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画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,24,25,26,27,28,29,30,7,31,32,33],"高清","国画","书画","长卷","宗教","白描","人物","楼阁","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm","人物画精选",[37],5500,51,"F48FB1",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":61,"material":62,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},288330,"rui-he-tu-zhao-ji-288330","瑞鹤图","宋","赵佶","藏地不详","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,51,24,25,26,52,53,54,55,30,7,56,57,58,59,60],"名画","设色","工笔","飞鸟","仙鹤","宫殿","楷书","瘦金体","书法","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg","未知","Xcm*Xcm","",[],362,5,"795548",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":86,"material":87,"size":64,"collection":37,"collections":88,"showCount":89,"zanCount":90,"manualWeight":11,"mainColor":91},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","清","王君甫","大英博物馆","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,51,24,78,79,52,53,80,29,30,7,81,54,32,82,83,84,85],"版画","木刻","界画","车驾","器物","服饰","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg","绢本,设色",[37],336,7,"BDBDBD",{"id":93,"slug":94,"title":95,"dynasty":73,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":107,"material":108,"size":64,"collection":37,"collections":109,"showCount":110,"zanCount":111,"manualWeight":11,"mainColor":91},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","姚文瀚","台北故宫博物院","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[51,24,52,53,29,27,100,101,102,7,103,104,105,106],"护法神","琵琶","兽","山石","树木","威严","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg","纸本,设色",[37],263,3,{"id":113,"slug":114,"title":115,"dynasty":116,"author":117,"museum":118,"description":119,"tags":120,"thumbUrl":125,"material":121,"size":126,"collection":64,"collections":127,"showCount":128,"zanCount":111,"manualWeight":11,"mainColor":68},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","明","佚名","法海寺","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,121,24,27,53,52,29,7,122,123,124],"壁画","神兽","神话","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],207,{"id":130,"slug":131,"title":132,"dynasty":18,"author":117,"museum":48,"description":133,"tags":134,"thumbUrl":136,"material":62,"size":63,"collection":64,"collections":137,"showCount":138,"zanCount":139,"manualWeight":11,"mainColor":68},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。",[24,25,135,27,29,52,53,7],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722fa84e18f98c3ee78c33ac7cd2c8b5.jpg",[],183,1,{"id":141,"slug":142,"title":143,"dynasty":73,"author":117,"museum":144,"description":145,"tags":146,"thumbUrl":164,"material":52,"size":64,"collection":37,"collections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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 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布局很巧妙。",[24,25,207,27,53,52,29,7,219],"山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[37],148,{"id":224,"slug":225,"title":226,"dynasty":116,"author":117,"museum":118,"description":227,"tags":228,"thumbUrl":231,"material":121,"size":64,"collection":37,"collections":232,"showCount":233,"zanCount":139,"manualWeight":11,"mainColor":68},222152,"fu-hui-xi-yi-ming-222152","赴会西","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,121,27,52,53,29,7,104,229,230,103,26],"小桥","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[37],146,{"id":235,"slug":236,"title":237,"dynasty":73,"author":238,"museum":48,"description":239,"tags":240,"thumbUrl":243,"material":62,"size":63,"collection":64,"collections":244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},229049,"qing-xiu-xian-fo-xiang-qi-shi-jia-mu-ni-fu-zhou-qing-ren-229049","清绣线佛像（七）释迦牟尼佛轴","清人","此作为彩丝绣就的佛造像，配色明丽沉静，以石青为底烘托圣像庄严。释迦牟尼安坐须弥莲台，朱红袈裟雅致厚重，衣纹流转自然，面含慈悲，神态沉静超脱，头身光以金地绣缠枝宝相花，华贵雍容。上方华盖绣云纹流苏，下方祥云满铺，意境缥缈清宁。两侧胁侍尊者衣饰各具意趣，一者素净安然，一者衣纹缀满宝纹，姿态恭谨肃穆。整作针脚细密匀整，晕色柔和自然，将礼佛的虔诚融入丝丝绣线，把造像的静穆庄严与刺绣工艺的精巧华美相融，尽显典雅规整的宫廷佛造像气韵。",[241,207,27,52,29,242,7],"绣线","莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5254649c6064181aefa5ccdc0172a3ec.jpg",[],122,{"id":247,"slug":248,"title":249,"dynasty":46,"author":250,"museum":251,"description":252,"tags":253,"thumbUrl":10,"material":64,"size":64,"collection":256,"collections":257,"showCount":258,"zanCount":139,"manualWeight":11,"mainColor":259},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","上海博物馆","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,25,26,28,80,27,29,30,104,254,219,7,255],"虎","龙","宋画精选",[256],119,"988264",{"id":261,"slug":262,"title":263,"dynasty":73,"author":264,"museum":265,"description":266,"tags":267,"thumbUrl":272,"material":273,"size":274,"collection":64,"collections":275,"showCount":276,"zanCount":277,"manualWeight":11,"mainColor":198},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","丁观鹏","北京故宫博物院","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[23,147,24,51,53,268,52,27,29,269,270,271,30,7,106],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],116,6,{"id":279,"slug":280,"title":281,"dynasty":46,"author":282,"museum":283,"description":284,"tags":285,"thumbUrl":286,"material":87,"size":287,"collection":256,"collections":288,"showCount":289,"zanCount":111,"manualWeight":11,"mainColor":68},220122,"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,51,24,25,207,52,53,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[256,37],113,{"id":291,"slug":292,"title":293,"dynasty":116,"author":117,"museum":48,"description":189,"tags":294,"thumbUrl":297,"material":62,"size":63,"collection":64,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":198},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像",[24,25,27,53,52,29,219,192,30,104,103,7,295,296,80],"古建","青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],107,{"id":301,"slug":302,"title":303,"dynasty":304,"author":305,"museum":48,"description":306,"tags":307,"thumbUrl":309,"material":62,"size":63,"collection":64,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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。",[121,52,27,29,461,7,462,153,463,464],"飞天","马车","侍从","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60fc23eb0a795ff982e50a1a833031a.jpg",[],50,{"id":469,"slug":470,"title":471,"dynasty":73,"author":117,"museum":97,"description":472,"tags":473,"thumbUrl":477,"material":52,"size":478,"collection":37,"collections":479,"showCount":467,"zanCount":167,"manualWeight":11,"mainColor":91},218509,"san-xing-tu-song-yi-ming-218509","三星图颂","图中绘有代表幸福、繁荣和长寿的三颗星，还有一个婴儿的玩偶，虽然是编织的，但与图像无异，代表了清朝时期宫廷的编织水平。",[24,53,52,29,474,475,415,103,7,308,451,476,82,429],"老者","孩童","祥瑞题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f2d6afa3a98fe6874490590030f7ca.jpg","182x83.3",[37],{"id":481,"slug":482,"title":483,"dynasty":326,"author":117,"museum":48,"description":484,"tags":485,"thumbUrl":490,"material":62,"size":63,"collection":64,"collections":491,"showCount":492,"zanCount":139,"manualWeight":11,"mainColor":68},290145,"chang-e-wang-yue-tu-yi-ming-290145","嫦娥望月图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,486,52,53,29,176,487,488,415,7,123,219,489],"扇面","嫦娥","明月","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe276658f8ba399b9ffd66097b8fbe89b.jpg",[],49,{"id":494,"slug":495,"title":293,"dynasty":116,"author":117,"museum":48,"description":189,"tags":496,"thumbUrl":499,"material":62,"size":63,"collection":64,"collections":500,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":68},288076,"wen-shu-pu-sa-zuo-xiang-yi-ming-288076",[23,27,361,497,342,52,53,498,7],"文殊菩萨","大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6bee5b9cb582ea461ca75903fb25be.jpg",[],{"id":502,"slug":503,"title":504,"dynasty":73,"author":117,"museum":48,"description":505,"tags":506,"thumbUrl":510,"material":62,"size":63,"collection":64,"collections":511,"showCount":492,"zanCount":167,"manualWeight":11,"mainColor":68},267345,"xiu-ran-deng-fo-xiang-zhou-yi-ming-267345","绣燃灯佛像轴","此作以刺绣为骨，晕染出浓郁的宗教静穆氛围。主尊趺坐莲台，面容慈悲恬和，双手结说法印，朱红织金法衣细密华贵，绣纹流转间尽显堂皇质感。背景以绣线晕织出层叠祥云、青绿峰峦，层次柔和分明，铺就出空灵祥瑞的圣域图景。两侧胁侍菩萨身姿舒展安闲，衣袂飘然，与主尊呼应共生出平和肃穆的场域。外框以重复梵字绣纹环绕，规整庄重，将画面牢牢托于神圣氛围之中。整作针线细密入微，配色饱满浓郁，将藏地唐卡的宗教审美与刺绣工艺精妙融合，尽显匠心与信仰的交融之美。",[207,507,27,361,508,29,52,7,219,363,509],"刺绣","燃灯佛","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998f92cc28a96bf3f9ffa3b1bd164074.jpg",[],{"id":513,"slug":514,"title":515,"dynasty":73,"author":117,"museum":48,"description":516,"tags":517,"thumbUrl":519,"material":62,"size":63,"collection":64,"collections":520,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":68},234421,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234421","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[24,207,27,52,53,29,363,271,242,518,7,150],"火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144bc0ee0d7f076112633815d6773f52.jpg",[],48,{"id":523,"slug":524,"title":525,"dynasty":73,"author":96,"museum":97,"description":526,"tags":527,"thumbUrl":529,"material":530,"size":531,"collection":64,"collections":532,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":91},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,24,207,27,53,52,29,219,7,83,318,106,147,151,528,104,401],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 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宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[1835,509,52,1563,102,7,1836,1498],"织锦","戏球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b679e1b4861b5737a24acb8c227edb.jpg",[],{"id":1840,"slug":1841,"title":1842,"dynasty":73,"author":117,"museum":48,"description":1843,"tags":1844,"thumbUrl":1845,"material":62,"size":63,"collection":64,"collections":1846,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":91},267347,"xiu-xian-shi-jia-mu-ni-zhou-yi-ming-267347","绣线释迦牟尼轴","此件以刺绣为艺，主尊结跏趺坐，说法印沉静庄严，朱红织金衣袍针脚细密，纹饰华美。背景青嶂流云晕染出佛国悠远空灵，祥云簇拥主尊，更显慈悲端方。两侧胁侍菩萨宝相和融，分列左右烘托净土祥和。朱红万字纹边框圈定神圣场域，宝蓝底色衬得造像愈发澄澈静穆。整体设色浓丽沉稳，将藏地唐卡的宗教意涵与刺绣工艺精妙糅合，织绣细节尽显工致典雅，佛界清净安然的氛围呼之欲出，是兼具宗教审美与工艺价值的精品。",[207,507,361,886,342,52,7,219,363,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18f9e3ce87c19b40e9f846e0f2b4179.jpg",[],{"id":1848,"slug":1849,"title":1850,"dynasty":116,"author":117,"museum":48,"description":1851,"tags":1852,"thumbUrl":1854,"material":62,"size":63,"collection":64,"collections":1855,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":198},257488,"wu-cai-ba-xian-tu-guan-yi-ming-257488","五彩八仙图罐","此罐造型饱满端庄，丰肩敛腹，形制规整雅致。装饰层次分明，肩部以覆瓦纹衬底，开光内饰缠枝纹样，灵动雅致。腹部主体绘八仙群像，以青花勾绘轮廓线条，釉上红绿彩填饰衣袂纹饰，八仙神态各异，或执拂尘、或持宝器，衣袂翩跹间仙风道骨尽显，衬以祥云仙嶂，氤氲出缥缈仙境氛围。近足处绘海水奔涌，呼应道家仙境主题。\n青花发色幽蓝明丽，釉上五彩浓妍鲜亮，彩料搭配和谐古雅，将青花的沉静与五彩的鲜妍相融，尽显明代彩瓷富丽古雅的风韵，承载着祈福纳祥的美好寓意，亦是明代彩瓷工艺与传统题材结合的经典之作。",[1078,937,52,29,7,1610,1853],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936cc7ef2e40d85a988cb0b116f8a259.jpg",[],{"id":1857,"slug":1858,"title":1749,"dynasty":73,"author":117,"museum":48,"description":1859,"tags":1860,"thumbUrl":1862,"material":62,"size":63,"collection":64,"collections":1863,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":68},238885,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238885","主尊面含慈悲，宝冠锦服加身，灵蛇盘绕周身，安坐须弥宝座之上，左手握持吐宝鼠，右手托举摩尼宝珠，尽显福德充盈的圆满气象。\n\n画面设色浓烈厚重，石青、石朱等矿物颜料晕染出鲜明厚重的质感，衣饰纹样细密华丽，线条婉转流畅，尽显藏地唐卡工艺特色。\n\n四周眷属、空行与上方祖师护法错落排布，青绿山水与流云屋宇铺陈出清净富足的财神净土，既有造像仪轨的规整肃穆，又兼具清代工致细腻的审美意趣，神性庄严与世俗意趣融为一体，是极具代表性的藏地绘画佳作。",[24,207,52,53,27,29,255,7,219,308,1861,30,401,365],"宝物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d00e84286ff03fe6ed9b9d3a716e8b0.jpg",[],{"id":1865,"slug":1866,"title":1749,"dynasty":73,"author":117,"museum":48,"description":1867,"tags":1868,"thumbUrl":1872,"material":62,"size":63,"collection":64,"collections":1873,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":68},238882,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238882","整幅画作构图饱满紧凑，主尊丰腴圆融，威容间带着慈悲，身饰琳琅珠宝璎珞，托摩尼宝、伴吐宝鼠，尽显富贵尊荣。\n上方六臂护法怒目镇邪，祖师安坐云间说法，诸佛护法错落排布。青绿晕染的山水间花果繁茂，下方亭台瑞泉相衬，用色浓烈饱满又层次分明，藏式唐卡的细腻工笔尽显匠心。将神圣法相与世俗盛景相融，既彰显出藏传佛教的庄严神性，也寄寓了圆满富足的祈愿，是兼具美学价值与宗教意涵的精品。",[207,53,52,27,29,102,1869,1870,104,1871,1318,401,30,103,7,1861],"老虎","兔","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaba69953c4292becd551158c09afb5.jpg",[],{"id":1875,"slug":1876,"title":1749,"dynasty":73,"author":117,"museum":48,"description":1877,"tags":1878,"thumbUrl":1884,"material":62,"size":63,"collection":64,"collections":1885,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":68},238877,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238877","此作为典型藏地宗教绘画，主尊身形魁梧威严，蹙眉圆目，忿怒相尽显护法之威。身着织金彩绸，缀满珠宝璎珞，纹样精细入微，华贵尽显。左手托法轮、右手持宝杖，安坐莲台宝座，周身祥云缭绕、花木簇拥。以朱砂、石青、石绿等矿物颜料晕染，色彩浓烈厚重且层次分明。\n\n画面上下排布胁侍祖师，呼应主尊，构图饱满规整，兼具对称美感与叙事性。整体用笔工细精妙，融宗教神性与绘画审美于一体，既传递出藏传佛教的庄严肃穆，也尽显传统唐卡的工艺匠心。",[400,207,360,715,342,363,1879,53,52,1203,1880,7,1002,1881,1882,105,1883],"祖师","莲台","法轮","宝杖","庄重","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac0e4e9e8991419e8ff6583b0395423.jpg",[],{"id":1887,"slug":1888,"title":1749,"dynasty":73,"author":117,"museum":48,"description":1889,"tags":1890,"thumbUrl":1891,"material":62,"size":63,"collection":64,"collections":1892,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":68},238876,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238876","主尊身披朱红织金宝衣，安坐雕花宝座之上，面容慈悲温煦，右手持法器，左握吐宝鼠，尽显财神的富足威严。\n\n画面以石青石绿晕染出悠远灵秀的雪域林峦，青白云气舒卷浮空，胁侍尊神乘云环绕左右，白象缓步、瑞花盛放，铺陈出祥瑞清宁的圣域图景。\n\n画师以传统藏地矿物颜料施色，色泽历久明艳饱和，严守藏传佛教造像仪轨之余，以细腻笔触刻画出衣袂纹理与神态细节，饱满构图层次分明，将护法尊神的庄肃和神域的灵逸完美相融，是藏传佛教绘画中兼具宗教法度与审美意趣的佳作。",[147,24,25,207,27,52,53,29,255,1318,7,308,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5172ef98e731527d519bf4e5c566db31.jpg",[],{"id":1894,"slug":1895,"title":1896,"dynasty":73,"author":117,"museum":48,"description":1897,"tags":1898,"thumbUrl":1900,"material":62,"size":63,"collection":64,"collections":1901,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":68},234434,"liu-bi-yong-bao-hu-fa-xiang-yi-ming-234434","六臂勇保护法像","主尊深蓝忿怒身，六臂分执法器，獠牙嗔目，身周烈焰翻卷如怒涛，怀中拥明妃，踏伏邪魔，尽显摧破诸障的怖畏神力。画面上下诸天护法环绕，祥云与焰纹铺陈满幅，矿物石色厚重鲜亮，朱砂、石青、石黄撞色浓烈饱和，线条劲爽流畅，工致细腻尽显传统唐卡的精湛造诣，以忿怒形貌彰显护持正道的慈悲本心，整体威严肃穆，视觉冲击力极强，是藏传护法造像的经典之作。",[147,400,52,53,27,29,518,255,7,102,1899,122,1610],"珠宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2147f84f2ccc70595877b3f0bfb55b.jpg",[],{"id":1903,"slug":1904,"title":1905,"dynasty":116,"author":117,"museum":48,"description":613,"tags":1906,"thumbUrl":1907,"material":62,"size":63,"collection":64,"collections":1908,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":68},228418,"fu-hui-xi-quan-tu-yi-ming-228418","赴会西全图",[24,52,53,27,219,29,104,1452,7,103,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551142db7c47fedec8fd1af938298d3e.jpg",[],{"id":1910,"slug":1911,"title":1912,"dynasty":73,"author":117,"museum":48,"description":780,"tags":1913,"thumbUrl":1915,"material":62,"size":63,"collection":64,"collections":1916,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":41},272888,"zi-tan-mu-bian-ke-si-ying-xiang-zi-wen-gua-ping-yi-ming-272888","紫檀木边缂丝迎祥字纹挂屏",[588,572,1497,509,59,7,1914,991],"蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dda552043cac19536c723427d1f7b7d.jpg",[],{"id":1918,"slug":1919,"title":1920,"dynasty":73,"author":117,"museum":48,"description":1921,"tags":1922,"thumbUrl":1926,"material":62,"size":63,"collection":64,"collections":1927,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":198},268811,"hong-se-su-duan-zhui-ping-jin-xiu-jin-ji-wen-fang-bu-nan-guan-yi-yi-ming-268811","红色素缎缀平金绣锦鸡纹方补男官衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[670,509,1923,507,1924,7,783,1925],"平金绣","锦鸡","方补","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e14adb6db8b4c4bd6dc68eaca813280.jpg",[],{"id":1929,"slug":1930,"title":1654,"dynasty":73,"author":117,"museum":48,"description":780,"tags":1931,"thumbUrl":1934,"material":62,"size":63,"collection":64,"collections":1935,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":198},268770,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268770",[572,207,52,29,1656,1480,1932,1933,415,103,7,1914],"宴饮","驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ced747c0cefe72cb6ebf660abc8e6ee.jpg",[],{"id":1937,"slug":1938,"title":1654,"dynasty":73,"author":117,"museum":48,"description":780,"tags":1939,"thumbUrl":1943,"material":62,"size":63,"collection":64,"collections":1944,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},268767,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268767",[572,207,342,1656,1480,30,1940,1318,219,7,1116,1941,1942,52],"苍松","博弈","仙话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20ab859413f83b2256de9c3a2113b37.jpg",[],{"id":1946,"slug":1947,"title":1948,"dynasty":73,"author":117,"museum":48,"description":1949,"tags":1950,"thumbUrl":1951,"material":62,"size":63,"collection":64,"collections":1952,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},267351,"man-xiu-pi-lu-fo-xiang-zhou-yi-ming-267351","满绣毗卢佛像轴","此作以满绣工艺织就，边框万字回环，寄寓绵长祈愿。主尊面容慈悲端严，结印托器，朱红法衣绣纹细密层叠，宝晕环身，尽显佛尊肃穆威仪。背景以蓝底衬出卷舒云海，苍劲雪山松石错落晕染，明丽配色糅合沉静禅意。两侧胁侍神态灵动，衣袂轻扬，与主尊浑然呼应。绣面平齐细腻，金蓝朱红撞色鲜明却相融无间，将汉地刺绣精工与藏地造像仪轨精妙融合，尽显宗教艺术的庄严气韵，于针脚间见匠心巧思，是宗教绣品中的上乘之作。",[207,507,509,27,361,362,363,52,29,219,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7c9757c03c74db18879a2fabd746a4.jpg",[],{"id":1954,"slug":1955,"title":1956,"dynasty":73,"author":117,"museum":48,"description":780,"tags":1957,"thumbUrl":1958,"material":62,"size":63,"collection":64,"collections":1959,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},263651,"ke-si-jia-xiu-zun-sheng-fu-mu-xiang-zhou-yi-ming-263651","缂丝加绣尊胜佛母像轴",[207,572,507,27,361,653,29,52,7,967,106,509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c01f817a2a40794533074644172270.jpg",[],{"id":1961,"slug":1962,"title":1963,"dynasty":73,"author":117,"museum":48,"description":1964,"tags":1965,"thumbUrl":1968,"material":62,"size":63,"collection":64,"collections":1969,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":91},258533,"qian-long-kuan-fen-cai-kai-guang-shan-shui-ren-wu-tu-san-kong-bian-ping-yi-ming-258533","乾隆款粉彩开光山水人物图三孔扁瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[73,1080,1966,1967,52,1078,219,29,415,416,103,104,605,7],"开光","轧道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed9eedd1f4116f1585fb96e09550dc1.jpg",[],{"id":1971,"slug":1972,"title":1973,"dynasty":73,"author":117,"museum":48,"description":1974,"tags":1975,"thumbUrl":1978,"material":62,"size":63,"collection":64,"collections":1979,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},247830,"ti-hong-ba-xian-zhu-shou-tu-he-yi-ming-247830","剔红八仙祝寿图盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[147,1976,1977,750,29,7,308,1665,1225],"漆器","剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1278a1c8d9c55f9653c5d5f147d8bcbd.jpg",[],{"id":1981,"slug":1982,"title":1749,"dynasty":73,"author":117,"museum":48,"description":1983,"tags":1984,"thumbUrl":1988,"material":62,"size":63,"collection":64,"collections":1989,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},238879,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238879","此作以工笔重彩铺陈，主尊神态慈悲和煦，锦袍纹饰华美繁复，尽显华贵庄严。画面层次分明：左上护法金刚怒目威严，震慑四方；右上修行上师安坐观想，静谧安然。下方侍从躬身供奉，亭台楼宇错落于祥云花海之间，雪域灵峰为衬，将护法、修行与世俗供养融于一境。\n设色浓艳饱和，朱砂、石青描金交织碰撞，勾勒线条精细入微，既保有宗教绘画的神圣肃穆，又兼具精妙审美意趣，藏地画师的配色巧思与线条功力尽显其中，将信仰图景凝为可视的庄严圣境，是极具代表性的藏传佛教绘画精品。",[24,25,27,715,53,52,268,29,363,1985,1986,463,30,7,308,219,330,1987],"护法金刚","上师","神圣肃穆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9925b45222d4b23f1024a70148670a.jpg",[],{"id":1991,"slug":1992,"title":1749,"dynasty":73,"author":117,"museum":48,"description":1993,"tags":1994,"thumbUrl":2003,"material":62,"size":63,"collection":64,"collections":2004,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},238875,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238875","主尊舒坐宝椅，面含慈蔼，身饰璎珞，华服织金错彩，左手握持吐宝鼠，右手施与愿印，尽显华贵威严。上方忿怒护法与传法上师分侍两侧，祥云朵朵托起重楼天境。下方侍从捧供奔走，渔人踏浪而行，亭台隐于花树青峦间，将天界的肃穆与凡间意趣相融。\n整作以珍贵矿物颜料晕染，色泽历久明艳，线条细腻柔劲，将神性的庄严与世俗的烟火气精妙结合，让信仰图景跃然绢上，尽显唐卡工艺的极致精妙。",[400,207,27,52,53,29,30,1995,1996,1997,1998,1999,2000,7,2001,1116,669,2002,1203],"渔乐","善巴拉王","忿怒护法","传法上师","吐宝鼠","鱼","花树","青峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092e09554609e35ed23fbafd0b976993.jpg",[],{"id":2006,"slug":2007,"title":2008,"dynasty":73,"author":117,"museum":48,"description":2009,"tags":2010,"thumbUrl":2014,"material":62,"size":63,"collection":64,"collections":2015,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},234442,"qing-ren-huang-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234442","清人黄威罗瓦金刚像轴","狮面忿怒相的主尊周身烈焰蒸腾，金甲宝饰遍身，雄踞莲台之上，威棱毕现，尽显护法降魔的慑人气魄。整体构图饱满匀整，诸佛胁侍错落排布，或忿怒或慈悲，与主尊呼应成趣。\n\n设色浓丽厚重，石青铺就云天底色，朱砂晕染烈烈火焰，青绿晕染山川林麓，冷暖交织层次分明。线条勾勒精细流畅，衣袂宝饰的细节分毫毕现，既恪守藏传佛教造像的仪轨法度，又以工笔重彩烘托出神圣庄严的宗教氛围，将护法金刚的狞厉威严与唐卡装饰美学完美融合，尽显精湛的绘画造诣。",[24,207,869,329,52,342,772,148,7,2011,2012,147,2013],"山水景物","花卉纹饰","传统书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20ea8c656828582ec4d871f00ab1c60.jpg",[],{"id":2017,"slug":2018,"title":2019,"dynasty":73,"author":117,"museum":48,"description":2020,"tags":2021,"thumbUrl":2022,"material":62,"size":63,"collection":64,"collections":2023,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":198},234410,"zong-ka-ba-tu-xiang-zhou-yi-ming-234410","宗喀巴图像轴","主尊安坐画面中央，杏黄僧衣衬得面容慈悲沉静，通人冠衬显宗师威仪，青绿与金箔晕染的背光，烘托出庄严宝相。\n\n环绕主尊的连环场景以青绿山水为底，将弘法、辩经、山居修行的生平图景铺展开来。朱红碉楼错落林间，僧众身影鲜活灵动，浓烈饱和的色块搭配金线勾勒的细节，藏地风土与宗教意趣相融。\n\n整体构图规整饱满，配色热烈鲜明，既恪守藏地宗教绘画的神圣仪轨，又以细腻笔触烘托出清净肃穆的氛围，是兼具信仰价值与审美意趣的佳作。",[147,27,52,207,53,80,29,30,219,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53bd45f38537d756596962b9901d34d7.jpg",[],{"id":2025,"slug":2026,"title":1299,"dynasty":304,"author":2027,"museum":48,"description":2028,"tags":2029,"thumbUrl":2030,"material":181,"size":63,"collection":64,"collections":2031,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},230570,"ban-tuo-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230570","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,53,52,27,29,1225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7800fe13f2dc7a79a9eef65773b19798.jpg",[],{"id":2033,"slug":2034,"title":2035,"dynasty":73,"author":2036,"museum":48,"description":2037,"tags":2038,"thumbUrl":2039,"material":108,"size":64,"collection":64,"collections":2040,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":91},215084,"tui-bei-tu-ce-21-jiao-bing-zhen-215084","推背图册-21","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,52,53,255,1047,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F146936db95c19c71f5f440bec3a9a86d.jpg",[],{"id":2042,"slug":2043,"title":2044,"dynasty":73,"author":2045,"museum":251,"description":2046,"tags":2047,"thumbUrl":2048,"material":64,"size":64,"collection":64,"collections":2049,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":2050},202367,"hu-fa-guan-yin-tu-zhou-min-zhen-202367","护法观音图轴","闵贞","这幅画作以白描手法绘就，线条流畅细腻却不失刚劲，勾勒出护法观音与一众神祇的庄严群像。画面中心观音端坐，神态慈悲端庄，周身光环萦绕；两侧护法天将威猛雄健，持械而立，气势凛然；胁侍童子神态天真，与护法的威严形成鲜明对比。背景祥云缭绕，线条婉转灵动，营造出神圣缥缈的氛围。整体构图主次分明，人物布局紧凑有序，神态各异且生动传神，既展现观音的悲悯之态，又凸显护法的护卫之力，宗教意蕴浓厚。画作技法娴熟，将白描的线条美感与宗教题材的庄严感完美融合，尽显清代宗教画的精湛技艺与艺术魅力。",[28,27,215,271,207,29,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4c783f6adaacd289357db6a7172f7e.jpg",[],"c7bdaa",{"id":2052,"slug":2053,"title":2054,"dynasty":304,"author":117,"museum":48,"description":2055,"tags":2056,"thumbUrl":2060,"material":62,"size":63,"collection":64,"collections":2061,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":91},289224,"giulio-romano-apparition-of-saint-andrew-in-glory-yi-ming-289224","Giulio Romano--Apparition of Saint Andrew in Glory","以棕调线条在灰底上晕染铺陈，圣安德鲁跪坐云间，肩扛十字苦像，沉穆的神情间带着悲悯，探手向下，似将救赎的温柔播撒向凡世。两侧天使灵动呼应，左侧天使高举信物，神态激昂虔诚，右侧天使俯身凝望，满是崇敬。\n画师以疏密线条勾勒衣褶的厚重肌理，明暗晕染揉出云层的蓬松柔润，借单色层次铺陈出天国的缥缈与神性的庄严，在沉静的色调里烘托出静谧神圣的氛围，将宗教题材特有的肃穆救赎之力融于笔端，尽显古典宗教创作的典雅质感。",[869,342,2057,2058,2059,858,7],"素描","天使","十字架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa759fe377562c02ddf237858e3a0862c.jpg",[],{"id":2063,"slug":2064,"title":2065,"dynasty":73,"author":117,"museum":48,"description":2066,"tags":2067,"thumbUrl":2070,"material":62,"size":63,"collection":64,"collections":2071,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},270573,"hong-se-miao-jin-yin-long-xi-zhu-wen-dou-fang-juan-yi-ming-270573","红色描金银龙戏珠纹斗方绢","朱红底色华贵沉凝，六龙盘桓于祥云烈焰之中。描金饰银勾勒龙身，鬃须翻卷张扬，利爪遒劲锋利，龙目圆睁尽显威凛，身姿矫健灵动，仿若即将破壁而出。云纹舒卷连绵，火焰纹错落点缀，烘托出腾云驾雾的磅礴气势。\n\n整体构图饱满匀整，对称排布尽显规整庄重，将皇权象征的龙纹与极致工艺相融。工笔精细入微，金银光泽于朱红之上交相辉映，富丽堂皇间尽显宫廷造物的考究，把传统祥瑞寓意与精湛工巧完美结合，尽显威严华贵的古典气韵。",[24,25,2068,181,268,2069,255,7,53],"斗方","描银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fdd05c57de0c4c0b12389325bc0d19.jpg",[],{"id":2073,"slug":2074,"title":2075,"dynasty":73,"author":117,"museum":48,"description":2076,"tags":2077,"thumbUrl":2079,"material":62,"size":63,"collection":64,"collections":2080,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":91},267337,"man-xiu-shi-jia-xiang-zhou-yi-ming-267337","满绣释迦像轴","释迦牟尼结跏趺坐于莲台，双手结印说法，面容慈悲祥和，朱红袈裟间绣饰的纹样细密华美。祥云缭绕佛身，青绿山石晕染出清幽佛境，两位胁侍菩萨恭立左右，法相温婉端严。\n\n四周以万字纹满绣边框，配色明丽厚重，红蓝撞色衬出神圣威仪。整作针脚匀整细腻，将藏传佛教的庄严肃穆与刺绣工艺的精巧融为一体，尽显匠人的精湛工法与信仰的庄重静美，是织绣佛造像的上乘佳作。",[207,507,2078,361,886,363,342,52,7,219],"满绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfd193c4cb473f7f041a6f4293190d8.jpg",[],{"id":2082,"slug":2083,"title":2084,"dynasty":73,"author":117,"museum":48,"description":2085,"tags":2086,"thumbUrl":2091,"material":62,"size":63,"collection":64,"collections":2092,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":1441},264146,"ming-huang-se-wu-cai-mang-duan-yi-ming-264146","明黄色五彩蟒缎","这匹织缎以明黄为底，尽显尊崇华贵。金棕蟒身矫健灵动，周身以五彩晕染填色，辅以祥云缠缀，瑞气盎然。江崖海水纹样层次分明，青绿与彩纹交错铺展，既摹写海波翻涌之态，也暗含山河永固的吉祥寓意。整体用色鲜亮饱满，缂丝绣工细腻规整，纹样排布疏密相宜，将礼制威严与织造匠心融为一体，尽显清代宫廷织绣工艺的精巧繁复，是皇家织物华贵气韵的典型缩影。",[509,587,937,2087,7,2088,26,2089,2090],"蟒纹","海水江崖","明黄色","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389e15b64f993e462c5d1852b1505029.jpg",[],{"id":2094,"slug":2095,"title":2096,"dynasty":73,"author":117,"museum":48,"description":2097,"tags":2098,"thumbUrl":2102,"material":62,"size":63,"collection":64,"collections":2103,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":198},262076,"qing-hua-zhi-ri-gao-sheng-ren-wu-tu-ping-yi-ming-262076","青花指日高升人物图瓶","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[1078,2099,29,103,104,7,2100,2101],"青花","指日高升","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50aca37f5e3e40dd6527243eec25f25.jpg",[],{"id":2105,"slug":2106,"title":2107,"dynasty":73,"author":117,"museum":48,"description":2097,"tags":2108,"thumbUrl":2110,"material":62,"size":63,"collection":64,"collections":2111,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},260912,"qing-hua-kai-guang-yi-shou-tu-guan-yi-ming-260912","青花开光异兽图罐",[1078,2099,2109,102,1966,669,7],"罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9852918873cf5ce515cd2f9d35008827.jpg",[],{"id":2113,"slug":2114,"title":2115,"dynasty":73,"author":117,"museum":48,"description":2116,"tags":2117,"thumbUrl":2121,"material":62,"size":63,"collection":64,"collections":2122,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":41},258289,"dou-cai-tuan-hua-wen-pan-yi-ming-258289","斗彩团花纹盘","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。",[147,1078,2118,52,2119,7,2120],"斗彩","团花纹","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652cece90512b893efb1ab40c525f4c5.jpg",[],{"id":2124,"slug":2125,"title":2126,"dynasty":116,"author":117,"museum":48,"description":1964,"tags":2127,"thumbUrl":2128,"material":62,"size":63,"collection":64,"collections":2129,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":198},257490,"wu-cai-ba-xian-tu-mei-ping-yi-ming-257490","五彩八仙图梅瓶",[191,937,1078,52,29,27,7,219,1225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278eb01326865bfa98d4f3302045a56d.jpg",[],{"id":2131,"slug":2132,"title":2133,"dynasty":73,"author":117,"museum":48,"description":1974,"tags":2134,"thumbUrl":2136,"material":62,"size":63,"collection":64,"collections":2137,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":91},248084,"ti-hong-ba-xian-tu-tao-shi-he-yi-ming-248084","剔红八仙图桃式盒",[147,1976,1977,750,29,2135,7,669],"桃形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ad94bc8b220ae28d3f5e006d44bd9fe.jpg",[],{"id":2139,"slug":2140,"title":2141,"dynasty":73,"author":117,"museum":48,"description":1974,"tags":2142,"thumbUrl":2145,"material":62,"size":63,"collection":64,"collections":2146,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},247868,"dui-cai-ba-xian-zhu-shou-han-zhong-li-tu-tao-shi-he-yi-ming-247868","堆彩八仙祝寿汉钟离图桃式盒",[147,2143,750,1976,29,2135,2144,7,1665,52],"堆彩","桃叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f7e73c673eec7701b636a9ecb48b7a.jpg",[],{"id":2148,"slug":2149,"title":1973,"dynasty":73,"author":117,"museum":48,"description":1974,"tags":2150,"thumbUrl":2152,"material":62,"size":63,"collection":64,"collections":2153,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":91},247840,"ti-hong-ba-xian-zhu-shou-tu-he-yi-ming-247840",[1976,1977,750,29,1478,1665,7,1225,2151],"清代工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02681e472625230d1243fec58092139.jpg",[],{"id":2155,"slug":2156,"title":1973,"dynasty":73,"author":117,"museum":48,"description":1974,"tags":2157,"thumbUrl":2158,"material":62,"size":63,"collection":64,"collections":2159,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},247834,"ti-hong-ba-xian-zhu-shou-tu-he-yi-ming-247834",[147,1976,1977,750,29,7,1665,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6e50fed240d79a1be8d4c31cd3b28f.jpg",[],{"id":2161,"slug":2162,"title":2163,"dynasty":73,"author":117,"museum":48,"description":2164,"tags":2165,"thumbUrl":2167,"material":62,"size":63,"collection":64,"collections":2168,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},234439,"qing-ren-ji-xiang-tian-mu-xiang-zhou-yi-ming-234439","清人吉祥天母像轴","此作为藏传佛教护法题材佳作，主尊忿怒威严，靛蓝躯体乘黄骡奔踏血海，遍身珠宝严饰，法器具足，慑人气魄尽显护法威仪。画面以黑底铺陈，金墨勾勒流云、诸天眷属与部众，华丽金彩在沉暗底色中愈发醒目，层次分明。整体构图饱满繁复，线条精细流畅，设色沉艳厚重，将藏地唐卡极致装饰性与宗教氛围感融合一体，尽显精湛工艺，神圣庄严的护法气韵扑面而来。",[24,25,207,27,53,52,29,603,102,7,548,1534,2090,1572,151,2166],"线条精细","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43dd297ca66960d16e602156f312bdb9.jpg",[],{"id":2170,"slug":2171,"title":2172,"dynasty":116,"author":2173,"museum":48,"description":2174,"tags":2175,"thumbUrl":2176,"material":64,"size":64,"collection":64,"collections":2177,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":91},233604,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233604","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,1143,79,52,28,1742,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00a30313d352187a04f0ac8bfd8c3ea.jpg",[],{"id":2179,"slug":2180,"title":2181,"dynasty":73,"author":117,"museum":2182,"description":2183,"tags":2184,"thumbUrl":2188,"material":87,"size":64,"collection":64,"collections":2189,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},215994,"di-jian-tu-shuo-cai-hui-ben-11-yi-ming-215994","帝鉴图说彩绘本-11","法国国家图书馆","朱门映碧瓦，雕栏绕玉阶，殿宇巍峨间，帝王端坐于堂，衣袂翩跹的侍从躬身侍立，台阶上下人影错落，似在演绎前朝典故。松影横斜于山石旁，青绿苔痕晕染雅致，云气氤氲天际，为庄重场景添了几分灵动。画面以细腻笔触勾勒建筑精巧，人物神态栩栩如生，每处细节藏着叙事温度——或劝诫或箴规，将历史智慧凝于丹青。色彩明丽却不失沉稳，红的热烈、蓝的沉静、绿的鲜活交织，既显宫廷威严气象，又含文人画雅致意趣，于方寸间铺展一段载道的视觉诗篇。",[24,52,53,80,1143,29,30,415,7,2185,2186,2187],"台阶","围墙","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c16dc7da03299434cc08e1b0c2f2cd8.jpg",[],{"id":2191,"slug":2192,"title":2193,"dynasty":73,"author":117,"museum":2182,"description":2194,"tags":2195,"thumbUrl":2196,"material":87,"size":64,"collection":64,"collections":2197,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":68},215969,"di-jian-tu-shuo-cai-hui-ben-37-yi-ming-215969","帝鉴图说彩绘本-37","红墙覆瓦的殿宇巍峨矗立，飞檐翘角衬着淡远云天，尽显庄重气象。阶前人影错落，或躬身呈禀，或步履匆匆，衣袂飘举间似有事务流转。下方庭院里，众人或搬运堆叠之物，或围聚低语，左下角那堆卷册状物件，隐约呼应着画面的叙事内核。一旁松枝苍劲，山石点缀，柔化了宫苑的肃穆，添了几分生机。整幅画设色雅致，线条细腻，将特定场景下的人物活动与建筑景致融于一体，既见规制之严，又含生活之趣，静静铺陈出一段生动的往昔片段。画中细节处处藏着故事，从殿宇的规制到人物的动态，皆以细腻笔触勾勒，让观者仿佛能透过画面，触碰到那段时光里的烟火与庄重。",[24,52,80,53,29,30,415,7,2185,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8749b2502bbf0d71e343b90dcdcd95d.jpg",[],{"id":2199,"slug":2200,"title":2201,"dynasty":73,"author":117,"museum":48,"description":2202,"tags":2203,"thumbUrl":2206,"material":62,"size":63,"collection":64,"collections":2207,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":198},275312,"bi-yu-miao-jin-yun-long-wen-bian-qing-rui-bin-yi-ming-275312","碧玉描金云龙纹编磬-蕤宾","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。",[857,2204,268,255,7,750,2205],"玉石","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71946b9d2735915996bd91a0856e1c12.jpg",[],{"id":2209,"slug":2210,"title":2211,"dynasty":73,"author":117,"museum":48,"description":2212,"tags":2213,"thumbUrl":2214,"material":62,"size":63,"collection":64,"collections":2215,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":91},275269,"wu-se-yun-qi-lan-yun-qi-yi-ming-275269","五色云旗-蓝云旗","藏蓝底料沉穆端凝，牙边三角形制自带凛凛威仪。灵动祥云蜿蜒铺展，彩线绣出翻卷柔姿，粉、紫、金彩晕染的祥云团团舒展，与浅蓝流云交织缠绕，绣工细腻匀整，线条婉转流畅，晕色自然柔和，与深沉底色相映，让沉静面料生出灵动仙气。\n祥瑞云纹暗藏祈安纳福的美好意涵，针脚里凝着旧时匠人的精巧心力，将礼制仪典的庄雅，与传统刺绣的柔美匠心相融，是兼具实用仪制与审美意趣的工艺佳物。",[1416,509,507,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614347c4c50a3869b4464e2a5c92d4f6.jpg",[],{"id":2217,"slug":2218,"title":2219,"dynasty":73,"author":117,"museum":48,"description":2220,"tags":2221,"thumbUrl":2224,"material":62,"size":63,"collection":64,"collections":2225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274879,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274879","银胎嵌珐琅供养","银胎錾刻出层叠莲台与缭绕祥云，纹路柔婉细密，托举起中心的珐琅造像。珐琅釉色明润清透，底色如晴空漾开，以浓丽彩料晕绘尊像，衣袂舒展灵动，宝相慈悲安和。金属的冷冽质感搭配珐琅的明妍光泽，两种工艺相融共生，将宗教造像的庄严与装饰美学的华美合为一体，沉静夺目间尽显匠人的巧思匠心。",[2222,2223,27,750,242,7,858],"银器","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50cf66c64467e822fd6d3febc1705975.jpg",[],{"id":2227,"slug":2228,"title":2229,"dynasty":73,"author":117,"museum":48,"description":2230,"tags":2231,"thumbUrl":2236,"material":62,"size":63,"collection":64,"collections":2237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},272610,"en-ming-jin-wan-nian-hong-zhu-mo-yi-ming-272610","恩铭进万年红朱墨","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”。",[2232,2233,2234,1914,7,268,2235],"墨","朱墨","文房用具","朱红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcc3ca995c8075be19ea5685a87e835.jpg",[],{"id":2239,"slug":2240,"title":2241,"dynasty":116,"author":117,"museum":48,"description":2230,"tags":2242,"thumbUrl":2243,"material":62,"size":63,"collection":64,"collections":2244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":198},272487,"jin-xuan-fu-zhi-liao-tian-yi-yi-pin-zhu-mo-yi-ming-272487","金玄甫制寥天一一品珠墨",[2232,750,7,669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59fab6c362096fd43b5ee2a15ef01e60.jpg",[],{"id":2246,"slug":2247,"title":2248,"dynasty":73,"author":117,"museum":48,"description":1076,"tags":2249,"thumbUrl":2251,"material":62,"size":63,"collection":64,"collections":2252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},269538,"xi-jiao-diao-fu-hai-tu-bei-yi-ming-269538","犀角雕福海图杯",[1225,1079,750,2250,669,7],"犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe934386382116f61b997900818f2a54c.jpg",[],{"id":2254,"slug":2255,"title":2256,"dynasty":73,"author":117,"museum":48,"description":2257,"tags":2258,"thumbUrl":2263,"material":62,"size":63,"collection":64,"collections":2264,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},269263,"liu-qing-zhu-diao-ta-ying-lou-ge-tu-bi-ge-yi-ming-269263","留青竹雕塔影楼阁图臂搁","这件臂搁以留青技法施艺，借竹皮与竹肌的天然色差，晕出虚实层次。画面里古塔挺拔层叠，斗拱瓦棱纤毫毕现，檐角扶摇直上，自带沉静古雅的禅意。流云轻绕塔身，旁侧楼阁隐于松石间，疏密排布恰到好处，将江南禅林夜色铺陈开来。\n\n刀工随形就势，浅浮雕的留青技法让景致似晕染而出，流云舒展、苍松虬劲，处处可见匠心。整体清隽雅致，将文房器物的静穆诗意尽数勾勒，是竹雕文房中的细腻佳作。",[2259,2260,2261,2262,30,7,488,750],"竹雕","留青雕刻","臂搁","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb427256aca896f3fdbc76c16252519.jpg",[],{"id":2266,"slug":2267,"title":2268,"dynasty":73,"author":117,"museum":48,"description":2269,"tags":2270,"thumbUrl":2273,"material":62,"size":63,"collection":64,"collections":2274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":198},269169,"zhu-diao-liu-qing-ren-wu-lou-ge-bi-tong-yi-ming-269169","竹雕留青人物楼阁笔筒","笔筒： 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