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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。",[18,75,76,77,26,78,79,80,81,82,7,83,84,85,86],"铜制","鎏金","雕刻","人物造像","镶嵌","绿松石","莲花座","坐像","金属工艺","传统工艺","造像艺术","清代风格",[],5,{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":101,"material":31,"size":32,"collection":33,"collections":102,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},269856,"yu-shuo-kuan-xiang-ya-diao-wu-liang-shou-fu-tu-xiao-cha-ping-yi-ming-269856","于硕款象牙雕无量寿佛图小插屏","此件以象牙施胭脂色雕就，镂刻流云缱绻舒展，数只蝙蝠穿翔云间，将福寿吉趣凝于方寸。刀工细腻柔婉，藏锋于雕刻纹理之中，层叠云纹铺展出空灵祥瑞之意，把牙质的莹润质感与镂雕工艺相融，尽显雅致工巧，将祈福美意藏于精微刀痕里，是小件牙雕中颇具巧思的吉庆佳作。",[95,77,96,97,47,98,99,26,7,100],"象牙","插屏","器","蝙蝠","云纹","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1f4ede489595d246a7a68fe9c492ad.jpg",[],{"id":104,"slug":105,"title":106,"dynasty":18,"author":19,"museum":20,"description":59,"tags":107,"thumbUrl":109,"material":31,"size":32,"collection":33,"collections":110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},277077,"wu-liang-shou-fu-wan-zi-xiong-zuo-lian-hua-xu-zhe-qi-shou-jin-yu-wu-liang-shou-fu-tong-zhang-yi-ming-277077","“无量寿佛万字胸坐莲花须者其寿尽与无量寿佛同”章",[51,62,108,26,7],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a99b36a89cbe828b164a28d7ee26fe6.jpg",[],{"id":112,"slug":113,"title":114,"dynasty":18,"author":19,"museum":20,"description":115,"tags":116,"thumbUrl":120,"material":31,"size":32,"collection":33,"collections":121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274741,"fen-cai-wu-liang-shou-fu-yi-ming-274741","粉彩无量寿佛","此造像静跏趺坐于双层莲台之上，面容圆润慈悲，双目垂敛，尽显沉静祥和之态。衣袍以明黄铺底，描金团纹华贵雅致，松石蓝肩饰衬出瓷质肌肤的温润柔和。宝冠璎珞层层叠叠，细节饱满精巧，将粉彩的细腻工法尽显无余。整器把瓷塑的莹润质感与藏传造像的庄严感相融，色彩搭配明快协调，既不失宗教造像的肃穆气韵，又将瓷饰的华美展现到极致，静穆端庄中自带慈悲气场，是瓷质造像中的上乘之作。",[117,118,26,45,7,47,46,119],"粉彩","陶瓷","莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e7ab9e03afd72c471cb2136783ae9d.jpg",[],{"id":123,"slug":124,"title":125,"dynasty":18,"author":19,"museum":20,"description":126,"tags":127,"thumbUrl":130,"material":31,"size":32,"collection":33,"collections":131,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":132},272518,"yao-xing-jie-jian-zhi-wu-liang-shou-fu-mo-yi-ming-272518","姚兴洁监制无量寿佛墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[128,129,26,7,77],"墨","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f7e3c9930162a57b7dcf7bb3f9ccc0.jpg",[],"37474F",1777535738589]