty":18,"author":1206,"museum":20,"description":1207,"tags":1293,"thumbUrl":1294,"material":622,"size":78,"collection":29,"collections":1295,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":179},223389,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-5-bai-ju-yi-223389","古抄残卷《白氏文集》第三巻第四5",[103,7,23,213,117,278,265,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dced12f884905a25a266f1e0403bdf.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":18,"author":39,"museum":659,"description":1300,"tags":1301,"thumbUrl":1303,"material":74,"size":29,"collection":29,"collections":1304,"showCount":1228,"zanCount":11,"manualWeight":11,"mainColor":34},217891,"guan-yin-jing-bian-tu-juan-15-yi-ming-217891","观音经变图卷-15","图文交织的画卷里，鲜活场景跃然纸上。人物动态各异，或持物施法，或互动应答，神兽相伴左右，虎啸龙吟般的张力藏于古朴笔触间。线条婉转勾勒衣袂流转，设色虽经岁月却仍见鲜明，红袍绿衫与兽纹斑斓交织，将经文中的救度故事化为可触的温度。每一处细节都诉说着慈悲救苦的主题，把抽象教义揉进具象画面，让观者在视觉冲击中读懂经文深意。这般文字转视觉叙事的巧思，既显绘画者匠心，也藏宗教传播智慧，笔墨间留存跨越时空的艺术与信仰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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[7,816,817,1437,1136,157],"雕花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe764390eb4f09a680538b7288fdd423c.jpg",[],{"id":1441,"slug":1442,"title":1443,"dynasty":18,"author":39,"museum":20,"description":814,"tags":1444,"thumbUrl":1445,"material":78,"size":79,"collection":29,"collections":1446,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},251254,"bai-yu-hua-xing-shi-yi-ming-251254","白玉花形饰",[7,816,43,1136,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9500a79749a680ab01905b98ffc2d9a.jpg",[],{"id":1448,"slug":1449,"title":1015,"dynasty":18,"author":39,"museum":20,"description":983,"tags":1450,"thumbUrl":1452,"material":78,"size":79,"collection":29,"collections":1453,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":50},245103,"shuang-feng-wen-jing-yi-ming-245103",[7,352,43,818,157,785,1451,708,131],"铜镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06b6423f6da808e9f7e4bcc23387f00.jpg",[],{"id":1455,"slug":1456,"title":1457,"dynasty":18,"author":39,"museum":20,"description":983,"tags":1458,"thumbUrl":1460,"material":78,"size":79,"collection":29,"collections":1461,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":179},245099,"shi-er-chen-wen-jing-yi-ming-245099","十二辰纹镜",[7,42,352,43,186,192,1459,709],"生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a7009c29b505647b8b381db14f30bc.jpg",[],{"id":1463,"slug":1464,"title":1465,"dynasty":18,"author":39,"museum":20,"description":983,"tags":1466,"thumbUrl":1467,"material":78,"size":79,"collection":29,"collections":1468,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":50},244729,"fu-wen-jing-yi-ming-244729","佛纹镜",[352,43,61,62,7,708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa5cc44f5608bbd8eca857cef61e485.jpg",[],{"id":1470,"slug":1471,"title":471,"dynasty":18,"author":39,"museum":90,"description":87,"tags":1472,"thumbUrl":1473,"material":78,"size":79,"collection":29,"collections":1474,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},226499,"ku-yong-dao-bei-bi-yi-ming-226499",[7,89,61,62,74,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b99f32fc895e0968ba724060c3f306.jpg",[],{"id":1476,"slug":1477,"title":471,"dynasty":18,"author":39,"museum":90,"description":87,"tags":1478,"thumbUrl":1479,"material":78,"size":79,"collection":29,"collections":1480,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},226355,"ku-yong-dao-bei-bi-yi-ming-226355",[7,89,61,74,60,62,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcc86b65c854323e3c951c8cd74ad9f9.jpg",[],{"id":1482,"slug":1483,"title":956,"dynasty":18,"author":39,"museum":90,"description":87,"tags":1484,"thumbUrl":1485,"material":78,"size":79,"collection":29,"collections":1486,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":50},226250,"ku-zhu-shi-xi-pi-yi-ming-226250",[7,89,61,74,62,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aeaee121a99fe373dd50036baf7e017.jpg",[],{"id":1488,"slug":1489,"title":1490,"dynasty":18,"author":39,"museum":20,"description":772,"tags":1491,"thumbUrl":1493,"material":78,"size":79,"collection":29,"collections":1494,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":179},223849,"shen-ren-wen-jing-1-yi-ming-223849","神人纹镜-1",[7,352,43,1492,62,709],"神人纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc64bd59e95ab91e4d547e1f721955d7.jpg",[],{"id":1496,"slug":1497,"title":1498,"dynasty":18,"author":39,"museum":20,"description":772,"tags":1499,"thumbUrl":1501,"material":78,"size":79,"collection":29,"collections":1502,"showCount":33,"zanCount":11,"manualWeight":11,"mainColor":34},223836,"ming-xin-jing-1-yi-ming-223836","明心镜-1",[7,352,43,1500,1100],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5223a0d4d7ee86a568393f16f5fa27c4.jpg",[],{"id":1504,"slug":1505,"title":1506,"dynasty":18,"author":39,"museum":20,"description":1507,"tags":1508,"thumbUrl":1512,"material":78,"size":79,"collection":29,"collections":1513,"showCount":1514,"zanCount":82,"manualWeight":11,"mainColor":34},256724,"san-cai-ke-hua-hui-wen-san-zu-pan-yi-ming-256724","三彩刻花卉纹三足盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[881,7,882,1509,1510,1511,709],"刻花","花卉纹","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3037748a7f30271e131b9e46d5e76d3.jpg",[],4,{"id":1516,"slug":1517,"title":1518,"dynasty":18,"author":39,"museum":20,"description":1519,"tags":1520,"thumbUrl":1524,"material":78,"size":79,"collection":888,"collections":1525,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":50},256191,"xing-yao-bai-you-pi-nang-shi-hu-yi-ming-256191","邢窑白釉皮囊式壶","邢窑，是一处隋朝－五代时期的窑场，现存遗址位于河北省邢台市辖内丘、临城两县境内的太行山东麓丘陵和平原地带。据考证，邢窑始烧于北朝，衰于五代，终于元代，唐代时为制瓷业七大名窑之一，也是我国北方最早烧制白瓷的窑场。\n邢窑开创的独特制瓷工艺和先进的烧造技术，同样是我国陶瓷史上的重要里程碑。唐人李肇在《国史补》里写道："内丘白瓷瓯、端溪紫石砚，天下无贵贱通用之"。\n邢窑白瓷产品的出现，改变了中国一向以青瓷为主的局面，结束了自魏晋以来青瓷一统天下的局面，到了唐代，形成规模，使得邢窑与越窑平分秋色，形成了南青北白、相互争妍的两大体系，为唐以后白瓷的崛起和彩瓷的发展奠定了基础。唐三彩的出土使邢窑遗址成为中国第三处烧制唐三彩的窑址，具有重大的保护价值和学术、科研价值。\n白瓷的发展起步较迟，而邢窑白瓷到唐朝中期已非常流行。唐墓出土的白瓷碗，胎土白洁，细如澄泥，釉色明净，据此可以证明邢窑白瓷同样是瓷器中之上品。唐代白瓷除邢窑外其他产地之白瓷质地制工也较优良，江西州窑也是当时白瓷的中心。唐三彩一般为黄、绿、白（蓝），其发展是从汉代单色釉（绿）到北朝的黄釉绿色再到唐三彩。三彩釉陶是一种低温铅釉的彩陶器，色彩绚丽，造型生动，在唐代釉瓷中是一个很特别的品种，俗称“唐三彩”。三彩陶器巧妙利用了釉色的变化达到富丽华美的装饰效果。色釉中蓝彩较罕见。唐三彩的烘造地点主要在长安及洛阳两地，唐三彩造型丰富多彩；有生动传神感人的人物偏和动物偏，还有房屋用器的模型。\n邢窑瓷器的釉色有白、青、黑和褐黄等多种。邢窑白瓷按其胎、釉的质地，可以分为粗、细两大类。\n粗白瓷:\n白瓷的胎质又有粗、细之分，粗胎的一类胎色灰白，胎质粗糙；细胎的一类胎体致密，胎色较淡，但仍不够白，往往施一层白色化妆土。\n粗白瓷的釉质较细，有些还有细碎的纹片，釉色为灰白或乳白色，还有黄白色。\n粗白瓷产量大，生产过程中，不管是捏练还是陈腐都不够充分，白中常泛黄，到五代时部分产品的工艺水平有所提高，胎体中少有气孔夹砂现象，烧不熟的现象已基本克服，渐趋细腻。\n细白瓷:\n细白瓷的胎色纯白，个别的白中闪黄釉质很细，釉层中有微细的小棕眼，器物多施满釉，釉色纯白或白中微泛青色。白釉又有粗细之分，以粗者居多，细者占少数。\n细白瓷在加工工艺上，每个步骤都很讲究，烧成后白度很高。邢窑的精细白瓷，选用优质瓷土烧成，胎质坚实细腻，胎色洁白如雪，釉质莹润，有的薄如蛋壳，透明性能很好。一般器物纯白光亮，有些则白中微微泛青。\n邢窑是镁釉，高温下黏度大，釉面易光滑平整，光泽度好，但釉色有乳浊感，不透明，釉色稳定，多呈白色或白中泛青的色调。这就使乳浊釉对胎体有良好的遮盖性，器物施釉到底，质优者足心也施釉。而当时的定窑产品釉料配置不稳定，就釉而言也分粗细两种，都不够光洁，光泽度差。",[7,881,1521,709,1522,1329,1523],"白釉","皮囊式","造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cab2200c48db62d53009fbb08c2f36a.jpg",[888],{"id":1527,"slug":1528,"title":1529,"dynasty":18,"author":39,"museum":20,"description":1530,"tags":1531,"thumbUrl":1534,"material":78,"size":79,"collection":888,"collections":1535,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":34},254523,"qiong-yao-lv-you-nv-tou-xiang-yi-ming-254523","邛窑绿釉女头像","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 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砚必宋唐。”唐代政治、经济、文化高度发达，国力强盛，物质雄厚，书法绘画艺术成就巨大，促进了文房用具的发展。特别是隋唐科举制度的推行，使天下学子可以通过文章考试进入社会上层阶级，极大促进了制砚业的发展。\n唐砚承继了魏晋南北朝砚台的制式与材质，还发展各种优质砚材，宋砚基本是唐砚的延续。唐代最具代表性的砚形是辟雍式和箕形式。\n宋代著作《文学四谱》中提到魏晋学者繁钦在《砚赞》中云：“圆如盘而中隆起，水环之者，谓之辟雍砚。”魏晋时期多流行三足或四足的青瓷圆砚，南北朝变化为五足到十足不等的多足砚、辟雍砚，到了隋唐时期，发展出了圆形多足的辟雍砚。",[7,881,1692,377,43,709],"砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac07e2b4c9553c4c6d934e317943632.jpg",[],{"id":1696,"slug":1697,"title":1698,"dynasty":18,"author":39,"museum":20,"description":1125,"tags":1699,"thumbUrl":1700,"material":78,"size":79,"collection":29,"collections":1701,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":34},223821,"ying-bai-chuan-dai-hu-yi-ming-223821","莹白穿带壶",[7,881,1521,709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5e93fef1ef84e3e0f7801686789e3c.jpg",[],{"id":1703,"slug":1704,"title":1705,"dynasty":18,"author":39,"museum":20,"description":1427,"tags":1706,"thumbUrl":1707,"material":78,"size":79,"collection":29,"collections":1708,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":179},223545,"fa-hua-jing-fang-bian-pin-8-yi-ming-223545","法华经方便品8",[7,265,117,61,213,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a6ef513ba3f9e395ecb8780e784996.jpg",[],{"id":1710,"slug":1711,"title":1712,"dynasty":18,"author":39,"museum":20,"description":1427,"tags":1713,"thumbUrl":1714,"material":78,"size":79,"collection":29,"collections":1715,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":179},223544,"fa-hua-jing-fang-bian-pin-7-yi-ming-223544","法华经方便品7",[7,213,622,23,265,117,61,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f63bcb28de84b40b673eab540fb29c2.jpg",[],{"id":1717,"slug":1718,"title":1719,"dynasty":18,"author":114,"museum":210,"description":1720,"tags":1721,"thumbUrl":1722,"material":622,"size":623,"collection":29,"collections":1723,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":34},214463,"da-tang-zhong-xing-song-xia-ce-21-yan-zhen-qing-214463","大唐中兴颂下册-21","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[7,23,117,25,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f1a652a451eda15cfa11f7dd798d8b.jpg",[],{"id":1725,"slug":1726,"title":1727,"dynasty":18,"author":114,"museum":210,"description":1720,"tags":1728,"thumbUrl":1729,"material":622,"size":623,"collection":29,"collections":1730,"showCount":1514,"zanCount":11,"manualWeight":11,"mainColor":34},214439,"da-tang-zhong-xing-song-xia-ce-46-yan-zhen-qing-214439","大唐中兴颂下册-46",[117,25,23,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8589c813dcdd4e9fc2fed8a436b2235d.jpg",[],{"id":1732,"slug":1733,"title":1734,"dynasty":18,"author":39,"museum":20,"description":1735,"tags":1736,"thumbUrl":1740,"material":78,"size":79,"collection":888,"collections":1741,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor":179},256964,"yue-yao-qing-you-ba-leng-ping-yi-ming-256964","越窑青釉八棱瓶","越窑是中国古代南方著名的青瓷窑，汉族传统制瓷工艺的珍品之一。窑所在地主要在越州境内，即今浙江省宁绍平原上的绍兴、宁波两地。生产年代自东汉至宋。唐朝是越窑工艺最精湛时期，居全国之冠。越窑之名，最早见于唐代，越窑瓷青瓷与唐代的饮茶风尚关系十分密切，其瓷质造型，釉色之美，深受饮茶者的喜爱。饮茶风尚又影响了越窑青瓷的型制。",[7,881,1737,1738,1739,709],"青釉","八棱","青瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a7851af5999894a948d3940cb709b0.jpg",[888],3,{"id":1744,"slug":1745,"title":1746,"dynasty":18,"author":39,"museum":20,"description":1519,"tags":1747,"thumbUrl":1749,"material":78,"size":79,"collection":888,"collections":1750,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor":179},256806,"xing-yao-bai-you-guan-yi-ming-256806","邢窑白釉罐",[7,881,1521,1748,709],"素面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4faacf7524551e190d021f08076a7260.jpg",[888],{"id":1752,"slug":1753,"title":1754,"dynasty":18,"author":39,"museum":20,"description":1755,"tags":1756,"thumbUrl":1757,"material":78,"size":79,"collection":29,"collections":1758,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor":179},256780,"qing-you-feng-shou-long-bing-hu-yi-ming-256780","青釉凤首龙柄壶","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。”",[7,881,1737,43,192,828,709,784,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f92d93059e40da186837d9846dbaa3.jpg",[],{"id":1760,"slug":1761,"title":1762,"dynasty":18,"author":39,"museum":20,"description":1519,"tags":1763,"thumbUrl":1764,"material":78,"size":79,"collection":888,"collections":1765,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor"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。\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。",[881,376,7,2406,2529,43,2530,708],"日用","建筑造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0394e5e3523ac141cc3175a88ec5fe5e.jpg",[],{"id":2534,"slug":2535,"title":2536,"dynasty":18,"author":39,"museum":20,"description":2537,"tags":2538,"thumbUrl":2539,"material":78,"size":79,"collection":29,"collections":2540,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},255034,"shi-pu-sa-xiang-tou-yi-ming-255034","石菩萨像头","面相丰润饱满，尽显柔婉端雅的神韵。眉眼低垂弯如新月，似在敛眸静思，唇角噙着若有似无的笑意，将悲悯从容的气度藏于眉目之间。发髻纹路雕琢细腻流畅，卷丝缠绕如流云萦鬓。石身虽带着岁月磨蚀的斑驳残损，却更添沉静厚重的质感，把独有的典雅温润凝于方寸，静穆之中自带神性的安宁，引人心生平和敬意。",[7,43,516,61,645,62,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8065ffe97c1afa7b1b3384d27833fb6a.jpg",[],{"id":2542,"slug":2543,"title":1242,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":2544,"thumbUrl":2545,"material":78,"size":79,"collection":29,"collections":2546,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":34},254903,"san-cai-la-ma-yong-yi-ming-254903",[7,881,378,882,74,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01403518ec3f7052d685742cad03397.jpg",[],{"id":2548,"slug":2549,"title":2550,"dynasty":18,"author":39,"museum":20,"description":2551,"tags":2552,"thumbUrl":2557,"material":78,"size":79,"collection":29,"collections":2558,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":34},254694,"shan-ye-ni-fu-pu-sa-xiang-yi-ming-254694","善业泥佛菩萨像","模压而成的泥质造像，以密檐佛塔为中心，塔中各层皆趺坐佛陀，周遭环列结跏趺坐的诸佛与身姿修长的胁侍菩萨，造像皆顶覆头光，排布紧凑饱满。\n\n朴拙泥胎之上，将佛塔崇拜与造像组合相融，虽经岁月侵蚀，线条渐趋漫漶，却依旧能窥见造像的肃穆精工，方寸之间铺陈出净土佛国的万千气象，把虔诚的信仰凝缩在一方泥版之中，尽显造像风尚里的沉静佛韵。",[7,61,2553,2554,784,895,327,1268,566,1812,2555,2556,62],"泥雕","模制","佛塔","楼阁式塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ee6b8523dffdf2279684fde7eeffed.jpg",[],{"id":2560,"slug":2561,"title":2562,"dynasty":18,"author":39,"museum":20,"description":2527,"tags":2563,"thumbUrl":2564,"material":78,"size":79,"collection":29,"collections":2565,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},254640,"tao-hua-cai-ma-yi-ming-254640","陶画彩马",[881,1804,158,74,188,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5ac9e0626b8f8c7433bc322e15f30.jpg",[],{"id":2567,"slug":2568,"title":2569,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":2570,"thumbUrl":2571,"material":78,"size":79,"collection":29,"collections":2572,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":1766},254556,"tao-hua-cai-nan-li-yong-yi-ming-254556","陶画彩男立俑",[7,881,74,62,378,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce46d72aa786453cf4cee356575ec6cc.jpg",[],{"id":2574,"slug":2575,"title":563,"dynasty":18,"author":39,"museum":20,"description":2576,"tags":2577,"thumbUrl":2578,"material":78,"size":79,"collection":29,"collections":2579,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},254512,"tong-liu-jin-pu-sa-li-xiang-yi-ming-254512","此造像身形挺拔秀颀，鎏金虽已晕染斑驳，仍掩不住华贵底色。菩萨面容沉静温婉，宝冠端严，躯体丰腴合度，衣纹轻贴肌体，线条洗练柔和，尽得舒展灵动的韵致。尖耸背光之上顶饰化佛，愈发衬出造像的神圣庄严。四足台座沉稳朴拙，托举起整尊造像，比例匀停和谐。神性的肃穆与唐人审美里的柔美雅致相融，历经岁时磨洗，古雅厚重的质感愈发醇厚，是一件兼具宗教意蕴与审美价值的精巧之作。",[7,61,352,567,43,566,327,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f070a61d9878278ccdf96db6e24970.jpg",[],{"id":2581,"slug":2582,"title":2583,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":2584,"thumbUrl":2586,"material":78,"size":79,"collection":29,"collections":2587,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},254505,"tao-chi-dun-wu-shi-yong-yi-ming-254505","陶持盾武士俑",[7,378,881,43,62,2585],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be1f575a454eea1bc46c08188dd9921.jpg",[],{"id":2589,"slug":2590,"title":2591,"dynasty":18,"author":39,"museum":20,"description":2592,"tags":2593,"thumbUrl":2594,"material":78,"size":79,"collection":29,"collections":2595,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},254319,"tong-qi-fo-xiang-yi-ming-254319","铜七佛像","整体取菩提法树造型，主尊与六尊化佛错落排布于镂空枝间，仿若佛身从法界化生而来，静穆庄严。铜身包浆凝着岁月厚重，绿锈斑驳间，尽显造像的洗练简约。尖顶宝刹挺拔高挑，层叠莲台承托诸佛，下座镂空开窗，古拙雅致。\n\n造像以凝练线条勾勒衣袂面相，身形虽小巧，却藏着开阔包容的佛韵，将千佛会的庄严意象浓缩于方寸之间。作为精巧的枝佛样式，它将信仰具象化于铜铸之中，静立间晕开中古的信仰温度，质朴灵韵尽显一代造像风采。",[7,352,43,61,326,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76c269d3909a88a3e782bfffc260624.jpg",[],{"id":2597,"slug":2598,"title":1794,"dynasty":18,"author":39,"museum":20,"description":2599,"tags":2600,"thumbUrl":2601,"material":78,"size":79,"collection":29,"collections":2602,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":34},254313,"tong-liu-jin-fu-li-xiang-yi-ming-254313","身形修长挺拔，承袭盛唐造像丰腴舒展的气韵。面相圆润饱满，神情慈悲安和，自带沉静庄严之感。右手施无畏印，予众生安心庇佑；左手持净瓶，暗含甘露遍洒、涤除疾苦的寓意。头光圆满周正，顶饰尖塔，层次分明尽显规制。衣纹流畅贴体，柔和勾勒出躯体舒展姿态，尽显匠者精妙工法。鎏金历经岁月，斑驳间生出古拙包浆，更添厚重古韵，整体简洁庄重，将盛唐艺术的典雅大气与佛教造像的神圣内核相融，尽显大唐佛教造像的精妙造诣。",[7,61,352,567,566,62,43,1418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1462a0f0f513e86e58c30bd4f55eba.jpg",[],{"id":2604,"slug":2605,"title":2606,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":2607,"thumbUrl":2608,"material":78,"size":79,"collection":29,"collections":2609,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":179},254199,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254199","陶画彩骑马男俑",[881,378,62,188,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2371fb0740752419f6d8d9953eb2e9f9.jpg",[],{"id":2611,"slug":2612,"title":1539,"dynasty":18,"author":39,"museum":20,"description":1233,"tags":2613,"thumbUrl":2614,"material":78,"size":79,"collection":29,"collections":2615,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},254146,"san-cai-qi-ma-nan-yong-yi-ming-254146",[7,378,881,882,74,43,62,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17aff8c6f3654fcc071a8dc16347a836.jpg",[],{"id":2617,"slug":2618,"title":2619,"dynasty":18,"author":39,"museum":20,"description":2527,"tags":2620,"thumbUrl":2621,"material":78,"size":79,"collection":29,"collections":2622,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":34},254136,"tao-lv-yi-ming-254136","陶驴",[881,378,186,43,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e028deedc5dc7b63218e7d60c27158b.jpg",[],{"id":2624,"slug":2625,"title":2626,"dynasty":18,"author":39,"museum":20,"description":2627,"tags":2628,"thumbUrl":2631,"material":78,"size":79,"collection":29,"collections":2632,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},253981,"ji-zhuan-yi-ming-253981","鸡砖","此砖上浮塑神鸡，造型兼具写实与浪漫色彩。神鸡昂首傲立，羽翼层叠舒展，刻纹细腻勾勒出羽毛的蓬松柔润，躯体线条劲挺硬朗，尽显雄健姿态。双足踏于莲台之上，为寻常家禽赋予神性意蕴。浅浮雕技法让形象兼具立体感与温润质感，素灰砖面衬得整体气韵古朴庄重。它将古人对瑞祥的浪漫想象凝于方寸之间，把世俗祈福愿景与精湛匠造技艺相融，尽显对祥瑞吉兆的追崇，是审美意趣与造物匠心的生动缩影。",[7,43,784,2629,2630],"砖","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22844a90915bb34a8a5dcd21abb06ea.jpg",[],{"id":2634,"slug":2635,"title":563,"dynasty":18,"author":39,"museum":20,"description":2636,"tags":2637,"thumbUrl":2638,"material":78,"size":79,"collection":29,"collections":2639,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},253958,"tong-liu-jin-pu-sa-li-xiang-yi-ming-253958","鎏金虽有斑驳，仍暗蕴宝光。菩萨面容圆润祥和，眉眼含着温煦笑意，高发髻嵌饰宝顶，周身璎珞环钏错落，衣纹柔婉贴体，尽显盛唐丰腴端雅的审美意趣。左手持净瓶，身姿内敛沉静，立于饱满层叠的莲台之上，缠枝背光随身形舒展，线条流畅灵动。寸金小像糅合中原温婉与造像庄严法度，将悲悯沉静的气质凝于一身，晕染的鎏金痕迹，更添古雅厚重的历史质感，尽显大唐造像的圆融之美。",[7,352,567,43,61,62,566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033125e1da18471c9d66faa301d61bbb.jpg",[],{"id":2641,"slug":2642,"title":2643,"dynasty":18,"author":39,"museum":20,"description":2527,"tags":2644,"thumbUrl":2645,"material":78,"size":79,"collection":29,"collections":2646,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},253840,"tao-hua-cai-zhen-mu-shou-yi-ming-253840","陶画彩镇墓兽",[881,378,186,74,43,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed805a617e6e24db1c187851c12a7ea.jpg",[],{"id":2648,"slug":2649,"title":1794,"dynasty":18,"author":39,"museum":20,"description":2650,"tags":2651,"thumbUrl":2652,"material":78,"size":79,"collection":29,"collections":2653,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":34},253770,"tong-liu-jin-fu-li-xiang-yi-ming-253770","此像身姿挺拔舒展，右手施无畏印安抚惶怖众生，左手托举法器，衣袂垂坠流畅如微风拂过，尽显盛唐造像柔和飘逸的气韵。身后桃形背光錾饰纹路，环拱出澄澈光晕，将佛陀慈悲端严的神采烘托得恰到好处。鎏金虽已斑驳，却凝住岁月厚重质感，方形台座简约规整，稳稳承托造像，让整尊造像兼具神性的高洁超脱与古朴沉静的历史温度，尽显唐代造像写实灵动又不失庄严肃穆的典型风骨，是小件造像中颇为精妙的遗存。",[7,42,352,567,61,62,43,566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32436bfbf57b4c57b3bca835571c7aa9.jpg",[],{"id":2655,"slug":2656,"title":2657,"dynasty":18,"author":39,"museum":20,"description":2658,"tags":2659,"thumbUrl":2660,"material":78,"size":79,"collection":29,"collections":2661,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":50},253721,"san-cai-zhen-mu-shou-tou-yi-ming-253721","三彩镇墓兽头","它以张扬骇人的造型诠释盛唐幽冥护佑的精神内核，高耸拧转的顶饰如怒卷的焰柱，巨硕耳翼如蝠翼铺展，极具视觉冲击力。绿釉晕开的面额上，圆目凸眦獠牙毕露，鬃须以褐釉晕染虬结苍劲，三彩釉色历经岁月斑驳交融，褪去初时鲜亮，只剩沉凝古拙的质感。匠师以粗犷写意的手法，将镇慑邪祟的狞悍气魄凝于陶土之上，把护佑安宁的祈愿浇筑进每一处棱角，粗犷古雅间尽显大唐礼器的雄浑厚重。",[7,2067,881,43,378,186,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de1e98dd8d0736c31e08493558aa203.jpg",[],{"id":2663,"slug":2664,"title":2665,"dynasty":18,"author":39,"museum":20,"description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