[{"data":1,"prerenderedAt":150},["ShallowReactive",2],{"subject-xian-tiao-xi-ni":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3121,"xian-tiao-xi-ni","线条细腻","线条细腻画高清赏析","精选中国历代线条细腻题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1815fe7a2947f048ba177784e2b386b1.jpg",0,6,[14,46,78,103,117,135],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披","唐","佚名","敦煌","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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37],"壁画","宗教","设色","工笔","唐代","人物","飞天","神兽","飞鸟","祥云","建筑","几何纹样","瑞兽","装饰图案","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg","未知","Xcm*Xcm","",[],46,1,"795548",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":76,"zanCount":77,"manualWeight":11,"mainColor":45},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","元","钱选","美国大都会艺术博物馆","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[55,56,57,58,25,26,59,28,60,61,62,63,64,65,66,67,68,7,69],"高清","国画","书画","长卷","文人画","饮酒器","衣帽","桌子","饮酒场景","绢本","古代服饰","酒具","人物互动","室内场景","设色典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","水墨设色","纵28厘米，横49.5厘米","人物画精选",[73,75],"设色画精选",40,2,{"id":79,"slug":80,"title":81,"dynasty":82,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":97,"material":98,"size":99,"collection":41,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":102},222847,"meng-mu-jiao-zi-tu-kang-shou-222847","孟母教子图","清","康寿","北京故宫博物院","此图出自典故《孟母断机》，讲述的是孟子逃课后孟母割掉织好的布以此教育孟子。图绘孟母镰刀回头看着儿子，孟子双手拢起小心翼翼。人物额头点白有着明人绘法",[55,87,26,25,88,89,7,90,91,92,93,94,95,96],"清代","白描","传统绘画","设色淡雅","古代女性","孩童","织机","古装服饰","发髻","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8713e7a4d3396fbe48cc631455acfc95.jpg","绢本，设色","64x142cm",[],15,"BDBDBD",{"id":104,"slug":105,"title":106,"dynasty":82,"author":107,"museum":108,"description":109,"tags":110,"thumbUrl":10,"material":114,"size":41,"collection":41,"collections":115,"showCount":116,"zanCount":44,"manualWeight":11,"mainColor":102},217922,"tang-ming-huang-ji-ju-tu-2-ding-guan-peng-217922","唐明皇击鞠图-2","丁观鹏","台北故宫博物院","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[56,57,58,26,25,28,111,112,7,113],"马","击鞠","清代风格","纸本,水墨",[],11,{"id":118,"slug":119,"title":120,"dynasty":121,"author":122,"museum":123,"description":124,"tags":125,"thumbUrl":133,"material":39,"size":40,"collection":41,"collections":134,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":102},232475,"he-er-bai-yin-134-he-er-bai-yin-232475","荷尔拜因134","不详","荷尔拜因","藏地不详","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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