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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。",[25,42,44,46,23,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb00133f49717ff7e742d897795fa5d.jpg",[],20,{"id":74,"slug":75,"title":76,"dynasty":39,"author":19,"museum":20,"description":68,"tags":77,"thumbUrl":81,"material":59,"size":60,"collection":30,"collections":82,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},253998,"tong-liu-jin-dao-jiao-zuo-xiang-yi-ming-253998","铜鎏金道教坐像",[78,79,43,44,23,80,26,7],"唐代","青铜器","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76746ce230daa117d47827118035e711.jpg",[],19,"795548",{"id":86,"slug":87,"title":88,"dynasty":39,"author":19,"museum":89,"description":90,"tags":91,"thumbUrl":10,"material":59,"size":60,"collection":30,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":84},226273,"ku-zhu-shi-xi-bi-yi-ming-226273","窟主室西壁","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。",[78,92,93,23,26,94,95,96,7],"壁画","设色","佛","弟子","力士",[],14,{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":108,"material":59,"size":60,"collection":30,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":84},274661,"tong-liu-jin-qian-lv-song-shi-jin-gang-pu-sa-yi-ming-274661","铜鎏金嵌绿松石金刚菩萨","明","此造像宝冠层叠华美，绿松石星罗点缀于璎珞、宝冠之间，似将雪域灵光凝于一身。菩萨面容沉静慈悲，双目垂敛，自带祥和气韵，双手结印，跏趺安坐于仰覆莲台之上，衣褶流转柔和，鎏金包浆温润厚重，带着时光浸养的古朴质感。\n\n整体造型端庄饱满，工艺精湛考究，松石的幽蓝与金箔的暖光相映，既显宝相庄严，又藏灵动雅致，将神性的肃穆与工艺的巧思相融，静穆间自有震慑人心的神圣力量。",[23,46,106,42,43,107,44,7],"金刚菩萨","嵌绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1f3fa28a167ac69c9e2579f5ddb59.jpg",[],12,{"id":112,"slug":113,"title":114,"dynasty":103,"author":19,"museum":20,"description":68,"tags":115,"thumbUrl":120,"material":59,"size":60,"collection":30,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":34},253942,"tong-liu-jin-wen-shu-pu-sa-zuo-xiang-yi-ming-253942","铜鎏金文殊菩萨坐像",[116,42,43,44,23,26,117,118,119,7],"明代","坐像","宝冠","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6edfeb0ed876852ecb3f7b3609198026.jpg",[],11,{"id":124,"slug":125,"title":126,"dynasty":127,"author":19,"museum":20,"description":128,"tags":129,"thumbUrl":132,"material":59,"size":60,"collection":30,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":84},253371,"tong-liu-jin-di-zang-pu-sa-xiang-yi-ming-253371","铜鎏金地藏菩萨像","隋","此像身姿舒展自在，半跏趺坐于莲台之上，眉目柔和沉静，宝相慈悲端严。透雕火焰纹头光翻卷灵动，烘托出神圣肃穆的法相，将菩萨飘然出尘的气韵尽数彰显。下方枝茎形底座缠绕卷曲，宛如盛放莲枝，让整尊造像更显轻盈空灵。\n\n鎏金历经岁月斑驳脱落，反而晕染出古朴厚重的历史质感，隋代造像的简约雅致与佛教造像的沉静慈悲融为一体，尽显当时造像工艺的纯熟造诣，在沉静中诉说着往昔的宗教美学意趣。",[130,42,43,44,23,131,7],"隋代","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea41b4651ba2e3f0de141da5b9701c89.jpg",[],7,{"id":136,"slug":137,"title":138,"dynasty":103,"author":19,"museum":20,"description":68,"tags":139,"thumbUrl":142,"material":59,"size":60,"collection":30,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":34},254410,"tong-wen-shu-pu-sa-zuo-xiang-yi-ming-254410","铜文殊菩萨坐像",[116,42,44,23,26,140,117,7,141],"兽","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf8a7e6293ad19ef507d26760d64e84.jpg",[],6,{"id":146,"slug":147,"title":148,"dynasty":55,"author":19,"museum":20,"description":68,"tags":149,"thumbUrl":151,"material":59,"size":60,"collection":30,"collections":152,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":84},253606,"tong-chan-ding-fu-zuo-xiang-yi-ming-253606","铜禅定佛坐像",[55,79,42,44,23,26,150,7],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55746933a041ec7ca97d42325a0267e5.jpg",[],{"id":154,"slug":155,"title":156,"dynasty":55,"author":19,"museum":20,"description":157,"tags":158,"thumbUrl":160,"material":59,"size":60,"collection":30,"collections":161,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":34},252903,"di-xun-sheng-zao-shi-guan-yin-xiang-yi-ming-252903","邸荀生造石观音像","尖形背光舒展如叶，浅刻卷纹晕出朦胧佛光。观音面容温婉沉静，宝冠整饬，发丝层叠，右手轻抬似在予人慰藉，身形秀挺立于莲台。饱满莲瓣层层舒展，稳稳承托出圣洁身形。\n\n经年风化让石面晕开斑驳肌理，方座刻痕虽漫漶，却沉淀下岁月的厚重。造像刀法洗练克制，将神性的端宁与手工的温度相融，褪去鲜亮的石色间，仍能窥见往昔造像时的虔诚，静穆之中尽显东方造像含蓄雅致的审美意趣。",[55,159,44,23,46,26,7],"石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd299f8d4b9d8822faa8790edaf01ff65.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":103,"author":19,"museum":20,"description":68,"tags":166,"thumbUrl":169,"material":59,"size":60,"collection":30,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":34},254246,"tong-liu-jin-pu-sa-zuo-xiang-yi-ming-254246","铜鎏金菩萨坐像",[116,23,42,43,44,131,117,167,168,7],"莲座","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a9712b9a15b4878ce7ac2f6a3ae277.jpg",[],5,{"id":173,"slug":174,"title":175,"dynasty":127,"author":19,"museum":20,"description":176,"tags":177,"thumbUrl":179,"material":59,"size":60,"collection":30,"collections":180,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":181},252931,"shi-pu-sa-li-xiang-yi-ming-252931","石菩萨立像","这件造像以汉白玉雕就，虽首臂残缺，却依旧尽显秀雅端严。通身璎珞层叠垂绕，珠串婉转勾勒出躯体柔美的轮廓，腰间宝带束身，垂饰错落垂落，与垂坠舒展的衣褶相得益彰。\n\n匠师以凝练的刀法刻画出长裙褶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品铜镀金佛-文殊菩萨","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。",[42,24,44,23,46,335,7],"文殊菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a69765a264886a2476227b40b5659e0.jpg",[],{"id":339,"slug":340,"title":341,"dynasty":18,"author":19,"museum":20,"description":342,"tags":343,"thumbUrl":345,"material":59,"size":60,"collection":30,"collections":346,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":84},256115,"jin-you-fen-cai-ci-wu-liang-shou-fu-zuo-xiang-yi-ming-256115","金釉粉彩瓷无量寿佛坐像","由于金釉特殊的颜色和地位，金釉器物的数量很少，雍正时期有杯、盘。乾隆朝的金釉器物以金釉法轮、金釉加彩佛像宗教用具为多。此杯精巧玲珑，胎薄质细，蓝釉深沉素雅，金彩雍容华贵，给人以富丽堂皇之感。器历经数百年，金彩鲜艳如初，十分难得。\n金彩装饰瓷器始于唐代，元代景德镇窑瓷器上运用描金手法，而通体施金釉的瓷器，直至清代康熙晚期出现。金釉制作工艺从严格意义上讲应为“彩”，是在金块研磨、过筛后，加蒜汁搅拌后涂抹在瓷器上（慈禧以后，西洋料进来的更加频繁，用乳胶取代了蒜汁），低温烧烤后，再用玛瑙研磨，使金釉表面光亮。由于烧成温度低，金釉的色彩极易脱落，保存颇为不易。金釉是唯有皇帝才能享用的帝王之色。釉彩成色十足，釉色如黄金般耀眼夺目，原件为大清康熙年制。",[18,197,344,196,23,26,7],"金釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1aa42b972ec852d03593b8ae1c1b6b.jpg",[],{"id":348,"slug":349,"title":350,"dynasty":39,"author":19,"museum":20,"description":351,"tags":352,"thumbUrl":353,"material":59,"size":60,"collection":30,"collections":354,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":34},255034,"shi-pu-sa-xiang-tou-yi-ming-255034","石菩萨像头","面相丰润饱满，尽显柔婉端雅的神韵。眉眼低垂弯如新月，似在敛眸静思，唇角噙着若有似无的笑意，将悲悯从容的气度藏于眉目之间。发髻纹路雕琢细腻流畅，卷丝缠绕如流云萦鬓。石身虽带着岁月磨蚀的斑驳残损，却更添沉静厚重的质感，把独有的典雅温润凝于方寸，静穆之中自带神性的安宁，引人心生平和敬意。",[78,44,178,23,46,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8065ffe97c1afa7b1b3384d27833fb6a.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":18,"author":19,"museum":20,"description":359,"tags":360,"thumbUrl":363,"material":59,"size":60,"collection":30,"collections":364,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":84},254948,"mu-diao-jin-qi-wu-liang-shou-fu-zuo-xiang-yi-ming-254948","木雕金漆无量寿佛坐像","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[25,361,234,23,46,26,7,362],"木雕","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73bb3a7b74d6d4487f83552c30d507f5.jpg",[],{"id":366,"slug":367,"title":368,"dynasty":55,"author":19,"museum":20,"description":369,"tags":370,"thumbUrl":371,"material":59,"size":60,"collection":30,"collections":372,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":34},254884,"tong-yi-fu-er-pu-sa-zao-xiang-yi-ming-254884","铜一佛二菩萨造像","斑驳铜锈晕开千年时光，背光浅刻卷云萦绕晕出朦胧佛光。主尊面容清癯秀雅，身着褒衣博带袈裟，右手施无畏印，沉静端严，尽显秀骨清像的北朝风骨。两侧胁侍恭谨颔首，拱卫主尊，仪态温婉肃穆。朴拙厚重的板凳式底座稳稳托举起整座造像的庄严气场，以凝练的造型传递出静谧沉肃的宗教气韵，暗哑铜色间，依旧能窥见早期佛教造像简雅端凝的审美意趣。",[55,23,42,44,79,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e500fd1fe17faf9b5c43404e83fe67.jpg",[],{"id":374,"slug":375,"title":376,"dynasty":39,"author":19,"museum":20,"description":377,"tags":378,"thumbUrl":379,"material":59,"size":60,"collection":30,"collections":380,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":34},254512,"tong-liu-jin-pu-sa-li-xiang-yi-ming-254512","铜鎏金菩萨立像","此造像身形挺拔秀颀，鎏金虽已晕染斑驳，仍掩不住华贵底色。菩萨面容沉静温婉，宝冠端严，躯体丰腴合度，衣纹轻贴肌体，线条洗练柔和，尽得舒展灵动的韵致。尖耸背光之上顶饰化佛，愈发衬出造像的神圣庄严。四足台座沉稳朴拙，托举起整尊造像，比例匀停和谐。神性的肃穆与唐人审美里的柔美雅致相融，历经岁时磨洗，古雅厚重的质感愈发醇厚，是一件兼具宗教意蕴与审美价值的精巧之作。",[78,23,42,43,44,45,131,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f070a61d9878278ccdf96db6e24970.jpg",[],{"id":382,"slug":383,"title":384,"dynasty":55,"author":19,"museum":20,"description":385,"tags":386,"thumbUrl":390,"material":59,"size":60,"collection":30,"collections":391,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":34},254316,"tong-liu-ye-nu-zao-shi-jia-duo-bao-fo-xiang-yi-ming-254316","铜刘也奴造释迦多宝佛像","舟形尖顶背光修长舒展，浅刻莲纹点缀其间，素雅古朴。两佛并坐方台，结跏趺坐，面容沉静和柔，衣纹简约凝练，尽显洗练之风。整体铜色沉穆，包浆厚重，带着岁月摩挲的温润质感。\n造像虽体量小巧，却以极简线条勾勒出佛陀端严慈悲的气韵，空灵静穆之美凝于方寸之间，暗含早期佛教造像的质朴庄严意趣，尽显这一时期造像的典型审美特质，是一件极具代表性的小型造像佳作。",[55,23,42,44,387,388,389,7],"佛像","双佛","背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758e485d808932ccd4ef4f8b5b507008.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":55,"author":19,"museum":20,"description":396,"tags":397,"thumbUrl":399,"material":59,"size":60,"collection":30,"collections":400,"showCount":63,"zanCount":1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