[{"data":1,"prerenderedAt":579},["ShallowReactive",2],{"subject-yi-zhang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2673,"yi-zhang","仪仗","仪仗画高清赏析","精选中国历代仪仗题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg",0,40,[14,42,64,82,103,127,146,160,178,198,215,239,252,267,281,292,306,320,333,345,359,368,385,394,406,416,426,442,457,466,475,487,499,509,521,529,537,544,550,563],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","唐","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 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。",[23,24,25,26,27,28,29,30,31,32,7,33],"高清","国画","书画","长卷","宗教","白描","人物","楼阁","祥云","飘带","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":10,"material":58,"size":59,"collection":37,"collections":60,"showCount":61,"zanCount":62,"manualWeight":11,"mainColor":63},214833,"ru-bi-tu-yi-ming-214833","入跸图","明","佚名","台北故宫博物院","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,51,24,26,52,53,29,30,54,55,7,56,57],"名画","工笔","设色","树木","车马","皇家出行","历史画","绢本,设色","92.10x3003.6",[37],448,9,"795548",{"id":65,"slug":66,"title":17,"dynasty":18,"author":19,"museum":67,"description":68,"tags":69,"thumbUrl":74,"material":75,"size":76,"collection":77,"collections":78,"showCount":79,"zanCount":80,"manualWeight":11,"mainColor":81},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","藏地不详","图中以道教故事为题材，描绘了以东华帝君、南极帝君、扶桑大帝为主的八十七位列队行进的神仙，画面纯以线条表现出八十七位神仙出行的宏大场景，形神刻画细致入微。画面笔墨遒劲洒脱，根根线条都表现了无限的生命力，如行云流水，充满韵律感，代表了中国唐代白描绘画的最高水平。",[23,24,25,26,28,29,27,32,70,7,71,72,33,73],"云纹","发髻","服饰","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg","未知","Xcm*Xcm","",[],358,3,"BDBDBD",{"id":83,"slug":84,"title":85,"dynasty":86,"author":87,"museum":88,"description":89,"tags":90,"thumbUrl":99,"material":58,"size":77,"collection":37,"collections":100,"showCount":101,"zanCount":102,"manualWeight":11,"mainColor":81},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。",[23,51,24,91,92,53,52,93,29,30,31,94,95,7,96,72,97,98],"版画","木刻","界画","车驾","飞鸟","器物","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[37],336,7,{"id":104,"slug":105,"title":106,"dynasty":46,"author":107,"museum":88,"description":108,"tags":109,"thumbUrl":121,"material":58,"size":122,"collection":37,"collections":123,"showCount":125,"zanCount":126,"manualWeight":11,"mainColor":63},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,51,24,25,110,93,53,52,111,30,112,29,113,114,115,116,7,117,118,54,119,120],"立轴","宫城","宫殿","马","驴","建筑","城池","官员","侍从","桥梁","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[37,124],"设色画精选",192,5,{"id":128,"slug":129,"title":130,"dynasty":18,"author":131,"museum":48,"description":132,"tags":133,"thumbUrl":140,"material":141,"size":142,"collection":37,"collections":143,"showCount":144,"zanCount":145,"manualWeight":11,"mainColor":63},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","阎立本","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,25,51,26,52,53,29,134,113,135,96,7,136,137,138,72,139],"异域人物","动物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","绢","纵61.5cm，横191.5cm",[37,124],174,4,{"id":147,"slug":148,"title":149,"dynasty":86,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":156,"material":58,"size":157,"collection":37,"collections":158,"showCount":159,"zanCount":145,"manualWeight":11,"mainColor":63},215859,"chong-qing-huang-tai-hou-wan-shou-qing-dian-tu-zhang-ting-yan-215859","崇庆皇太后万寿庆典图","张廷彦","北京故宫博物院","弘历皇帝的生母崇庆皇后的60岁生日，举行了盛大的庆祝活动。文武百官齐聚北京，从西华门到西直门的高梁桥下，十几里路的灯光，戏曲、杂技、舞蹈等各类文艺节目，让人目不暇接。这幅四卷画真实地再现了当时的生日庆典和戏剧表演的场景，是清代戏曲的重要图像资料。",[23,51,24,25,26,52,53,29,30,154,7,155,116,54],"街道","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb231085edcd0f7668e9adde95214bce.jpg","64.5x2994",[37],124,{"id":161,"slug":162,"title":163,"dynasty":86,"author":47,"museum":151,"description":164,"tags":165,"thumbUrl":173,"material":58,"size":174,"collection":37,"collections":175,"showCount":176,"zanCount":177,"manualWeight":11,"mainColor":63},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,52,53,93,26,29,112,7,166,54,167,168,169,170,171,155,172],"祭祀","草地","台阶","灯笼","队伍","仪式","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[37,124],85,2,{"id":179,"slug":180,"title":181,"dynasty":182,"author":183,"museum":48,"description":184,"tags":185,"thumbUrl":192,"material":58,"size":193,"collection":194,"collections":195,"showCount":196,"zanCount":197,"manualWeight":11,"mainColor":63},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","宋","马麟","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,51,52,53,27,29,186,187,188,189,190,7,191],"牛","龙","兽","神话","云雾","神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9","宋画精选",[194],78,1,{"id":199,"slug":200,"title":201,"dynasty":86,"author":202,"museum":151,"description":203,"tags":204,"thumbUrl":210,"material":211,"size":212,"collection":37,"collections":213,"showCount":214,"zanCount":197,"manualWeight":11,"mainColor":81},238124,"kang-xi-nan-xun-tu-juan-wang-hui-238124","康熙南巡图卷","王翚","康熙皇帝是清朝入关以后的第二代皇帝，在位期间，为了解民情，视察河防，尤其是为平息江南地区民众的反清情绪，从康熙二十三年（1684年）到康熙四十六年（1707年）间，曾经有过6次南巡的盛举。每次南巡，皇帝一行从京师出发，时而车骑，时而舟船，一直抵达浙江的绍兴。出巡活动浩浩荡荡，兴师动众，地方官员迎来送往，花费惊人。《红楼梦》作者曹雪芹的祖父曹寅当时任江宁织造，曾数次接驾。曹雪芹在小说中借凤姐之口说：“说起当年太祖皇帝仿舜巡的故事，比一部书还热闹……只预备接驾一次，把银子花的像淌海水似的！”可见其豪华排场。\n在康熙二十八年（1689年）第二次南巡结束后，根据皇帝的命令，由曹寅之弟曹筌任“《南巡图》监画”，征召画家开始绘制《康熙南巡图》。该图共十二巨卷，详细描绘了整个南巡过程。十二卷图现已不复完整，尚存九卷，第一、第九、第十、第十一、第十二卷藏于北京故宫博物院；第二、第四卷现藏法国巴黎的吉美博物馆；第三、第七卷现藏美国纽约的大都会艺术博物馆。\n《康熙南巡图》十二卷是由著名画家王翚领衔主绘的，参与绘制的画家还有冷枚、王云、杨晋等，全图历时六年方告完成。",[53,52,93,29,30,112,113,33,155,54,120,154,205,206,7,207,208,116,209],"庭院","建筑群","骑兵","步兵","门楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf3f1428ff622207f310b8322c2e7d.jpg","绢本，设色","纵67.8厘米，横1400至2600厘米",[37,124],77,{"id":216,"slug":217,"title":218,"dynasty":86,"author":219,"museum":48,"description":220,"tags":221,"thumbUrl":235,"material":211,"size":236,"collection":77,"collections":237,"showCount":238,"zanCount":145,"manualWeight":11,"mainColor":81},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","姚文瀚","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,52,53,93,29,30,95,54,155,222,33,205,223,7,224,225,206,168,226,227,228,229,230,231,232,233,234],"帐篷","宫殿式建筑","人群","冬季树木","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","平台","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","纵45.7厘米，横486.5厘米",[],45,{"id":240,"slug":241,"title":242,"dynasty":182,"author":47,"museum":48,"description":243,"tags":244,"thumbUrl":248,"material":58,"size":249,"collection":194,"collections":250,"showCount":251,"zanCount":177,"manualWeight":11,"mainColor":63},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,53,52,93,245,29,30,112,246,54,205,168,155,247,117,7],"楷书","山水","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[194],41,{"id":253,"slug":254,"title":255,"dynasty":86,"author":47,"museum":151,"description":256,"tags":257,"thumbUrl":263,"material":264,"size":265,"collection":37,"collections":266,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":81},233063,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233063","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[52,53,93,258,29,30,205,7,33,96,259,260,261,115,224,262],"册","衣帽","军事场景","清代风格","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c1bd6080b18f3b23595b0a6c873bc.jpg","纸本","纵55.3cm，横90.3cm",[37,124],{"id":268,"slug":269,"title":270,"dynasty":182,"author":271,"museum":151,"description":272,"tags":273,"thumbUrl":277,"material":264,"size":278,"collection":77,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":63},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","李公麟","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[23,24,51,26,28,29,113,274,275,7,276],"云","神仙","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],33,{"id":282,"slug":283,"title":284,"dynasty":182,"author":47,"museum":285,"description":286,"tags":287,"thumbUrl":288,"material":58,"size":289,"collection":37,"collections":290,"showCount":291,"zanCount":197,"manualWeight":11,"mainColor":63},219449,"ying-luan-tu-yi-ming-219449","迎銮图","上海博物馆","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[51,24,25,26,52,53,29,113,54,247,138,7,117,33,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c505d6dabe982edce0ab1aacf74d41.jpg","横142.2厘米，纵26.7厘米",[37],30,{"id":293,"slug":294,"title":295,"dynasty":46,"author":47,"museum":48,"description":296,"tags":297,"thumbUrl":302,"material":141,"size":303,"collection":77,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":63},287976,"chu-jing-tu-juan-yi-ming-287976","出警图卷","《出警入跸图》乃是中华民族的珍贵国宝。《出警图》绘皇帝骑马，由陆路出京，《入跸图》画皇帝坐船，走水路还宫。这两幅图是台北故宫博物院所收藏手卷画作中最长的两幅（《出警图》的宽26米，《入跸图》超过30米），人物众多，场面宏伟，是历代绘画作品中少见的超级巨作。\n这两幅作品，均未署名作者姓名。但可以确定是许多宫廷画师的合力创作，才能完成这两幅布局精采生动的巨作。《出警图》与《入跸图》虽是各自分开的两幅长卷，但是所绘的却同是扫墓、巡视的过程，因而通常被合称为《出警入跸图》。 画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,51,24,26,53,52,57,29,298,299,30,246,112,7,300,301],"马匹","松树","帝王出行","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 92.1x2601.3公分",[],29,{"id":307,"slug":308,"title":309,"dynasty":86,"author":310,"museum":311,"description":312,"tags":313,"thumbUrl":315,"material":316,"size":317,"collection":77,"collections":318,"showCount":319,"zanCount":197,"manualWeight":11,"mainColor":41},222946,"hong-lou-meng-71-sun-wen-222946","红楼梦71","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,314,24,25,52,53,29,30,205,54,7,94,234,51],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecb36ad56431b384b69b7fe4089a44e.jpg","绢本","纵43.3厘米、横76.5厘米",[],28,{"id":321,"slug":322,"title":323,"dynasty":86,"author":324,"museum":67,"description":325,"tags":326,"thumbUrl":330,"material":75,"size":76,"collection":77,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":81},290381,"ri-yue-he-bi-wu-xing-lian-zhu-tu-juan-xu-yang-290381","日月合璧五星联珠图卷","徐扬","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[23,24,26,52,53,93,57,29,30,113,327,154,328,7,117,329],"马车","市集","城市街景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59433c653041cba0a9aeef66af3a88ba.jpg",[],23,{"id":334,"slug":335,"title":336,"dynasty":86,"author":310,"museum":67,"description":337,"tags":338,"thumbUrl":342,"material":75,"size":76,"collection":77,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":63},288409,"jia-mu-he-zu-ying-jie-gui-fei-sun-wen-288409","贾母合族迎接贵妃","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,24,53,52,29,30,339,7,340,341,54,205],"宫廷","迎驾","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50caca4e64e368471cf69aee303469a5.jpg",[],20,{"id":346,"slug":347,"title":348,"dynasty":46,"author":47,"museum":67,"description":349,"tags":350,"thumbUrl":354,"material":77,"size":77,"collection":355,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":358},253580,"mu-diao-yi-zhang-li-xiang-yi-ming-253580","木雕仪仗立像","此像头戴尖顶毡帽，蹙眉瞠目，面庞棱线硬朗，尽显悍勇沉毅的气质。双手交叠于身前，似曾执握仪仗器物，站姿端凝沉稳，将仪卫恭谨肃穆的姿态定格。衣袍轮廓简练古拙，残存的彩绘晕痕，依稀可见当年的色彩铺陈。\n质朴刀法勾勒出雄浑粗犷的气度，无繁复雕琢，却把健儿的精气神凝练其中。岁月剥蚀晕开了漆面，却沉淀下古拙厚重的质感，尽显明代民间造像写实写意兼具的风韵，静静诉说着往昔仪卫阵列的森严风貌。",[351,352,353,29,7,53],"木质","雕刻","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47823db885927e94adf4369d3031b462.jpg","雕塑精选",[355],17,"37474F",{"id":360,"slug":361,"title":362,"dynasty":86,"author":310,"museum":311,"description":312,"tags":363,"thumbUrl":366,"material":316,"size":317,"collection":77,"collections":367,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":63},222955,"hong-lou-meng-80-sun-wen-222955","红楼梦80",[23,24,52,53,26,29,30,205,54,7,364,365],"红楼梦题材","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a188492cac0963873519f94f7eb5642.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":86,"author":310,"museum":311,"description":312,"tags":372,"thumbUrl":382,"material":316,"size":317,"collection":77,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":81},222941,"hong-lou-meng-66-sun-wen-222941","红楼梦66",[23,52,53,29,113,373,54,374,155,118,117,375,72,376,377,378,167,115,379,7,380,381],"轿子","房屋","百姓","抬轿","行旅","乡村","传统服饰","骑马","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3077a0780ad3e7dda59e8ad480e3a44f.jpg",[],16,{"id":386,"slug":387,"title":388,"dynasty":46,"author":47,"museum":67,"description":389,"tags":390,"thumbUrl":391,"material":75,"size":76,"collection":77,"collections":392,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":81},238576,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238576","明人升平翊赞图并书赞册","此作为工笔重彩道释画，场面恢宏整饬。祥云舒卷间，诸天众神分列排布，主尊安坐祥云，神色肃穆端庄，扈从神兵甲胄鲜明、威仪赫赫，仙官礼拜恭谨，尽显仪典庄重。\n\n设色浓妍明丽，石青、石朱晕染出层叠云气与幡幢仪仗，色彩层次饱满和谐。衣纹线条劲挺流畅，勾勒出神祇身姿的庄严与灵动，甲胄飘带的细节刻画入微，分毫毕现。整体铺陈出雍容神圣的仙界仪制氛围，尽显道释工笔画精湛的表现力，兼具装饰美感与叙事性，将仙班仪仗的威严气象烘托尽致。",[24,25,258,53,52,29,187,246,54,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2522c56cdcfef6871ca555f42793908f.jpg",[],13,{"id":395,"slug":396,"title":397,"dynasty":86,"author":398,"museum":67,"description":399,"tags":400,"thumbUrl":403,"material":75,"size":76,"collection":77,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":81},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,51,24,25,26,52,53,29,7,155,401,402,55,115],"兵器","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],10,{"id":407,"slug":408,"title":409,"dynasty":86,"author":47,"museum":67,"description":410,"tags":411,"thumbUrl":414,"material":75,"size":76,"collection":77,"collections":415,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":63},287871,"yuan-ben-qin-can-tu-cai-sang-li-juan-yi-ming-287871","院本亲蚕图採桑(利)卷","此卷以工笔重彩铺陈皇家仪典，左段坛壝方正严整，朱红仪仗与宝蓝官袍交错列队，礼制威仪尽显肃穆端方。随卷向右，葱郁林木掩映殿宇朱墙，人众沿湖堤次第排布，逶迤有序。远处湖波空蒙，琼岛白塔隐现烟霭间，层次开合有度。\n\n整作晕染精细，设色明丽雅致，将仪典的庄重规制与苑囿的秀雅景致相融。工谨笔触勾勒典仪细节，写意晕染铺就烟水空濛意境，疏密张弛间，尽显独到的纪实性与艺术性。",[23,51,24,26,53,52,29,30,54,112,7,412,413,57],"皇家礼仪","亲蚕仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83381556417fbd543f9a2bbb4676b12.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":420,"author":47,"museum":67,"description":421,"tags":422,"thumbUrl":424,"material":77,"size":77,"collection":77,"collections":425,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":81},231775,"liu-qiu-feng-su-tu-juan-yi-yi-ming-231775","琉球風俗图卷一","不详","这幅长卷定格了琉球迎神游行的热闹仪典。开篇旗手高擎仪仗，孩童引逗纹饰灵动的醒狮，热络开场。紧随其后的仙官、番使与乐役次第列队，人物服饰纹饰各异，或庄严肃穆，或俏皮鲜活，细节饱满。设色素雅明快，笔触质朴写实，带着民间绘画的鲜活意趣，完整还原了节庆游行的庄重与欢悦，将异域民俗的鲜活场面留存，兼具纪实性与民俗审美价值，尽显这场仪典的融融烟火气。",[23,53,52,26,29,188,259,7,423],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9934e7a653aeca7574b60898965053e.jpg",[],{"id":427,"slug":428,"title":429,"dynasty":86,"author":47,"museum":151,"description":430,"tags":431,"thumbUrl":439,"material":264,"size":440,"collection":77,"collections":441,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":81},233071,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233071","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[24,258,53,52,93,29,30,120,7,155,432,115,261,433,434,435,436,437,438],"群体人物","服饰多样","场景宏大","宫廷建筑","军事仪仗","人物众多","建筑细致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ec37a2a10976e8014a06c5d644f96e.jpg","纵55.4cm，横90.8cm",[],{"id":443,"slug":444,"title":445,"dynasty":86,"author":446,"museum":67,"description":447,"tags":448,"thumbUrl":454,"material":455,"size":77,"collection":77,"collections":456,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":81},216808,"zhan-zheng-tong-ban-hua-32-lang-shi-ning-216808","战争铜版画-32","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[314,449,450,29,451,115,30,54,168,7,452,453],"铜版画","写实","军队","开阔场地","战争场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05720621f51df751cadbb155a44b4435.jpg","水墨",[],{"id":458,"slug":459,"title":460,"dynasty":86,"author":47,"museum":461,"description":462,"tags":463,"thumbUrl":464,"material":58,"size":77,"collection":77,"collections":465,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":63},215925,"di-jian-tu-shuo-cai-hui-ben-84-yi-ming-215925","帝鉴图说彩绘本-84","法国国家图书馆","画面铺展着一场威仪赫赫的行进盛景，疏密错落间尽显章法。前景青绿山水含烟带翠，树木葱茏如盖，溪流蜿蜒穿林而过，添了几分灵秀；中景仪仗队伍浩浩荡荡，旌旗猎猎翻卷如焰，车驾装饰华美若虹，人物姿态各异——或策马前驱，或拱手随行，衣袂翩跹间尽是生动。远景建筑红墙蓝瓦，与天边淡彩相映，层次分明。整幅画设色明快而不失雅致，动态与静态交织，既展现出仪式的庄重肃穆，又通过鲜活的人物细节，将历史场景的气韵娓娓道来，仿佛能听见旌旗猎猎与车马辚辚，让观者瞬间跌入那遥远而鲜活的时空画卷里。",[24,25,53,52,29,113,187,30,246,54,172,170,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47ac3e452252240952f40cbf7aa2f8.jpg",[],{"id":467,"slug":468,"title":469,"dynasty":86,"author":47,"museum":67,"description":470,"tags":471,"thumbUrl":473,"material":75,"size":76,"collection":77,"collections":474,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":81},275716,"zheng-bai-qi-hu-jun-dao-yi-ming-275716","正白旗护军纛","素白旗面衬着错落牙边，勾勒出军旅仪仗独有的肃杀棱角。褐彩蛟龙矫健腾跃，盘游走动于旗上，线条苍劲凝练，带着沉厚刚猛的力量感。岁月晕开的斑驳褐痕，恰似往昔演武场遗留的烽烟余韵，为素朴旗面添上厚重的历史质感。整体形制简约肃穆，将整肃的威仪藏于方寸之间，静立便仿佛能窥见旧日校场的严整军容，尽显仪仗的庄重风骨，沉淀着往昔军旅的风云气息。",[472,187,155,7],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a28c8385c788c747aad70b8d159113.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":86,"author":47,"museum":67,"description":479,"tags":480,"thumbUrl":485,"material":75,"size":76,"collection":77,"collections":486,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":81},238611,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238611","平定两金川得胜图册","此作以西洋铜版画的写实技法复刻清宫礼制场景，对称严整的院落布局中，飞檐翘角的廊台尽显皇室规制的森严。前景兵卒持枪列阵，排布如仪，中阶武将官员按品阶肃立，高阶廊下观礼人群层次分明。\n作者以细腻的线条勾勒出斗拱飞椽的建筑细节，仪仗器物分毫毕现，将平叛庆功的庄重隆重全然铺展。笔触克制冷静，却在规整的列队排布里藏着皇权仪仗的盛大威仪，中西技法相融，定格下这场彰显功勋与礼制的肃穆时刻。",[52,93,258,29,30,205,33,481,117,401,168,155,482,483,7,484],"士兵","栏杆","宫墙","仪式场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc7fd54ae62b5863cdbeb3e7848fee4.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":86,"author":47,"museum":461,"description":491,"tags":492,"thumbUrl":497,"material":58,"size":77,"collection":77,"collections":498,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":63},215917,"di-jian-tu-shuo-cai-hui-ben-87-yi-ming-215917","帝鉴图说彩绘本-87","画面亭台错落，朱红廊柱与青绿瓦檐相映成趣，庭院花木扶疏，景致雅致古朴。中央车辇为焦点，侍从簇拥左右，似正演绎“羊车选幸”的历史场景——帝王逸乐之态隐于其间，暗合劝诫深意。庭院人物神态生动，或对谈或侍立，动静交织尽显宫廷细节。笔触细腻入微，建筑规制考究，设色明丽却不失古雅，既见清代绘本写实功底，又以视觉叙事传递治世镜鉴。观者赏画时，可从花木扶疏的庭院、侍从恭谨的姿态里，感悟历史智慧与艺术之美交融的独特韵味。",[24,53,93,52,29,30,205,54,115,493,373,494,495,496,7],"宫室","廊庑","石阶","门洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c94d90e73b714ec9b621a72a4a26c8.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":86,"author":47,"museum":67,"description":503,"tags":504,"thumbUrl":507,"material":75,"size":76,"collection":77,"collections":508,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":81},274963,"cu-mu-hong-qi-fu-qian-luan-jia-yi-ming-274963","粗木红漆佛前銮驾","朱漆晕着岁月旧痕，粗木骨架仍存朴拙威仪。仪仗错落排开，鎏金文牌虽已暗哑，郑重感却未曾淡去。仪仗杆饰件磨蚀斑驳，残留的布缨垂着旧年佛事的余温。\n\n它以朴素的木作髹漆工艺，凝住往昔佛会前的整肃仪轨，将烟火里的信仰分量沉淀其中，静静铺陈着昔日梵音仪仗的肃穆氛围。",[351,505,402,27,7,506],"漆器","红漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2cdf3ca40f47ab90119336abd24dd04.jpg",[],{"id":510,"slug":511,"title":512,"dynasty":46,"author":47,"museum":67,"description":513,"tags":514,"thumbUrl":519,"material":75,"size":76,"collection":77,"collections":520,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},254075,"tao-lv-you-yi-zhang-yong-yi-ming-254075","陶绿釉仪仗俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[515,353,29,516,517,7,352,518],"陶瓷","绿釉","明代","陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26e03afd9cf24b2ba94d05256762bcf1.jpg",[],{"id":522,"slug":523,"title":524,"dynasty":46,"author":47,"museum":67,"description":513,"tags":525,"thumbUrl":527,"material":75,"size":76,"collection":77,"collections":528,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":358},253893,"san-cai-yi-zhang-yong-yi-ming-253893","三彩仪仗俑",[517,515,353,526,53,29,7],"三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b5ac27624d61ed584353721aa5d749.jpg",[],{"id":530,"slug":531,"title":532,"dynasty":46,"author":47,"museum":67,"description":513,"tags":533,"thumbUrl":535,"material":75,"size":76,"collection":77,"collections":536,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":358},252975,"tao-zi-lv-you-qi-ma-yi-zhang-yong-yi-ming-252975","陶紫绿釉骑马仪仗俑",[515,534,53,29,113,353,7],"釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022806d4befe0563a1a0c87f340f6895.jpg",[],{"id":538,"slug":539,"title":532,"dynasty":46,"author":47,"museum":67,"description":513,"tags":540,"thumbUrl":542,"material":75,"size":76,"collection":77,"collections":543,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},252972,"tao-zi-lv-you-qi-ma-yi-zhang-yong-yi-ming-252972",[515,541,352,353,29,113,7],"紫绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedfb4d4e96e403c777c229a066b76d4.jpg",[],{"id":545,"slug":546,"title":532,"dynasty":46,"author":47,"museum":67,"description":513,"tags":547,"thumbUrl":548,"material":75,"size":76,"collection":77,"collections":549,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":358},252969,"tao-zi-lv-you-qi-ma-yi-zhang-yong-yi-ming-252969",[517,515,353,29,113,541,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c89bbd3295b956682dbb26e70e225ec.jpg",[],{"id":551,"slug":552,"title":553,"dynasty":86,"author":47,"museum":67,"description":554,"tags":555,"thumbUrl":561,"material":75,"size":76,"collection":77,"collections":562,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},238623,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238623","平定台湾战图册","这幅铜版画以精细线刻铺展庆功盛景，规整的皇家院落中，殿宇层叠轩朗。文武官员按阶序排班跪拜，肃穆行礼，殿侧仪仗齐整，廊下侍从恭立，将君臣同贺的隆重场面细腻呈现。创作者以明暗光影勾勒建筑的进深层次，复刻宫廷仪制的严整威仪，将平定之后的恩赏盛典如实铺陈，带着纪实的厚重质感，把得胜荣归的庄重与朝堂庆功的恢宏气象凝于画面，让观者得以窥见彼时礼制风华与军功赫赫后的荣隆光景。",[449,258,556,30,29,7,557,558,559,560],"线刻","庆功盛典","宫廷仪制","纪实","平定台湾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9eb05191228d65f5b372dba9a4c5c46.jpg",[],{"id":564,"slug":565,"title":566,"dynasty":18,"author":47,"museum":67,"description":567,"tags":568,"thumbUrl":577,"material":75,"size":76,"collection":77,"collections":578,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},227147,"dun-huang-18-yi-ming-227147","敦煌18","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。",[569,570,53,52,571,572,29,327,573,118,7,574,98,575,316,576],"唐代","敦煌风格","重彩","壁画技法","神兽","宗教题材","古代绘画","服饰纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe7dc9124d0e6a34cc25abf07ce98e0.jpg",[],1777535711629]