[{"data":1,"prerenderedAt":221},["ShallowReactive",2],{"subject-zong-jiao-zao-xiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6531,"zong-jiao-zao-xiang","宗教造像","宗教造像画高清赏析","精选中国历代宗教造像题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10df8168c8017de1f6c15027c9a30589.jpg",0,15,[14,42,68,87,100,112,125,135,146,157,165,178,191,199,210],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},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","藏地不详","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。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"高清","唐卡","宗教","设色","工笔","重彩","人物","楼阁","祥云","山水","花卉","流水","建筑装饰","未知","Xcm*Xcm","",[],61,"37474F",{"id":43,"slug":44,"title":45,"dynasty":18,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":63,"material":36,"size":37,"collection":38,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":67},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","佚名","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[23,49,26,27,25,29,50,51,52,53,54,55,56,57,58,59,60,61,7,62],"国画","莲花","立轴","璎珞","装饰纹样","传统服饰","矿物颜料","细腻线条","服饰花纹","莲花座","珠宝饰品","竖幅构图","古典绘画","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],35,1,"795548",{"id":69,"slug":70,"title":71,"dynasty":72,"author":46,"museum":20,"description":73,"tags":74,"thumbUrl":83,"material":38,"size":38,"collection":84,"collections":85,"showCount":86,"zanCount":66,"manualWeight":11,"mainColor":41},245962,"jin-zong-ka-ba-la-ma-xiang-yi-ming-245962","金宗喀巴喇嘛像","清","此像鎏金饱满莹润，主尊面相丰润柔和，双目垂敛含慈，双手结印跏趺安坐，神态沉静庄严。身后背光以累丝打造缠枝宝相花，错落镶嵌松石、珊瑚、蜜蜡，繁丽灵动，晕开圣洁堂皇的光晕。两侧鎏金提灯垂挂珠串璎珞，随影轻摇更添雅致精巧。莲座与底座饰珐琅嵌奇珍，瑞兽纹饰生动威严，将藏地造像的宗教肃穆，与宫廷花丝镶嵌工艺精妙融合，每一处细节都凝聚匠心，尽显信仰载体的尊崇华贵。",[75,25,29,76,77,78,79,80,81,82,7],"清代","金器","雕刻","镶嵌","宝石","珐琅","金属工艺","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb289a0f93b6f91b770dcc3b207f59836.jpg","雕塑精选",[84],30,{"id":88,"slug":89,"title":90,"dynasty":72,"author":46,"museum":20,"description":91,"tags":92,"thumbUrl":96,"material":36,"size":37,"collection":97,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":41},255700,"de-hua-yao-guan-yin-pu-sa-xiang-yi-ming-255700","德化窑观音菩萨像","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[93,25,29,77,94,75,7,95],"陶瓷","白釉","白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb29e3c3957318609290ca6775c3e0d.jpg","瓷器精选",[97],10,{"id":101,"slug":102,"title":103,"dynasty":72,"author":46,"museum":20,"description":104,"tags":105,"thumbUrl":109,"material":36,"size":37,"collection":38,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":67},274694,"bo-re-pin-tong-du-jin-fu-pu-xian-pu-sa-yi-ming-274694","般若品铜镀金佛-普贤菩萨","此像鎏金莹润华贵，面容和煦慈悲，弯眉朗目间笑意温婉舒展。宝冠嵌饰繁丽精巧，宝缯垂落灵动飘逸，衬得造像更显灵动庄严。菩萨自在安坐莲台，右手结印，左手轻握经卷枝蔓，身侧宝叶舒展生姿。衣褶贴体流畅，錾刻细腻写实，将织物柔润质感尽显无遗。下身纹饰精美雅致，莲台饱满圆融，瓣层迭有序，质朴胎色与鎏金身交相辉映，尽显工致妍丽的特质，肃穆中兼具灵动韵致，将菩萨的清净庄严与自在慈悲尽显无疑。",[106,107,108,77,7],"佛教","普贤菩萨","铜镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9805d030ee875dedf0830d5c675314a2.jpg",[],8,{"id":113,"slug":114,"title":115,"dynasty":72,"author":46,"museum":20,"description":116,"tags":117,"thumbUrl":122,"material":36,"size":37,"collection":38,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":67},253233,"tong-jin-qi-guan-yin-pu-sa-zuo-xiang-yi-ming-253233","铜金漆观音菩萨坐像","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。",[75,25,29,118,119,120,121,82,7],"铜制","金漆","造像","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d6414799e2fc6ccb60d6e4b82f5993.jpg",[],2,{"id":126,"slug":127,"title":128,"dynasty":72,"author":46,"museum":20,"description":129,"tags":130,"thumbUrl":133,"material":36,"size":37,"collection":38,"collections":134,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},259977,"bing-shen-kuan-wu-cai-guan-yin-xiang-yi-ming-259977","丙申款五彩观音像","此尊造像静穆雅致，观音结跏趺坐莲台，垂目含浅笑，面容饱满温婉，自带慈悲沉静的气韵。衣袍以绿釉为底，间以红彩点缀宝相花，层叠舒展的衣袂线条柔和流畅，璎珞珠钏刻画入微，釉色古雅温润，经岁月晕染更添醇厚质感。\n\n莲台瓣片饱满鲜活，红釉晕染出莲蕊肌理，与素净的肌肤形成冷暖反差，衬得造像灵动鲜活。基座题字朴拙端方，晕开器物的人文脉络。整体将瓷塑工艺的细腻与造像艺术的庄严相融，既带着宗教造像的肃穆，又兼具清代彩瓷的柔婉意趣，将观音的圣洁慈悲融于烟火色的彩釉之中，工艺审美俱佳。",[93,106,131,7,132,50,77,26],"观音","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7409a023719ad7848f5c4cd14f9e6e71.jpg",[],{"id":136,"slug":137,"title":138,"dynasty":72,"author":46,"museum":20,"description":139,"tags":140,"thumbUrl":144,"material":36,"size":37,"collection":38,"collections":145,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},274680,"tong-liu-jin-shi-jia-mu-ni-fu-yi-ming-274680","铜鎏金释迦牟尼佛","此像面如满月，弯眉垂目，神情宁和恬然，慈悲法相一览无余。躯体舒展匀称，偏袒右肩的僧衣贴体垂落，衣纹写意凝练，鎏金莹亮厚重，将佛陀超脱清净的气度烘托得恰到好处。\n\n右手触地降魔，左手结禅定印，结跏趺坐于双层仰莲台之上，完美定格成道圣境。莲瓣饱满规整，台座沉稳大气，整体形神兼备，融精湛工法与静穆佛性于一身，尽显造像肃穆典雅的宗教美感。",[118,141,77,106,142,143,7],"鎏金","释迦牟尼佛","佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee0b237395deb8ae45611b1c06a435ef.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":72,"author":46,"museum":20,"description":150,"tags":151,"thumbUrl":154,"material":36,"size":37,"collection":38,"collections":155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":156},274664,"fan-tong-ya-man-da-ga-yi-ming-274664","梵铜雅曼达嘠","此造像忿怒威严，主尊与明妃相拥而立，焰发怒张，面相狞厉，尽显慑服邪魔的雄浑气势。周身多臂呈扇形铺展，各执法器，层次分明，将护法本尊的威赫之力具象呈现。躯体肌肉虬结饱满，踏于邪魔之上，姿态刚健雄劲。\n造像以铜铸胎色沉穆古雅，局部饰金点缀，衣褶粗犷写实又不失细节精巧，纹饰暗含法度，将藏传佛教造像的怖畏美学尽致展现，凝练出宗教神性与工艺美学的绝妙平衡。",[118,77,7,152,153],"佛教神祇","多臂造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6855d0e03a21750f88667dfb47230cdb.jpg",[],"BDBDBD",{"id":158,"slug":159,"title":160,"dynasty":72,"author":46,"museum":20,"description":91,"tags":161,"thumbUrl":163,"material":36,"size":37,"collection":97,"collections":164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},260536,"de-hua-yao-bai-you-guan-yin-xiang-yi-ming-260536","德化窑白釉观音像",[93,162,94,131,106,77,7],"德化窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5766eecda5b91102844c26463856e6.jpg",[97],{"id":166,"slug":167,"title":168,"dynasty":169,"author":46,"museum":20,"description":170,"tags":171,"thumbUrl":176,"material":36,"size":37,"collection":38,"collections":177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},255846,"tie-zao-xiang-tou-yi-ming-255846","铁造像头","宋","这尊造像面容丰腴温婉，眼睑低垂敛目，神态安恬肃穆，慈悲沉静的气韵尽显。铁铸胎体包浆沉厚苍古，宝冠纹饰雕琢规整古雅，线条柔和凝练，将神性的庄严与世俗的温润相融，尽显写实传神的审美意趣。岁月锈蚀赋予其深沉质朴的质感，褪去浮华的朴拙气质，更衬出造像沉静端凝的禅意，尽显含蓄内敛的艺术格调。",[172,173,77,174,7,175],"宋代","铁器","铸造","人物造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f3a8be2c110f5f7c0eb726a7406f13.jpg",[],{"id":179,"slug":180,"title":181,"dynasty":182,"author":46,"museum":20,"description":183,"tags":184,"thumbUrl":189,"material":36,"size":37,"collection":38,"collections":190,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254898,"shi-pu-sa-li-xiang-yi-ming-254898","石菩萨立像","南北朝","叶形背光清简素朴，菩萨仪容温婉端丽，高髻秀挺，眉目柔和内敛，残留的彩绘痕迹依稀可见旧时的精工晕染。衣袂层叠垂坠，璎珞飘带婉转舒展，线条圆融柔润，尽显清隽秀雅的风骨。\n\n时光剥蚀了表层彩饰，却沉淀出沉静肃穆的质感，将神性的慈悲与六朝飘逸气韵融为一体，静默间流露含蓄慈悲，尽显古朴空灵的造像意韵，静静诉说着旧时光里的信仰温度。",[77,185,106,29,182,7,186,121,187,188],"石质","立像","石刻","残彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1cb979afbc0a885a1c52829cc68a4b.jpg",[],{"id":192,"slug":193,"title":181,"dynasty":182,"author":46,"museum":20,"description":194,"tags":195,"thumbUrl":197,"material":36,"size":37,"collection":38,"collections":198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},254835,"shi-pu-sa-li-xiang-yi-ming-254835","面庞丰润柔和，弯眉下双目低垂，神色静谧安然，自带慈悲温婉的韵致。身着褒衣博带式汉风法服，衣褶疏密有度，线条流转自如，顺着身形垂落，勾勒出秀挺身姿，尽显古朴空灵的质感。\n\n虽残损过半，失却背光与手足细节，却更衬出沉静内敛的神性，尽显此时佛教造像融合中印审美的特质。褪去繁复修饰，以极简的石刻语言，传递出冲淡安宁的禅意，尽显中古造像含蓄典雅的美学意趣。",[182,187,77,25,29,121,186,185,196,7],"古代雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf499f29356b839b14cd6b8cc36e942f.jpg",[],{"id":200,"slug":201,"title":202,"dynasty":203,"author":46,"museum":20,"description":204,"tags":205,"thumbUrl":208,"material":36,"size":37,"collection":38,"collections":209,"showCount":11,"zanCount":11,"manualWeight":11,"mai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