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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,24,25,27,29,28,30,56,7,135],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg","未知","Xcm*Xcm",[],105,"37474F",{"id":143,"slug":144,"title":145,"dynasty":146,"author":147,"museum":148,"description":149,"tags":150,"thumbUrl":152,"material":153,"size":154,"collection":41,"collections":155,"showCount":140,"zanCount":112,"manualWeight":11,"mainColor":45},221714,"ba-jiao-tang-zi-tu-qian-xuan-221714","芭蕉唐子图","元","钱选","日本京都国立博物馆","图绘三个孩童呆在一个似沙窖一样的场地里，二孩端坐，一孩侧卧，皆专心致志玩耍；后面一块蓝色湖石耸立，形状奇特，数棵芭蕉长势茂盛，叶面碧绿宽大，生机勃勃。",[23,24,29,28,30,7,151],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adc604b34d72f5e7124ec9b6584ce7d.jpg","绢本，设色","25.2×21cm",[41,156],"设色画精选",{"id":158,"slug":159,"title":160,"dynasty":132,"author":19,"museum":161,"description":162,"tags":163,"thumbUrl":167,"material":39,"size":62,"collection":41,"collections":168,"showCount":169,"zanCount":112,"manualWeight":11,"mainColor":113},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","耶鲁大学艺术博物馆","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[54,24,25,164,27,29,30,7,123,165,166,28],"扇面","花卉","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[41],86,{"id":171,"slug":172,"title":173,"dynasty":174,"author":175,"museum":176,"description":177,"tags":178,"thumbUrl":184,"material":185,"size":186,"collection":156,"collections":187,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":113},219272,"fang-gong-kai-zhong-nan-gui-qu-tu-fei-dan-xu-219272","仿龚开终南鬼趣图","清","费丹旭","美国弗利尔美术馆","费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[23,24,29,28,179,30,180,96,181,165,32,7,182,183,33],"临摹","流水","花瓶","老者","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","纸本,设色","124.7x56.5厘米",[156],{"id":189,"slug":190,"title":191,"dynasty":132,"author":192,"museum":51,"description":193,"tags":194,"thumbUrl":196,"material":62,"size":62,"collection":41,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":45},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[24,25,26,27,30,28,29,195,7],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[41],73,{"id":200,"slug":201,"title":202,"dynasty":146,"author":19,"museum":51,"description":203,"tags":204,"thumbUrl":207,"material":137,"size":138,"collection":62,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":45},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[24,26,27,29,30,28,56,205,7,206,97],"兽","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":211,"slug":212,"title":213,"dynasty":132,"author":214,"museum":89,"description":215,"tags":216,"thumbUrl":218,"material":185,"size":219,"collection":41,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":113},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","仇英","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,54,25,26,28,29,93,78,30,102,7,217,75,121],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[41,156],59,{"id":223,"slug":224,"title":225,"dynasty":174,"author":19,"museum":226,"description":227,"tags":228,"thumbUrl":233,"material":29,"size":62,"collection":41,"collections":234,"showCount":235,"zanCount":112,"manualWeight":11,"mainColor":113},217311,"gu-xiu-wu-shi-san-can-tu-ce-yi-ming-217311","顾绣·五十三参图册","北京故宫博物院","绣线流转间，善财童子的虔诚跃然绢上。顾绣以针代笔，将山水的淡远、人物的温煦凝于丝缕：或见童子俯身问法，衣袂飘举间藏着求道的恳切；或观善知识拈花含笑，眉眼舒展处透着慈悲的从容。针脚细密处晕染出虚实层次，丝线的柔光与笔墨的雅致相融，似有禅意悄然流淌。草木的舒展、山石的肌理，皆以灵动针法勾勒——既存画之韵致，更显绣之精工。每一幅皆是一段求道的缩影，绣工于细节处藏巧思，尽显明清绣艺与释教题材结合的雅致深味，让观者在丝缕交织里触碰到那份千年不变的虔诚与静穆。",[229,230,28,29,27,30,79,76,75,180,74,7,231,232],"顾绣","刺绣","菩萨","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca39984ae1662855dc39ec30e30b1f4.jpg",[41],52,{"id":237,"slug":238,"title":239,"dynasty":132,"author":192,"museum":51,"description":240,"tags":241,"thumbUrl":246,"material":62,"size":62,"collection":62,"collections":247,"showCount":248,"zanCount":112,"manualWeight":11,"mainColor":45},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,24,25,26,29,28,242,30,243,123,244,7,97,245],"白描","蕉叶","器物","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],47,{"id":250,"slug":251,"title":252,"dynasty":132,"author":253,"museum":254,"description":255,"tags":256,"thumbUrl":258,"material":259,"size":260,"collection":109,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":45},222376,"bai-tan-tu-zhou-chen-222376","白谭图","周臣","美国纳尔逊阿特金斯艺术博物馆","绘四周环山水潭边，一道者盘坐席上，手执拂尘掸，静心修行，一边的童子正给炉子扇风烧火，近处树木遒劲苍翠。技法上，绘山石坚凝，线条坚挺，棱角锋利，用笔纯熟，取法于李唐派系。",[23,54,24,79,30,29,78,75,257,76,27,7],"潭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1c655c7e01bcf836590ca261bff341.jpg","纸本，淡设色","38x73cm",[109,110],44,{"id":264,"slug":265,"title":266,"dynasty":132,"author":19,"museum":226,"description":267,"tags":268,"thumbUrl":276,"material":153,"size":277,"collection":41,"collections":278,"showCount":279,"zanCount":112,"manualWeight":11,"mainColor":45},239478,"ming-ren-xiao-yi-zhuan-lan-ting-tu-zhou-yi-ming-239478","明人萧翼赚兰亭图轴","在宋时即多摹本。据史所载，唐代著名画家阎立本绘有此图，此外，据《宣和画谱》，唐吴侁亦作此图一幅。其后，前蜀支仲元、南唐顾德谦、南宋僧梵隆、元赵子俊等画家均以此题材绘图，此卷为明代绘本。图绘六位人物，画左坐着的僧人即辩才，左手执《兰亭序》，右手举于胸前侃侃而谈，画面右侧的萧翼双手笼于袖间，沉着冷静，两人中间有一盆假山石。画面右下方为萧翼的两名随从，衣冠整洁，左下幅辩才的童子正在备茶。该图右上侧有树石为背景，山石呈方块状叠加，造型独特，全画工笔重彩设色，人物及树石等造型具有明代绘画的特点。",[54,24,26,28,29,269,270,7,271,272,123,273,274,275],"人物画","僧人","随从","树石","备茶","萧翼赚兰亭","《兰亭序》","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d7369ef6326f5b81cab49e4cb54bbf.jpg","纵124厘米，横78厘米",[41],42,{"id":281,"slug":282,"title":283,"dynasty":132,"author":19,"museum":51,"description":284,"tags":285,"thumbUrl":290,"material":137,"size":138,"collection":62,"collections":291,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":45},287607,"shi-ba-xue-shi-tu-zhi-yi-yi-ming-287607","十八学士图之一","松竹掩映的庭院雅集间，文士或展卷品题，或执枝赏鉴，仆从侍立童仆随侍，处处透着悠然雅致。设色调和古沉，衣纹勾勒凝练舒展，将文人的沉静姿容尽数描摹。案头的笔墨清供、架上的博古玩物刻画精工，暗合文人心底的审美意趣，把林下雅集的闲逸氛围铺陈开来，将盛世文人群聚论道的从容风雅，永远定格在绢素之上，尽显传统文会雅集里寄情林泉的隽永意涵。",[24,269,29,28,286,287,206,288,289,7],"文人雅集","庭院","松","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cad6f0bdb169a31665da09d9d9e46b4.jpg",[],39,{"id":294,"slug":295,"title":296,"dynasty":146,"author":297,"museum":298,"description":299,"tags":300,"thumbUrl":306,"material":39,"size":307,"collection":109,"collections":308,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":45},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","盛懋","上海博物馆","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,54,29,30,79,301,76,302,183,303,304,305,7,78],"孤舟","山峦","长啸","阮籍","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[109,156],{"id":310,"slug":311,"title":312,"dynasty":70,"author":19,"museum":89,"description":313,"tags":314,"thumbUrl":317,"material":39,"size":318,"collection":41,"collections":319,"showCount":320,"zanCount":112,"manualWeight":11,"mainColor":45},216946,"luo-han-zhou-yi-ming-216946","罗汉轴","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[24,25,26,27,28,29,30,315,7,316],"树","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg","105.5x55.6",[41],37,{"id":322,"slug":323,"title":324,"dynasty":174,"author":325,"museum":226,"description":326,"tags":327,"thumbUrl":331,"material":153,"size":332,"collection":156,"collections":333,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":45},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","禹之鼎","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[24,25,26,29,28,30,74,75,328,329,7,182,330,33],"草地","桌子","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[156],31,{"id":336,"slug":337,"title":338,"dynasty":174,"author":19,"museum":51,"description":339,"tags":340,"thumbUrl":346,"material":62,"size":62,"collection":347,"collections":348,"showCount":349,"zanCount":11,"manualWeight":11,"mainColor":45},253579,"zhu-diao-shou-xing-zuo-xiang-yi-ming-253579","竹雕寿星坐像","此作以竹为材，随形施艺。寿星高额广颐，长髯垂胸，双目微阖，神态安恬祥和，尽显仙翁闲适之态。衣褶婉转舒展，刀法圆浑朴拙，将布料的垂坠质感刻画入微。身侧幼童拽住寿星衣衫，抬首稚态尽显，一动一静，烘托出融融天伦意趣。底座顺势雕作山石，保留竹材天然肌理，添几分山野生趣。整体将福寿祥瑞的意蕴藏于刀痕之中，把人物神态与互动温情雕琢得鲜活生动，尽显工艺的匠心与意趣，是兼具审美价值与民俗意涵的上乘之作。",[341,342,343,30,344,7,345],"清代","竹质","雕刻","寿星","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ace5e747a2ae7288297f41acc28a2be.jpg","雕塑精选",[347],30,{"id":351,"slug":352,"title":353,"dynasty":132,"author":354,"museum":89,"description":355,"tags":356,"thumbUrl":359,"material":360,"size":361,"collection":41,"collections":362,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":113},217073,"ying-zhen-xiang-si-zhou-ding-yun-peng-217073","应真像四轴","丁云鹏","用笔实而有力，颇具装饰意味。时年丁云鹏已经67岁了，这是他晚年的风格。",[24,25,26,27,30,242,93,28,74,75,166,7,357,358,205],"罗汉","僧袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b77fffbd3df97a2f3f4068623a1de4.jpg","纸本,水墨","141.4x66",[41],{"id":364,"slug":365,"title":366,"dynasty":174,"author":367,"museum":20,"description":368,"tags":369,"thumbUrl":372,"material":373,"size":62,"collection":62,"collections":374,"showCount":375,"zanCount":11,"manualWeight":11,"mainColor":113},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","任颐","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[24,25,164,54,93,29,30,7,370,206,31,371,97],"水牛","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg","纸本水墨",[],24,{"id":377,"slug":378,"title":379,"dynasty":146,"author":380,"museum":89,"description":381,"tags":382,"thumbUrl":386,"material":137,"size":138,"collection":62,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":45},287530,"lao-zi-qi-niu-yan-hui-287530","老子骑牛","颜辉","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[24,25,26,30,242,93,383,384,385,74,7],"牛","道家","老子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec6acefc1a511537d785d80eee4c4a2.jpg",[],22,{"id":390,"slug":391,"title":392,"dynasty":70,"author":393,"museum":118,"description":394,"tags":395,"thumbUrl":406,"material":105,"size":407,"collection":62,"collections":408,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":45},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","秋窗读易图","刘松年","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[26,25,24,508,29,28,30,509,7,510,135,79,74,511,512,75,180,165,513,405,166],"缂丝加绣","福禄寿","鹤","桃花","祥云","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],16,{"id":518,"slug":519,"title":520,"dynasty":521,"author":522,"museum":523,"description":524,"tags":525,"thumbUrl":529,"material":62,"size":62,"collection":62,"collections":530,"showCount":516,"zanCount":11,"manualWeight":11,"mainColor":113},220509,"bo-gu-tu-huang-jun-bi-220509","博古图","民国","黄君璧","龙美术馆西岸馆","松林烟霭漫卷，清寂林泉间漾出幽远雅致。两位文士围坐展卷品赏，案头砚池、杯盏错落，文士姿态悠然松弛，静享观画雅趣。松下童子提壶候立，动静之间衬出林下闲寂氛围。\n\n画师笔触清润秀逸，松干皴苍劲朴拙，松针细密劲挺晕染出郁郁古意，远景林麓以淡墨晕开，揉出水墨空濛的山水诗意，敷色浅柔明净，将文人雅集的疏放意兴与林泉栖居的静穆旨趣相融，尽绘传统文人藏于日常雅事中的清远襟怀。",[24,29,28,30,102,7,74,79,328,526,527,528,76],"河流","石桌","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e093fa547734000991435aa3f94c3.jpg",[],{"id":532,"slug":533,"title":534,"dynasty":174,"author":535,"museum":89,"description":536,"tags":537,"thumbUrl":545,"material":185,"size":62,"collection":62,"collections":546,"showCount":516,"zanCount":11,"manualWeight":11,"mainColor":113},218041,"tian-wang-xiang-3-yao-wen-han-218041","天王像-3","姚文瀚","画面中央人物端坐石上，神态安详，衣袂纹饰繁复细腻，红绿蓝三色交织却显和谐雅致。身旁花木扶疏，枝叶舒展间缀满粉白黄紫的花朵，生机盎然。下方水波荡漾，蓝发精灵自水中探身，托举鲜果盘盏，动态鲜活；右侧童子躬身呈物，姿态恭谨。背景祥云缭绕，飞天隐现于云端，仙袂飘飘，更添缥缈意境。整幅画作工笔精湛，线条婉转流畅，设色明丽温润，细节处见匠心——无论是衣纹的褶皱、花叶的脉络，还是水波的纹理，皆刻画入微。动静相宜的构图，将人物的沉静与周遭的灵动巧妙融合，营造出清寂而又充满生气的氛围，尽显传统工笔重彩的典雅韵致。",[24,28,29,27,30,357,538,7,539,540,541,512,542,543,544],"飞天","精灵","花木","水波","鲜果","工笔重彩","典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3dab5aee7d3ceb67daa4b6ae007ad6d.jpg",[],{"id":548,"slug":549,"title":550,"dynasty":174,"author":19,"museum":51,"description":551,"tags":552,"thumbUrl":561,"material":137,"size":138,"collection":62,"collections":562,"showCount":563,"zanCount":112,"manualWeight":11,"mainColor":564},272931,"hong-se-duan-xiu-ling-xian-zhu-shou-tu-zhuo-wei-yi-ming-272931","红色缎绣灵仙祝寿图桌围","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[553,37,230,28,29,30,554,7,510,555,556,557,558,559,560],"桌围","仙翁","瑞兽","牡丹","梅花","团花","祝寿","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7a1e430230e6cd31b1c243b335127e.jpg",[],14,"F48FB1",{"id":566,"slug":567,"title":568,"dynasty":174,"author":569,"museum":570,"description":571,"tags":572,"thumbUrl":575,"material":576,"size":577,"collection":41,"collections":578,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":113},220151,"he-jing-shang-mei-tu-huang-shen-220151","和靖赏梅图","黄慎","南京博物院","黄慎先生对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字，《和靖赏梅图》。为其得意之作。图中画一叟一童正在赏梅，衣褶勾染并施、兼方带圆，面部须眉信笔写出，细笔复线，体现了画家不拘成法，灵活多变的绘画风格。",[23,24,25,93,29,573,30,182,7,574],"写意","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4658446ea8e14ae530736988ae721fe2.jpg","纸本","纵122厘米，横67厘米",[41],{"id":580,"slug":581,"title":582,"dynasty":174,"author":19,"museum":51,"description":583,"tags":584,"thumbUrl":588,"material":137,"size":138,"collection":62,"collections":589,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":45},273378,"tong-zi-bao-yu-diao-deng-yi-ming-273378","童子抱鱼吊灯","灯面取花形轮廓，一对童子憨态毕现，眉眼圆润笑意盈盈，合力环抱着肥硕红鲤。设色鲜亮明快，暖调晕染童子肤色，衣间色块平涂凝练利落，红鲤醒目讨喜。稚拙的笔意把年节祈愿融在画面里，借童子抱鱼的谐音，托出年年有余的吉庆心意。器物将装饰审美与照明功能融为一体，藏着旧时市井人家的年节暖意，把质朴的烟火祈盼凝在方寸灯面之间。",[30,7,585,29,28,586,513,587],"鱼","日用具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623b189c55eba0d85b717222fe3972d9.jpg",[],{"id":591,"slug":592,"title":593,"dynasty":132,"author":354,"museum":594,"description":595,"tags":596,"thumbUrl":600,"material":576,"size":601,"collection":109,"collections":602,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":45},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","天津博物馆","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,54,26,242,28,93,30,27,74,121,32,33,7,597,598,599],"尊者","念珠","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[109,110],{"id":604,"slug":605,"title":606,"dynasty":146,"author":19,"museum":51,"description":607,"tags":608,"thumbUrl":611,"material":137,"size":138,"collection":62,"collections":612,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":45},290746,"guan-yin-da-shi-zhou-yi-ming-290746","观音大士轴","在《西游记》中，观音菩萨扮演重要的角色，具有结构上的特殊作用。从参与收伏孙悟空，到寻访取经人，或设障碍以试禅心，或收妖魔以助西行，贯穿全书。小说中第二十四回至二十六回，孙悟空因偷吃了镇元仙的人参果，更推倒果树而脱身不得，卒赖观音以净瓶中的杨枝甘露救活了果树，始摆脱麻烦。",[24,26,27,30,29,28,416,56,7,57,97,512,609,610],"经卷","净瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ba04495b5b52afe1b9c0bff4c2eb82f.jpg",[],10,{"id":615,"slug":616,"title":617,"dynasty":70,"author":19,"museum":226,"description":618,"tags":619,"thumbUrl":621,"material":622,"size":623,"collection":62,"collections":624,"showCount":613,"zanCount":11,"manualWeight":11,"mainColor":45},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[24,54,29,28,79,30,288,315,7,101,328,620],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","绢本 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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[644,27,645,30,56,7,341,343],"陶瓷","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5712b688c5ba8e9601d5d1052609aa.jpg","瓷器精选",[647],7,{"id":651,"slug":652,"title":653,"dynasty":70,"author":19,"museum":51,"description":654,"tags":655,"thumbUrl":658,"material":137,"size":138,"collection":62,"collections":659,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":45},223737,"yu-tong-zi-pei-yi-ming-223737","玉童子珮","宋玉雕童子头顶多梳短发，分向左右两侧及脑后，露出宽大的脑门，也有头顶只留一小撮短发的，形如鸡心，既可留在脑门心，也可留在一侧，发用细密阴刻线条，雕刻有力，粗细得当。可以归纳出头部的几点特征：头型短而宽，以表现年幼，开脸略有凹凸变化，短脖，颈部以粗而略呈一面坡的弧线阴线界出，头部后脑突出。童子五官开脸均以宽阴刻线勾出五官轮廓，以平凸效果突出立体感，人面简洁，表情沉静，眉用细阴线刻成，长短不一，长眉毛细长并与鼻相连，短者呈八字状，或眉如弯月，眼如枣核，眼睛上下各用一刀，鼻子雕法简单，直鼻、楔形鼻或凸鼻头，双耳如玦，耳靠近脸部位于眼梢边上，小口，上下嘴唇间有一阴刻线，口不超过鼻翼，鼻正口小，称“樱桃小口”，鼻侧两条阴线从眼角至口角圆转自如，一气呵成。童子服饰处理上常穿对襟衣、马甲或交领、圆领短衣，窄袖，百分之八十有纹饰，衣有十字纹，线条刻画较密集细软，或出现斜方格纹、米字纹、水字纹作点缀。雕工一刀直切，肘弯处有柔和纤细的阴刻衣褶，挺秀有力，又有阴刻的衣纹粗宽，转折流利，收放自如，刻画精炼严谨。四肢呈筒状，一般裤腿较肥大，褶极简练，刀工或为短粗直线或为长曲线，手似半握拳，腕常戴手镯。童子执荷多为四出式荷叶，荷叶边缘如齿，叶脉细而长少分叉，中间内卷，荷花高过头，荷叶较多，荷枝多用钻孔法镂雕，花芯较大，有的刻有莲蓬，花瓣上刻有阴线脉。",[656,657,343,7,35],"宋代","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b89b1f4d0db74143c77f6431237b256.jpg",[],{"id":661,"slug":662,"title":663,"dynasty":174,"author":664,"museum":298,"description":665,"tags":666,"thumbUrl":668,"material":62,"size":62,"collection":41,"collections":669,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":670},202061,"san-xing-tu-zhou-sun-dai-202061","三星图轴","孙岱","画面以工笔设色绘就，格调清雅柔和。松枝苍劲如盖，桃枝缀满艳红寿桃，山间景致悠然。三星神态亲和，衣袂翩然；童子活泼灵动，嬉闹于灵鹿之侧；灵鹿温顺可人，尽显祥瑞之气。线条婉转流畅，人物造型生动传神，景物铺陈层次分明，将福禄寿齐聚的吉祥氛围渲染得淋漓尽致，尽显传统绘画对吉祥主题的精妙诠释。",[28,29,30,288,667,135,7,205,23],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18980a52609e178ca58e4b0d1c82d2d.jpg",[41],"9c7e56",{"id":672,"slug":673,"title":674,"dynasty":18,"author":19,"museum":51,"description":675,"tags":676,"thumbUrl":677,"material":137,"size":138,"collection":62,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":113},289573,"guan-yin-xiang-yi-ming-289573","觀音像","此作用极简白描勾勒，笔意凝练空灵。主尊结跏趺坐于莲台之上，眉目舒展慈悲，右手施无畏印以慰众生，左手轻托法器，法衣褶皱流转飘逸，尽显清净端严。头光身光环环相绕，卷草纹点缀其间，晕染出缥缈神圣之感。莲台纹饰精丽，两侧童子合十礼拜，构图对称规整，衬得造像愈发肃穆庄严。线条刚柔并济，既精准勾勒出衣袂的灵动起伏，又稳稳托举造像的沉静气韵，简淡笔墨间铺展出观音的悲悯与超然，尽显古朴悠远的佛教美术意趣，神韵具足，静穆动人。",[23,242,27,269,56,57,7,416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4ee8c7a3a96bc9640f4fd9a7463db1.jpg",[],6,{"id":681,"slug":682,"title":683,"dynasty":684,"author":19,"museum":51,"description":685,"tags":686,"thumbUrl":690,"material":137,"size":138,"collection":62,"collections":691,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":141},252895,"qing-you-ci-chi-wu-tong-zi-li-xiang-yi-ming-252895","青釉瓷持物童子立像","隋","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。”",[644,687,7,30,688,689],"青釉","立像","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff967a2a61f8d2b187da109719683ea2c.jpg",[],{"id":693,"slug":694,"title":695,"dynasty":174,"author":19,"museum":51,"description":696,"tags":697,"thumbUrl":702,"material":137,"size":138,"collection":62,"collections":703,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":141},252791,"ni-ren-zhang-su-cai-hui-fu-xing-xiang-yi-ming-252791","泥人张塑彩绘福星像","此作以泥塑施彩，将神祇化作儒雅文官模样，面庞方正虬髯飘然，神色端凝却暗含温慈。幼童攀附肩头，咧嘴憨笑，鲜活灵动的稚气消解了神祗的肃穆，揉入俗世温情。\n衣褶流转自然，晕染沉雅端庄，青蓝主调衬出庄重仪范，衣摆纹饰繁丽精巧，暗合祥瑞之意。作品兼顾神性威仪与人间烟火气，将护佑苍生的祈愿藏进鲜活情态，形神兼备，尽显民间工艺的匠心独到。",[341,698,699,30,700,7,701],"泥塑","彩绘","福星","民间工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec91ca72caa7f3b0fbae0032e6e104c.jpg",[],{"id":705,"slug":706,"title":707,"dynasty":174,"author":19,"museum":226,"description":708,"tags":709,"thumbUrl":710,"material":29,"size":62,"collection":62,"collections":711,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":113},217307,"gu-xiu-wu-shi-san-can-tu-ce-9-yi-ming-217307","顾绣·五十三参图册-9","画面分左右两帧，左帧树下雅坐者衣袍明黄，童子捧物趋近，草木疏朗间流露闲适意趣；右帧高僧跏趺石上，项背有光，小僧俯身参拜，枯树寒石衬出肃穆氛围。顾绣以针代笔，人物神态鲜活，衣纹线条流转如绘，景物勾勒细腻入微。色彩雅致和谐，黄、蓝、橙等色点缀素纸，既见华丽又不失清雅。两帧一静一动，呼应“五十三参”求法主题，于方寸间藏故事意蕴，绣工与画意交融，尽显传统工艺与绘画艺术的精妙结合，传递出古朴庄重又生动有致的审美韵味。",[230,29,232,27,30,7,76,75,165,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22096797906849677cfb21ab1023f98f.jpg",[],{"id":713,"slug":714,"title":715,"dynasty":174,"author":19,"museum":226,"description":716,"tags":717,"thumbUrl":720,"material":29,"size":62,"collection":62,"collections":721,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":113},217293,"gu-xiu-wu-shi-san-can-tu-ce-19-yi-ming-217293","顾绣·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稚拙生动；右页佛陀端坐云端，身覆朱红袈裟，光晕柔和，下方人物匍匐跪拜，姿态虔诚。绣线以套针、戗针交织，勾勒衣纹的细腻纹理与云雾的朦胧层次，色彩淡雅却层次分明，将绘画的笔墨意趣化为针线的温润质感。画面传递出求法问道的虔诚，禅意空灵悠远。整幅绣作针线精湛，意境清幽，融画入绣的独特韵味尽显，引人沉浸于那方仙佛往来的空灵之境。",[229,230,27,30,231,7,798,512,302,29,28,799,232],"猴子","彩绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cccffe6be900d95f4f177cb31a4e728.jpg",[],{"id":803,"slug":804,"title":805,"dynasty":174,"author":19,"museum":226,"description":806,"tags":807,"thumbUrl":809,"material":29,"size":62,"collection":62,"collections":810,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":113},217309,"gu-xiu-wu-shi-san-can-tu-ce-3-yi-ming-217309","顾绣·五十三参图册-3","针丝作笔，彩线为墨，将禅意与童趣绣入绢素。左侧朱衣老者趺坐石矶，衣袂流转如流云，眉宇间藏着静定；童子执物趋前，步履轻快。右侧文士宽袍博带，持扇倚石，蕉叶舒展如伞，月华轻笼似纱；孩童匍匐戏鸭，憨态跃然。山石皴理、草木脉络皆以细针密线勾勒，笔墨意趣与丝绣肌理交织。淡彩晕染间，禅门参访的庄严与生活的温软相融，每处针脚藏着匠心，似低语古老故事，让观者于方寸间见天地、品幽情。山石的苍劲、草木的柔婉，皆化作丝缕间的生动，禅意隐于细节，童趣流于针端，尽显顾绣“绣画合一”的雅致神韵。",[229,232,29,28,30,182,7,75,151,34,808,166,37],"栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e0be7f82e46304bc019bc9ae78f732.jpg",[],{"id":812,"slug":813,"title":814,"dynasty":174,"author":19,"museum":226,"description":815,"tags":816,"thumbUrl":820,"material":29,"size":62,"collection":62,"collections":821,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":113},217297,"gu-xiu-wu-shi-san-can-tu-ce-23-yi-ming-217297","顾绣·五十三参图册-23","针丝为笔，绣绘相生。云气以淡彩丝线晕染，朦胧若烟；仙女衣袂飘举，蓝白丝带婉转如流，持花枝而立，神态温婉。下方童子踞云憨坐，稚态可掬。右侧武将身披彩甲，火焰纹绣得热烈，腰间佩饰精致，与牵衣童子的互动生动有趣。地面墨线勾出小径，苔草点缀其间，简约雅致。整幅绣品以细腻针法传人物情态，色彩明丽却不失清雅，将佛教故事中的善知识形象与童真意趣巧妙融合，尽显顾绣“以针代笔、以线代墨”的艺术神韵。",[229,29,28,232,30,7,512,75,817,97,27,818,819],"花草","飘带","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1968c40b44fdfd924bbfcf4ca5b30b.jpg",[],{"id":823,"slug":824,"title":825,"dynasty":70,"author":19,"museum":51,"description":826,"tags":827,"thumbUrl":831,"material":137,"size":138,"collection":647,"collections":832,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":45},261818,"yao-zhou-yao-qing-you-yin-hua-tong-zi-wan-lian-wen-wan-yi-ming-261818","耀州窑青釉印花童子玩莲纹碗","耀州窑是中国传统制瓷工艺中的珍品，宋代六大窑系。位于今陕西省铜川市的黄堡镇，唐宋时属耀州治，在唐代就是中国陶瓷烧制的著名产地，宋代更进一步达到鼎盛，成为我国“宋代六大窑系”中的一个窑系。\n耀州窑是北方青瓷的代表。唐代开始烧制黑釉、白釉、青釉、茶叶末釉和白釉绿彩、褐彩、黑彩以及三彩陶器等。宋、金以青瓷为主。北宋是耀州的鼎盛时期，据记载且为朝廷烧造“贡瓷”。金代延续北宋时期继续发展，元代开始转型，走向末落，经明代、清代，终于民国。\n耀州窑始于唐代，北宋末为鼎盛期，宋代六大窑系，终于民国。其窑址位于陕西省铜川市黄堡镇，旧称同官，宋代时属耀州，故名“耀州窑”，包括陈炉镇、立地镇、上店镇及玉华宫等窑在内。是宋代北方民间青瓷的主要产区之一。\n宋代晚期以青瓷为主，胎薄质坚，釉面光洁匀静，色泽青幽，呈半透明状，十分淡雅。装饰有刻花、印花，结构严谨丰满，线条自由流畅。纹饰多满布器内外，种类繁多，有牡丹、菊花、莲花、鱼、鸭、龙凤等，风格粗放健美，生动自然。器形有碗、盘、瓶、罐、壶、香炉、香熏、盏托、注子温碗、钵等。\n耀州窑在宋时北方的青瓷窑场中最负盛名，堪称翘楚。于神宗元丰（1078-1085）至徽宗崇宁（1102-1106）的三十来年间，曾为朝廷烧制贡瓷。其不凡的制瓷技巧和洒脱活泼的风格对当时各地窑场产生了很大影响，得到广泛推广，由此形成了一个自北而南的范围广阔的耀州窑系。耀州窑系以黄堡镇为中心，襄括了河南宜阳窑、宝丰窑、新安城关窑、广东西村窑、广西永福窑、内乡大窑店窑等多个窑场。各窑制品均与铜川窑相似，仅由于所用原料有差别，胎质与釉色也有些微不同。",[644,828,687,829,7,195,830],"碗","印花","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b83dfafdcd6f3a77fa4ebd40b401d2.jpg",[647],3,{"id":835,"slug":836,"title":786,"dynasty":174,"author":19,"museum":51,"description":787,"tags":837,"thumbUrl":838,"material":137,"size":138,"collection":62,"collections":839,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":141},256069,"wu-cai-bao-ping-tong-zi-xiang-yi-ming-256069",[341,789,644,30,7,29,587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57357b57f4bc17d13181b32b7f66243.jpg",[],{"id":841,"slug":842,"title":843,"dynasty":132,"author":19,"museum":51,"description":844,"tags":845,"thumbUrl":850,"material":137,"size":138,"collection":62,"collections":851,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":852},250832,"qing-yu-xi-e-tong-zi-yi-ming-250832","青玉戏鹅童子","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。 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。",[846,657,343,30,7,847,848,849],"明代","鹅","青玉","戏鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd711b89152434d18384bd275941c5459.jpg",[],"FFFFFF",{"id":854,"slug":855,"title":856,"dynasty":70,"author":19,"museum":51,"description":844,"tags":857,"thumbUrl":860,"material":137,"size":138,"collection":62,"collections":861,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":113},227797,"tong-zi-xi-e-yu-xia-pei-zhui-yi-ming-227797","童子戏鹅玉霞帔坠",[657,343,858,859,30,7,847,656,35],"圆雕","镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b584057c613faea33c84068a5f2f5e4.jpg",[],{"id":863,"slug":864,"title":865,"dynasty":174,"author":19,"museum":51,"description":866,"tags":867,"thumbUrl":873,"material":39,"size":62,"collection":62,"collections":874,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":141},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4","佚名的佛画 罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,25,27,29,28,341,357,30,7,868,510,288,869,817,75,870,871,872,33],"猴","荷","传统服饰","佛画风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":876,"slug":877,"title":878,"dynasty":132,"author":354,"museum":51,"description":879,"tags":880,"thumbUrl":884,"material":885,"size":62,"collection":62,"collections":886,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":113},217048,"bai-miao-ying-zhen-tu-7-ding-yun-peng-217048","白描应真图-7","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,25,242,27,30,76,881,7,882,883],"龟","栏杆","台座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65d15d18b763bbcc24fd3a09974d300.jpg","绢本,水墨",[],{"id":888,"slug":889,"title":890,"dynasty":174,"author":19,"museum":51,"description":891,"tags":892,"thumbUrl":894,"material":137,"size":138,"collection":62,"collections":895,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":45},274411,"tong-du-jin-ran-ya-xiang-bai-shi-tong-zi-feng-shan-yi-ming-274411","铜镀金染牙箱白石童子风扇","童子面如莹玉，双髻俏皮，眉眼带笑憨态动人。身着织金暗纹红衣，衣沿绣缠枝纹样，华贵又不失灵动。掌中的白羽扇蓬松柔润，腕侧绢带题字添了几分文雅意趣。\n\n下方箱体以彩绘摹绘山居盛景，层峦叠翠，林木错落，将千里山水凝于方寸之间。铜鎏金底座錾刻繁复花饰，浑朴精致，衬得整器愈发雅致。\n它融童趣巧作、髹漆绘画与金属工艺于一体，藏着旧时手作的细腻匠心，将稚子意趣与文人雅韵揉合一处，尽显传统工艺的温婉温度。",[30,7,740,778,37,586,343,587,893],"风扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d5f0eb56af822446c04ce0bebace03.jpg",[],2,{"id":898,"slug":899,"title":900,"dynasty":174,"author":19,"museum":51,"description":901,"tags":902,"thumbUrl":905,"material":137,"size":138,"collection":62,"collections":906,"showCount":896,"zanCount":112,"manualWeight":11,"mainColor":45},270020,"zhang-hong-yu-kuan-zhu-gen-diao-qi-lu-shou-xing-yi-ming-270020","张宏裕款竹根雕骑鹿寿星","此作取天然竹根随形施艺，肌理朴拙自然。寿星慈眉善目，长髯垂胸，宽袍裹挟一身仙风道骨，骑乘灵鹿神态悠然。身旁仙童捧杖依偎，笑意粲然，尽显融融天伦意趣。灵鹿昂首抬步，虬曲鹿角灵动舒展，口鼻衔着灵芝，自带祥瑞之气。底座镂刻云纹，将遨游云间的意境晕染开来。刀工圆转流畅，细节生动传神，将老者的安恬、童子的娇憨与灵鹿的温驯融为一体，藏着福寿绵长的美好寄寓，尽显清代竹雕工艺的精妙意趣。",[343,903,904,344,135,7],"竹根雕","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d27501d9d6cb755083a331102b14486.jpg",[],{"id":908,"slug":909,"title":910,"dynasty":174,"author":19,"museum":51,"description":911,"tags":912,"thumbUrl":914,"material":137,"size":138,"collection":62,"collections":915,"showCount":896,"zanCount":112,"manualWeight":11,"mainColor":141},269563,"ren-zao-ya-diao-wa-wa-qi-lu-yi-ming-269563","人造牙雕娃娃骑鹿","此作以温润牙料施艺，将童子骑鹿的祥和图景雕琢得灵动传神。骑鹿童子憨态可掬，身形圆柔，衣褶随姿态自然垂落，小手轻搭鹿背，悠然惬意。母鹿昂首挺立，肌理写实流畅，鹿角虬劲舒展，缓步徐行尽显温驯端庄。身旁小鹿亲昵依偎，昂首蹭舐母鹿，尽显舐犊温情。\n\n鹿为福寿吉庆的祥瑞象征，这件作品将天伦意趣与美好祈愿相融，既见牙雕工艺的细腻写实，又饱含东方传统的温婉意境，静穆间溢出融融暖意，尽显清代牙雕的雅致工巧。",[343,913,7,135,205],"牙雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b2faf44f697c561b34c496549b032c.jpg",[],{"id":917,"slug":918,"title":919,"dynasty":174,"author":19,"museum":51,"description":920,"tags":921,"thumbUrl":923,"material":137,"size":138,"collection":62,"collections":924,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":141},269523,"xiang-ya-diao-mu-niu-tong-zi-yi-ming-269523","象牙雕牧牛童子","此作以温润象牙为材，勾勒出乡野牧歌图景。一大一小两头水牛姿态亲昵，牛背上两名童子怡然自在，一人横笛吹奏，一人依偎憨笑，另有幼童伏在小牛背上嬉闹。刀工细腻婉转，衣褶纹理舒展自然，童子神态天真烂漫，水牛肌理写实鲜活，将郊野放牧的闲逸日常定格。构图紧凑层次分明，把田园间悠然松弛的意趣揉进每一处雕刻细节中，尽显雅致工巧，鲜活复刻出乡野孩童的自在时光，满是治愈人心的烟火闲情。",[343,778,7,383,30,77,922],"童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3cfb7ddf7fba9245b483de3b99d685.jpg",[],{"id":926,"slug":927,"title":928,"dynasty":132,"author":19,"museum":51,"description":929,"tags":930,"thumbUrl":931,"material":137,"size":138,"collection":62,"collections":932,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":141},255373,"mu-diao-cai-hui-tong-zi-li-xiang-yi-ming-255373","木雕彩绘童子立像","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[846,904,343,699,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6dbee8b0b5afcb59ca68266c3312a4.jpg",[],{"id":934,"slug":935,"title":936,"dynasty":174,"author":19,"museum":51,"description":133,"tags":937,"thumbUrl":939,"material":137,"size":138,"collection":62,"collections":940,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":45},255258,"san-cai-lian-hua-tong-zi-zuo-xiang-yi-ming-255258","三彩莲花童子坐像",[174,938,644,343,7,57],"三彩","https:\u002F\u002Foss.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