[{"data":1,"prerenderedAt":85},["ShallowReactive",2],{"subject-yue-qi-yan-zou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2834,"yue-qi-yan-zou","乐器演奏","乐器演奏画高清赏析","精选中国历代乐器演奏题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0fb4f4ad8788546ddc5afcf0f8475e.jpg",0,3,[14,43,68],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},289207,"gountei-sadahide-foreigners-in-the-drawing-room-yi-ming-289207","Gountei Sadahide--Foreigners in the Drawing Room","不详","佚名","藏地不详","这幅三联绘定格了开埠之初的交融日常，欧陆客厅里，外客围坐举杯谈笑，舷窗外远洋航船隐约可见，西洋吊灯晕开精致暖意。和服侍女款步奉茶，洋装女眷或持烟闲憩、或拨弄弦乐，东瀛华服与西洋裙装错落交织，将东西日常美学揉于一室。画面铺陈出新旧碰撞的鲜活切片，异质文化在方寸画纸间安然共处，藏着那个特殊年代里开放又微妙的风土，温柔定格下文明相遇时的鲜活瞬间。",[23,24,25,26,27,28,7,29,30,31,32,33,34,35],"浮世绘","设色","人物画","会客厅","宴饮","饮酒","和服","西洋服饰","侍女","吊灯","海景","船舶","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e0d5a1875c992991b9f1f6fd7ef862f.jpg","未知","Xcm*Xcm","",[],2,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":19,"museum":20,"description":48,"tags":49,"thumbUrl":10,"material":37,"size":38,"collection":39,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},252947,"shi-chui-pai-xiao-ji-le-zuo-xiang-yi-ming-252947","石吹排箫伎乐坐像","唐","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese 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。",[50,51,52,53,54,55,56,57,58,59,60,61,62,63,7,64],"唐代","石雕","雕刻","伎乐","人物","乐器","排箫","坐像","石质","宗教","乐舞","石质雕刻","唐代风格","伎乐形象","坐像造型",[],1,"37474F",{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":20,"description":73,"tags":74,"thumbUrl":81,"material":82,"size":83,"collection":39,"collections":84,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":42},215792,"min-jian-yan-zou-tu-ce-13-yi-ming-215792","民间演奏图册-13","清","素纸之上，两位清人身影鲜活如昨。立者紫袍轻垂，团扇半展，似欲随隐约的节拍轻摇；坐者红绿衣袂相映，俯身案前，指尖捻动的器物藏着市井闲趣。线条朴拙却见情致，色彩淡染而鲜活——没有繁复的装饰，只以日常的互动勾连起烟火气：或许是一曲未终的小调，或许是一段相谈甚欢的闲叙。\n\n佚名画师以细腻观照捕捉民间片刻：衣褶的起伏藏着风的痕迹，眉眼的微蹙含着专注的暖意。笔墨间没有宏大叙事，却将平凡日子里的温情与生动凝于方寸，让百年后的我们仍能触摸到那个时代里，市井角落的细碎欢愉，仿佛听见器物碰撞的轻响，混着两人低声的谈笑，漫过时光的缝隙。",[75,76,77,24,54,78,7,79,80],"国画","书画","册","民间生活","清代","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb792b7fc748f417e6fbf50c01a2d5d0c.jpg","纸本,设色","27x 41",[],1777535774863]