[{"data":1,"prerenderedAt":558},["ShallowReactive",2],{"subject-zhong-cai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},67,"zhong-cai","重彩","重彩画高清赏析","精选中国历代重彩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daf92c1caedf9bf1899c04753b6165a.jpg",0,38,[14,54,73,88,99,120,148,161,177,190,204,216,234,252,263,275,289,301,330,340,349,369,378,391,399,408,417,427,435,453,462,473,482,494,508,519,531,540],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":47,"material":26,"size":48,"collection":49,"collections":50,"showCount":51,"zanCount":52,"manualWeight":11,"mainColor":53},219259,"lv-du-mu-tang-ka-yi-ming-219259","绿度母唐卡","清","佚名","美国克利夫兰艺术博物馆","绿度母为观世音菩萨的化身。全称圣救度佛母，我国古代称多罗菩萨、多罗观音，度母有许多不同的化现，包括有二十一度母、五百度母等等，皆为观世音菩萨之化身，而绿度母为所有度母之主尊，总摄其余二十尊化身之所有功德，她能救八种苦难，如狮难、象难、蛇难、水难、牢狱难、贼难、非人难，又称为“救八难度母”。同时，还能把称为五毒的人类行为贪、嗔痴、慢、疑中的“疑”转成究竟圆满的智慧，有护持妇妇幼儿的功德。满足一切众生愿求，现世富贵长寿平安吉祥、除诸病苦业魔障碍等，帮助众生解脱生死苦海，命终往生极乐世界。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35,36,37,38,39,40,41,42,43,44,45,46],"高清","清代","宗教","设色","工笔","人物","兽","莲花座","法器","宝相花","祥云","金箔","神佛","华丽纹饰","佛教题材","传统绘画","宗教艺术","彩绘","佛教造像","坐姿","珠宝配饰","背光","红绿色调","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ac8bfafa525c5792f7b1976d8fd638.jpg","","人物画精选",[49],173,2,"795548",{"id":55,"slug":56,"title":57,"dynasty":58,"author":19,"museum":59,"description":60,"tags":61,"thumbUrl":67,"material":68,"size":69,"collection":48,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},228180,"yong-le-gong-bi-hua-chao-yuan-tu-quan-tu-yi-ming-228180","永乐宫壁画朝元图全图","元","藏地不详","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,62,63,64,65,66,25,26,28,27,7],"名画","国画","书画","元代","壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876253f354c6f4ded8f8464fd3ee1773.jpg","未知","Xcm*Xcm",[],167,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":77,"author":19,"museum":59,"description":78,"tags":79,"thumbUrl":84,"material":68,"size":69,"collection":48,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":87},228414,"shui-yue-guan-yin-zuo-xiang-yi-ming-228414","水月观音坐像","明","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。",[80,63,64,26,27,25,28,81,7,37,82,33,83],"明代","云雾","衣纹勾勒","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5ec879dad57cb6f26224e6447e0ea1.jpg",[],164,"37474F",{"id":89,"slug":90,"title":91,"dynasty":77,"author":19,"museum":20,"description":92,"tags":93,"thumbUrl":96,"material":26,"size":48,"collection":49,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":53},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[23,63,27,26,7,25,28,94,33,95,80],"兵器","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[49],100,{"id":100,"slug":101,"title":102,"dynasty":77,"author":19,"museum":103,"description":104,"tags":105,"thumbUrl":114,"material":115,"size":48,"collection":116,"collections":117,"showCount":118,"zanCount":119,"manualWeight":11,"mainColor":87},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","日本东京国立博物馆","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,63,27,26,106,25,28,107,108,109,110,7,111,37,112,113],"立轴","孔雀","鸟","莲花","多臂人物","装饰图案","动物","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg","设色,绢本","设色画精选",[116],84,1,{"id":121,"slug":122,"title":123,"dynasty":77,"author":124,"museum":125,"description":126,"tags":127,"thumbUrl":142,"material":143,"size":144,"collection":145,"collections":146,"showCount":147,"zanCount":119,"manualWeight":11,"mainColor":72},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册","仇英","北京故宫博物院","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[63,64,128,27,26,7,28,129,130,131,132,133,134,135,136,137,138,139,140,141],"册","山水","楼阁","仕女","文人","知音","乐器","花鸟","历史故事","亭台","松林","流水","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","绢本，设色","纵41.4厘米，横33.8厘米","山水画精选",[145,49,116],61,{"id":149,"slug":150,"title":151,"dynasty":152,"author":153,"museum":59,"description":154,"tags":155,"thumbUrl":159,"material":68,"size":69,"collection":48,"collections":160,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":87},230654,"wu-liang-shou-fu-jing-tu-xiang-xi-zang-tang-ka-230654","无量寿佛净土像","不详","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[23,156,25,26,27,7,28,130,33,129,113,139,157,158],"唐卡","宗教造像","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10df8168c8017de1f6c15027c9a30589.jpg",[],{"id":162,"slug":163,"title":164,"dynasty":18,"author":165,"museum":166,"description":167,"tags":168,"thumbUrl":172,"material":173,"size":174,"collection":48,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":72},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","台北故宫博物院","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。",[23,63,106,25,27,26,28,129,33,95,94,169,24,7,170,171,139],"印章","神像","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 设色","114.5x66.5厘米",[],48,{"id":178,"slug":179,"title":180,"dynasty":18,"author":181,"museum":59,"description":182,"tags":183,"thumbUrl":187,"material":48,"size":48,"collection":48,"collections":188,"showCount":189,"zanCount":52,"manualWeight":11,"mainColor":53},230229,"guang-xu-tong-guang-shi-san-jue-zhong-cai-tu-juan-shen-rong-pu-230229","光绪 同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,62,63,64,184,26,7,27,28,185,186],"长卷","戏曲人物","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],46,{"id":191,"slug":192,"title":193,"dynasty":152,"author":194,"museum":59,"description":195,"tags":196,"thumbUrl":201,"material":48,"size":48,"collection":48,"collections":202,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":53},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","酒井抱一","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[23,63,64,197,26,28,198,29,25,38,199,200,27,7],"屏风","神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],43,{"id":205,"slug":206,"title":207,"dynasty":77,"author":19,"museum":59,"description":208,"tags":209,"thumbUrl":213,"material":48,"size":48,"collection":48,"collections":214,"showCount":215,"zanCount":119,"manualWeight":11,"mainColor":53},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[63,64,28,210,27,26,211,212,95,7],"肖像","宫廷人物","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],41,{"id":217,"slug":218,"title":219,"dynasty":220,"author":19,"museum":221,"description":222,"tags":223,"thumbUrl":232,"material":68,"size":69,"collection":48,"collections":233,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":53},226173,"ku-qian-shi-xi-bi-yi-ming-226173","窟前室西壁","唐","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。",[66,224,25,26,28,225,7,226,227,228,229,230,231],"唐代","线描","唐代风格","宗教题材","人物形象","壁画技法","色彩设色","线描勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85e8b7a9cdaee52ab3bffd6f3d309d6.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":18,"author":19,"museum":238,"description":239,"tags":240,"thumbUrl":248,"material":249,"size":48,"collection":49,"collections":250,"showCount":251,"zanCount":119,"manualWeight":11,"mainColor":72},218301,"guan-lao-fu-ren-xiang-yi-ming-218301","关老夫人像","美国弗利尔美术馆","端坐的身影透着沉静雍容，面容温婉却自带庄重气度。华服以蓝为底，金线绣制的祥龙穿梭于云纹与海水之间，龙姿灵动，辅以五彩纹饰，层次叠嶂间尽显华贵威仪。座椅锦纹繁复，脚下地毯图案精巧，几何纹样与吉祥符号交织，每一处细节皆见工艺之精湛。工笔线条细腻流畅，设色典雅厚重，既承清代肖像画写实传统，又以华丽装饰烘托人物尊贵身份，仿佛能透过画面，触摸到那个时代贵族女性的生活风貌与内敛风华。",[23,63,64,106,27,26,28,241,242,212,95,210,7,243,244,245,246,247],"女性","古装","龙","传统服饰","清代风格","工笔肖像","服饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b6480f243d307433c43aef2eaa0f4a.jpg","绢本,设色",[49],31,{"id":253,"slug":254,"title":255,"dynasty":18,"author":19,"museum":59,"description":256,"tags":257,"thumbUrl":260,"material":68,"size":69,"collection":48,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":53},234413,"zhi-xing-fu-mu-tang-ka-yi-ming-234413","智行佛母唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[25,27,26,7,106,28,33,113,258,171,259,44,32,111],"山峦","火焰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],29,{"id":264,"slug":265,"title":266,"dynasty":220,"author":19,"museum":221,"description":222,"tags":267,"thumbUrl":273,"material":68,"size":69,"collection":48,"collections":274,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":53},226255,"ku-zhu-shi-bei-bi-yi-ming-226255","窟主室北壁",[66,25,268,269,27,26,130,28,270,226,271,272,7],"界画","青绿","建筑","庭院","线条细致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":19,"museum":59,"description":256,"tags":279,"thumbUrl":286,"material":68,"size":69,"collection":48,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":72},234447,"e-mi-tuo-fo-ji-le-shi-jie-tang-ka-yi-ming-234447","阿弥陀佛极乐世界唐卡",[156,25,27,26,7,28,130,33,109,280,129,270,281,282,283,284,285],"飞天","菩萨","罗汉","侍从","神兽","莲花池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1547b88b586a795e0d8869e0cdf7e3a.jpg",[],27,{"id":290,"slug":291,"title":292,"dynasty":77,"author":19,"museum":59,"description":293,"tags":294,"thumbUrl":298,"material":48,"size":48,"collection":48,"collections":299,"showCount":300,"zanCount":119,"manualWeight":11,"mainColor":53},228801,"shi-di-pu-sa-xiang-yi-ming-228801","十地菩萨像","六尊菩萨安坐翻卷云海之间，排布错落有致，尽显天界雍容气象。菩萨面相圆柔端雅，眉眼低垂含慈悲静穆之态，衣袂层叠舒展，璎珞宝饰纤毫毕现，纹饰繁而不乱，金线勾勒更添华贵庄严。整作设色古雅厚重，朱砂石青晕染出沉稳底色，金箔提亮衣纹宝光，祥云流转灵动，衬出缥缈空灵的圣域氛围。画作工细精湛，将佛教造像的神性肃穆与工笔重彩的美学意趣相融，尽显佛绘艺术的精妙造诣。",[23,63,25,28,27,7,26,281,33,295,296,297],"佛教","华贵","慈悲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27734dfb81a119cd087bce61c2f19059.jpg",[],25,{"id":302,"slug":303,"title":304,"dynasty":18,"author":305,"museum":306,"description":307,"tags":308,"thumbUrl":325,"material":326,"size":327,"collection":48,"collections":328,"showCount":329,"zanCount":119,"manualWeight":11,"mainColor":53},222992,"hong-lou-meng-117-sun-wen-222992","红楼梦117","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",[23,27,26,7,28,309,310,197,311,312,186,313,314,315,316,317,318,319,320,321,322,323,324],"室内场景","家具","桌椅","对联","镜子","坐垫","地砖","室内装饰","古装人物","跪姿人物","站立人物","坐像人物","器物","红色织物","彩色服饰","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd16ff9d69ff438ca69c1c2cca252e1f.jpg","绢本","纵43.3厘米、横76.5厘米",[],21,{"id":331,"slug":332,"title":333,"dynasty":18,"author":305,"museum":306,"description":307,"tags":334,"thumbUrl":337,"material":326,"size":327,"collection":48,"collections":338,"showCount":339,"zanCount":11,"manualWeight":11,"mainColor":72},223044,"hong-lou-meng-169-sun-wen-223044","红楼梦169",[23,63,27,26,268,24,28,130,271,335,336,317,7],"芭蕉","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb909f1c9bff1f55e71f375d4921777f1.jpg",[],19,{"id":341,"slug":342,"title":343,"dynasty":77,"author":19,"museum":59,"description":344,"tags":345,"thumbUrl":346,"material":48,"size":48,"collection":48,"collections":347,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":53},231355,"ming-dai-di-hou-ban-shen-xiang-yi-ming-231355","明代帝后半身像","明宣宗朱瞻基（1399年3月16日－1435年1月31日），或称宣宗章皇帝，明仁宗嫡长子，永乐九年（1411年）立为皇太孙；永乐二十二年（1424年）十月立为皇太子。洪熙元年（1425年）即位，次年改元宣德，明朝第5位皇帝，在位十年，享年35岁。宣德元年（1426年）平定高煦之乱，和其父仁宗一样，比较能倾听臣下的意见，听从二朝元老兼阁臣杨士奇、杨荣、杨溥等建议，停止对交阯用兵，与明仁宗并称“仁宣之治”，宣宗时君臣关系融洽，经济也稳步发展。不过，他也开启此后宦官干政的局面。",[23,63,27,26,28,210,80,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff976655db328fbf0430dd7f89d4a9c84.jpg",[],17,{"id":350,"slug":351,"title":352,"dynasty":18,"author":353,"museum":125,"description":354,"tags":355,"thumbUrl":366,"material":143,"size":367,"collection":48,"collections":368,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":72},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10","郎世宁","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,62,63,64,356,27,26,357,358,135,359,360,361,362,363,364,365,7],"册页","中西合璧","写实","鸢尾花","花朵","叶子","石头","植物","光影","透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg","纵32.6厘米，横28.6厘米",[],{"id":370,"slug":371,"title":372,"dynasty":220,"author":19,"museum":59,"description":373,"tags":374,"thumbUrl":375,"material":68,"size":69,"collection":48,"collections":376,"showCount":377,"zanCount":119,"manualWeight":11,"mainColor":53},230934,"si-fu-ju-hui-tu-yi-ming-230934","四佛聚会图","画面饱满庄严，四方诸佛环坐为主体，朱红佛衣衬得宝相慈悲端凝，圆光覆顶，结印安坐，自带静穆神圣之感。诸天、护法层层簇拥排布，云气晕染铺陈出缥缈佛国意境。\n\n设色沉敛古雅，朱砂石色经岁月浸润依旧鲜亮厚重，细密劲挺的铁线描，勾勒出衣袂褶皱的飘逸流畅，亦将宝冠璎珞的精致细节尽显无遗。对称构图烘托出佛会的肃穆安然，诸佛神态平和悠远，护法身形雄健威仪，动静间尽显极乐盛会的恢宏庄重，尽显唐代宗教绘画的典型特质，将佛国世界的神圣静穆具象展现，古韵佛风厚重绵长。",[63,64,25,27,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971efa0fae36413b85480bdac863dadc.jpg",[],15,{"id":379,"slug":380,"title":381,"dynasty":18,"author":19,"museum":59,"description":382,"tags":383,"thumbUrl":388,"material":68,"size":69,"collection":48,"collections":389,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":72},238884,"qing-ren-yang-ti-bi-mi-fo-xiang-zhou-yi-ming-238884","清人阳体袐密佛像轴","此作为密宗造像佳作，主体六臂蓝身本尊拥明妃安坐莲台，宝冠璎珞遍身，法相庄严肃穆。构图对称饱满，上方胁侍化相缭绕云间，下方护法神众神态威猛，青绿底色晕染出祥瑞云海，石青、朱红、赤金交织，色调浓烈明快。线条勾勒细腻流畅，衣袂纹饰晕染层次分明，诸佛神韵具足，护法气势凛然。将藏地密教的神秘仪轨融于重彩工笔之中，尽显清代藏传佛画的极致工巧，兼具宗教精神内核与极高审美价值。",[63,106,384,27,26,7,385,386,387,28,269],"宗教画","密宗","佛像","护法神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa57ea55486a3cc7ae74c42e5ab83c9.jpg",[],12,{"id":392,"slug":393,"title":394,"dynasty":220,"author":19,"museum":221,"description":222,"tags":395,"thumbUrl":397,"material":68,"size":69,"collection":48,"collections":398,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":87},226217,"ku-zhu-shi-xi-pi-yi-ming-226217","窟主室西披",[66,224,26,25,28,27,225,111,7,396],"纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d3afc8771fd6ddd38808ce51e0535d.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":18,"author":19,"museum":59,"description":256,"tags":403,"thumbUrl":405,"material":68,"size":69,"collection":48,"collections":406,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":53},234460,"ha-luo-ha-luo-guan-shi-yin-pu-sa-tang-ka-yi-ming-234460","哈罗哈罗观世音菩萨唐卡",[156,25,26,7,28,281,109,284,33,31,83,404],"矿物颜料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4439643b6415ddf95186388108fce184.jpg",[],9,{"id":409,"slug":410,"title":411,"dynasty":18,"author":19,"museum":59,"description":412,"tags":413,"thumbUrl":415,"material":68,"size":69,"collection":48,"collections":416,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":53},234449,"qing-ren-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234449","清人威罗瓦金刚像轴","主尊通体钴蓝，正中牛首忿怒威严，九头层叠舒展，十六臂分持诸般法器，环抱明妃，足踏莲台，身缠烈烈背光火焰，将降伏邪魔的怖畏气势拉满。上方诸天护法身姿各异、神态端严，下方铺陈护法眷属与祥瑞地景。\n\n整幅设色浓丽饱满，石青、朱赤与赤金交晕，线条细密流畅，衣饰纹样繁而不乱，尽显精湛工笔造诣。构图层次井然，以炽热色彩烘托出密宗护法的慑人气场，将宗教神性与审美价值融于一体，是藏传佛教造像唐卡的上乘之作。",[62,63,64,106,25,26,27,28,414,33,7],"火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ce941e1e260cdb1a2a914e885c88de.jpg",[],{"id":418,"slug":419,"title":420,"dynasty":77,"author":124,"museum":125,"description":126,"tags":421,"thumbUrl":424,"material":143,"size":144,"collection":48,"collections":425,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":426},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[62,63,64,128,27,26,129,28,422,423,171,270,169,7],"舟船","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg",[],"F48FB1",{"id":428,"slug":429,"title":430,"dynasty":18,"author":19,"museum":59,"description":256,"tags":431,"thumbUrl":432,"material":68,"size":69,"collection":48,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":72},234459,"quan-heng-san-jie-guan-shi-yin-pu-sa-tang-ka-yi-ming-234459","权衡三界观世音菩萨唐卡",[24,156,25,27,7,26,28,281,33,129,112,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25270007f4f06c10b9c8ceaaf59d938e.jpg",[],8,{"id":436,"slug":437,"title":438,"dynasty":77,"author":124,"museum":166,"description":439,"tags":440,"thumbUrl":450,"material":249,"size":451,"collection":48,"collections":452,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":72},214909,"di-wang-dao-tong-wan-nian-tu-ce-6-chou-ying-214909","帝王道统万年图册-6","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,63,64,128,27,26,28,129,242,171,269,7,441,442,324,443,444,445,446,447,448,449],"古代人物","山水景物","设色山水","传统国画","古典书画","人物场景","山水背景","工笔技法","设色风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8c8c0c27fdcc62e2833896b2a44e5a.jpg","32.5*32.6",[],{"id":454,"slug":455,"title":456,"dynasty":18,"author":19,"museum":59,"description":256,"tags":457,"thumbUrl":459,"material":68,"size":69,"collection":48,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":53},234456,"lian-hua-wu-zi-zai-guan-shi-yin-pu-sa-tang-ka-yi-ming-234456","莲花舞自在观世音菩萨唐卡",[156,25,26,7,28,281,414,33,32,109,83,458],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc72998f745a6d2b746f6978d07dde9b.jpg",[],7,{"id":463,"slug":464,"title":465,"dynasty":18,"author":466,"museum":59,"description":467,"tags":468,"thumbUrl":470,"material":68,"size":69,"collection":48,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":72},230213,"fa-jie-yuan-liu-tu-jing-pian-ding-guan-peng-230213","法界源流图镜片","丁观鹏","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[62,63,64,27,26,7,25,28,284,33,31,469],"山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8a2186ce4c371acf7e6f57ed4bc51b.jpg",[],6,{"id":474,"slug":475,"title":476,"dynasty":18,"author":19,"museum":59,"description":477,"tags":478,"thumbUrl":479,"material":68,"size":69,"collection":48,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":53},234425,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234425","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。",[63,106,25,26,28,27,7,33,32,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38350763c4fa133e1200a3f8ae22bb20.jpg",[],4,{"id":483,"slug":484,"title":485,"dynasty":18,"author":19,"museum":59,"description":486,"tags":487,"thumbUrl":492,"material":48,"size":48,"collection":48,"collections":493,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":72},230318,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-qi-a-ge-yong-lin-yi-ming-230318","历代帝王贵妃大臣朝服像(十七阿哥永璘)","此作工笔精绝，绘就亲贵仪范。宝蓝朝服之上，正龙团纹平金绣制，丝丝细密清晰，十二章纹错落排布，暗合礼制规制，尽显宗室尊荣。朝珠朱润莹亮，顶戴制式严整，细节处处恪守清代仪轨。\n\n人物沉静端坐在髹漆描金王座之上，锦垫纹样华丽繁复，烘托出肃穆华贵的氛围。画师用笔写实细腻，晕染柔和自然，将人物内敛持重的气度刻画入微，设色沉雅庄重，既还原了清代近支亲贵的真实风貌，也是清代肖像画中纪实性与艺术性兼具的佳构。",[23,24,27,7,26,28,488,489,490,491,212],"朝服","朝珠","座椅","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaba8ea958e0a91e6d01c3784862ae95.jpg",[],{"id":495,"slug":496,"title":497,"dynasty":18,"author":19,"museum":59,"description":498,"tags":499,"thumbUrl":506,"material":68,"size":69,"collection":48,"collections":507,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":53},234451,"qing-ren-yang-ti-yu-di-zhu-xiang-zhou-yi-ming-234451","清人阳体狱帝主像轴","这是一幅典型的藏地黑唐卡，以浓墨为底，用金彩与红、蓝重彩勾勒敷色。主尊造型狞厉威严，多头多臂，身饰璎珞骷髅，骑乘怒目瑞兽，足下镇伏邪魔，宝焰身光烘托出慑服众恶的怖畏法相，尽显护法神祇降伏诸障的威权。上方三尊胁侍圣僧安坐莲台，神情恬和，与主尊形成刚柔反差。画面云纹翻卷灵动，构图饱满紧凑，线条劲健流畅，将密宗护法造像的狞厉美感与细腻工法融合，把密教护法慑服一切魔障的威仪诠释得淋漓尽致，尽显清代藏地密教绘画的精湛水准。",[156,106,500,25,385,501,387,502,503,28,27,7,504,505],"黑唐卡","阳体狱帝主","圣僧","瑞兽","金彩","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0fde8b27a892111804ba77d44aa4612.jpg",[],{"id":509,"slug":510,"title":511,"dynasty":18,"author":19,"museum":59,"description":512,"tags":513,"thumbUrl":517,"material":68,"size":69,"collection":48,"collections":518,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":53},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。",[63,64,106,25,27,26,28,423,29,33,111,514,515,245,7,516],"神佛形象","传统纹样","线条精细","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43dd297ca66960d16e602156f312bdb9.jpg",[],{"id":520,"slug":521,"title":522,"dynasty":220,"author":19,"museum":59,"description":222,"tags":523,"thumbUrl":529,"material":68,"size":69,"collection":48,"collections":530,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},227147,"dun-huang-18-yi-ming-227147","敦煌18",[224,524,26,27,7,229,28,525,284,283,526,227,38,527,326,528],"敦煌风格","马车","仪仗","古代绘画","服饰纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe7dc9124d0e6a34cc25abf07ce98e0.jpg",[],{"id":532,"slug":533,"title":534,"dynasty":220,"author":19,"museum":59,"description":222,"tags":535,"thumbUrl":538,"material":68,"size":69,"collection":48,"collections":539,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},227141,"dun-huang-12-yi-ming-227141","敦煌12",[62,224,221,66,63,64,27,26,7,25,28,281,536,537,38],"大象","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a59ce19ebbf480401884b4e61c365a.jpg",[],{"id":541,"slug":542,"title":543,"dynasty":544,"author":545,"museum":546,"description":547,"tags":548,"thumbUrl":555,"material":48,"size":48,"collection":48,"collections":556,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":557},202781,"she-se-xiong-ji-tu-zhou-xu-bei-hong-202781","设色雄鸡图轴","近代","徐悲鸿","上海博物馆","两只雄鸡踞于粗木栏上，一黑羽如泼墨般劲展尾翼，一白羽似积雪般轻覆肌理，朱红鸡冠艳若燃霞，爪尖嵌进木痕的姿态透着昂扬。背景藤蔓疏斜，叶片以淡彩晕染出朦胧意韵，草茎用简墨线条牵出野趣。笔墨融写意与写实：羽翅借浓淡墨层显蓬松质感，鸡冠以重彩点染见鲜活生气，刚劲笔触与柔润晕染相济，满纸漾着晨晖般的蓬勃生机，仿佛能听见清亮啼鸣穿林而来。",[63,26,135,549,550,551,552,553,554,7,23],"水墨","写意","木栏","藤蔓","草茎","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbdc69dab50077c5191758e497d6998.jpg",[],"b6af93",1777535712218]