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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。",[23,24,25,26,7,27,28,29,30,31,32,33],"高清","国画","书画","长卷","白描","人物","楼阁","祥云","飘带","仪仗","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":62,"material":63,"size":64,"collection":37,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},218243,"shui-yue-guan-yin-tu-yi-ming-218243","水月观音图","不详","佚名","美国大都会艺术博物馆","观音自在趺坐，披帛流云曳水，红裳金纹若焰，白纱轻透如雾。圆光笼身似月华轻泻，眉目低垂间慈悲满溢。净瓶插柳清寂，下方童子仰首献诚，水波微动处莲草点缀。线条婉转细腻，衣袂流转间庄严与温婉交织。水月之境的空灵与观音悲悯相融，静穆中藏生机，尽显古典造像的神韵雅致。",[23,24,25,51,7,52,53,28,54,55,56,57,58,59,60,61],"立轴","工笔","设色","童子","水","石头","植物","明月","饰品","瓶","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff68d9e4a23b4ea007f24b249a1fb16.jpg","绢本,设色","102.9x51.8",[37],5238,25,"795548",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":85,"material":53,"size":86,"collection":37,"collections":87,"showCount":88,"zanCount":89,"manualWeight":11,"mainColor":68},218133,"yong-le-gong-san-qing-dian-bi-hua-chao-yuan-tu-yong-le-gong-bi-hua-218133","永乐宫三清殿壁画朝元图","元","永乐宫壁画","藏地不详","三清殿内的《朝元图》由马君祥等人绘制，描绘了诸神朝拜元始天尊的故事，中间有8个帝后，还有286位金童玉女、星宿、力士等，场面开阔，气势恢宏。这是永乐宫最重要的部分。",[23,78,24,26,53,7,28,79,80,81,82,83,84],"壁画","神话人物","天尊","星宿","力士","金童玉女","诸神朝拜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213aaa5107ce2951d22d6d40dbe7b1ee.jpg","426x9468",[37],2392,32,{"id":91,"slug":92,"title":93,"dynasty":18,"author":47,"museum":75,"description":94,"tags":95,"thumbUrl":102,"material":53,"size":103,"collection":37,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":68},219182,"dun-huang-yi-hui-guan-yin-tong-zi-tu-yi-ming-219182","敦煌遗绘观音童子图","画面氤氲着古朴慈悲的气息。观音端坐莲台，宝相庄严却含温婉，衣袂翩跹间藏着唐时雍容气度，手持净枝似欲洒下甘露。身后光环晕染开柔和光晕，将尘世喧嚣轻轻隔开。童子或捧莲趋前，稚手轻抬献清芬；或携枝凌空，小影翩跹逐流云，嬉闹之态与观音的静谧相映，更显佛法包容生机。岁月虽让色彩斑驳，却仍能窥见昔年绚丽，线条流畅如行云流水，每处细节皆藏敦煌艺术的厚重灵动，似在无声诉说千年信仰与美好。",[23,96,24,25,78,7,53,52,97,54,98,99,100,101],"名画","观音","莲花","宝座","华盖","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc366f712b6d9c9d47ba3ab34ba8db06.jpg","",[37],885,11,{"id":108,"slug":109,"title":110,"dynasty":111,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":120,"material":103,"size":103,"collection":103,"collections":121,"showCount":122,"zanCount":123,"manualWeight":11,"mainColor":124},220495,"zhang-da-qian-lin-mo-dun-huang-bi-hua-wan-tang-ji-le-pu-sa-er-shen-xiang-heng-pi-zhang-da-qian-220495","张大千临摹敦煌壁画晚唐伎乐菩萨二身像横批","民国","张大千","四川博物院","两位伎乐菩萨乘云飞渡，左者擎磬抬手，身姿劲挺，青绿朱红的飘带随风夭矫。右者怀拥弦乐，眉眼柔婉，暖橙长裙如流火舒展。\n\n配色沿用壁画古雅石色，石青与朱砂晕染出厚重的岁月质感，婉转游丝勾勒出菩萨丰腴端丽的体态，复刻出晚唐飞天雍容灵动的神韵，将佛国伎乐的缥缈清姿凝于素纸，让千年前的敦煌雅韵重绽华彩，尽显东方佛境的空灵曼妙。",[23,24,25,116,117,118,78,53,28,7,119],"横批","临摹","敦煌","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6710f185c0c825ce5735949a2356da6.jpg",[],735,5,"BDBDBD",{"id":126,"slug":127,"title":128,"dynasty":129,"author":47,"museum":130,"description":131,"tags":132,"thumbUrl":135,"material":78,"size":136,"collection":37,"collections":137,"showCount":138,"zanCount":123,"manualWeight":11,"mainColor":68},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","明","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[23,24,78,7,53,52,28,58,133,134],"流水","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[37],658,{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":75,"description":143,"tags":144,"thumbUrl":151,"material":152,"size":153,"collection":103,"collections":154,"showCount":155,"zanCount":156,"manualWeight":11,"mainColor":124},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,96,24,26,27,145,146,7,147,148,149,150],"人物画","神话","天王","鬼怪","龙","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg","未知","Xcm*Xcm",[],629,8,{"id":158,"slug":159,"title":160,"dynasty":46,"author":47,"museum":118,"description":161,"tags":162,"thumbUrl":163,"material":152,"size":153,"collection":103,"collections":164,"showCount":165,"zanCount":123,"manualWeight":11,"mainColor":124},226505,"na-mo-guan-shi-yin-pu-sa-xiang-li-zhou-yi-ming-226505","南无观世音菩萨像立轴","这尊工笔重彩立像温婉静美，菩萨含笑垂目，宝冠璎珞华美庄重，手持净瓶拈花，尽显悲悯柔和。衣袂飘带层叠舒展，石青、石绿晕染出沉雅古拙的色调，局部描金虽斑驳黯淡，仍可见旧日精工。\n\n足踏莲台，旁侧缠枝花卉灵动舒展，清劲流畅的线条带着敦厚朴拙的气韵，将观音的端严慈悲与盛唐遗风相融，残损纸面晕开岁月沉香，尽显沉静古雅的禅意。",[24,51,53,7,28,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3999fc8fbc543a1a23451c0cb2a2a358.jpg",[],620,{"id":167,"slug":168,"title":169,"dynasty":111,"author":112,"museum":113,"description":170,"tags":171,"thumbUrl":173,"material":103,"size":103,"collection":103,"collections":174,"showCount":175,"zanCount":176,"manualWeight":11,"mainColor":124},220496,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-gong-yang-pu-sa-xiang-zhang-da-qian-220496","张大千临摹敦煌壁画初唐供养菩萨像","此作还原初唐造像典雅风骨，菩萨面庞莹润温婉，眉眼低垂自带静穆慈悲。华美发髻缀满宝饰，璎珞飘带线条细劲流畅，晕色承袭敦煌古制，石青、朱砂配色厚重明艳，尽显大唐华贵雍容。菩萨持香具安坐莲台，姿态松弛悠然，舒展的莲瓣层次分明，既有宗教造像的庄严端凝，又带着东方古典的柔润气韵，完美复刻敦煌壁画的堂皇雅致，让千年古韵跃然绢上。",[23,117,118,78,7,53,52,28,172],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42ad28d51906c73465cc7295981261.jpg",[],577,3,{"id":178,"slug":179,"title":180,"dynasty":181,"author":182,"museum":183,"description":184,"tags":185,"thumbUrl":194,"material":195,"size":196,"collection":197,"collections":198,"showCount":199,"zanCount":200,"manualWeight":11,"mainColor":124},214884,"lian-she-tu-li-gong-lin-214884","莲社图","宋","李公麟","美国弗利尔美术馆","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,96,24,25,26,27,53,7,28,186,187,188,189,190,191,192,193],"山水","树木","亭","孤石","书法","篆书","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","纸本,水墨","30.1x595.8","宋画精选",[197],566,1,{"id":202,"slug":203,"title":204,"dynasty":181,"author":205,"museum":206,"description":207,"tags":208,"thumbUrl":211,"material":63,"size":212,"collection":197,"collections":213,"showCount":214,"zanCount":156,"manualWeight":11,"mainColor":215},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","波士顿美术馆","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,96,24,25,51,7,52,53,28,209,187,210],"山石","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[197,37],530,"37474F",{"id":217,"slug":218,"title":219,"dynasty":220,"author":47,"museum":75,"description":221,"tags":222,"thumbUrl":230,"material":103,"size":103,"collection":231,"collections":232,"showCount":233,"zanCount":200,"manualWeight":11,"mainColor":215},241696,"jin-xiang-dong-zhu-pu-sa-li-xiang-yi-ming-241696","金镶东珠菩萨立像","清","此像通体赤金流光，宝韵盎然。菩萨身姿舒展端雅，面容温婉恬和，垂眸含悲悯之意，似将慈光遍洒世间。周身东珠璎珞层叠，莹润珠光与赤金交相辉映，华贵不凡。\n\n身后缠枝背光柔婉舒展，宝相花绽于枝蔓，宝轮暗藏其间，烘托出清寂祥和的佛门意境。右手施无畏印，予众生安心护持，左手轻扶花枝，姿态悠然自在。莲台錾刻细腻入微，整器线条流畅华美，将精湛工法与清净佛韵相融，尽显庄重灵秀的超然气质。",[223,7,28,224,225,226,227,228,229],"清代","金器","雕刻","镶嵌","东珠","立像","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8475aa5531722484338fd52cff32253d.jpg","雕塑精选",[231],500,{"id":235,"slug":236,"title":237,"dynasty":129,"author":47,"museum":75,"description":238,"tags":239,"thumbUrl":242,"material":152,"size":153,"collection":103,"collections":243,"showCount":244,"zanCount":245,"manualWeight":11,"mainColor":215},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","位于法海寺大殿内的壁画 距今已有六百多年",[24,52,53,7,28,240,134,241],"云","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab14eeab9a7f06bbdb65fb5f0a0afc0.jpg",[],494,2,{"id":247,"slug":248,"title":249,"dynasty":73,"author":47,"museum":250,"description":251,"tags":252,"thumbUrl":253,"material":78,"size":254,"collection":103,"collections":255,"showCount":256,"zanCount":123,"manualWeight":11,"mainColor":68},221842,"yong-le-gong-bi-hua-san-qing-dian-bi-hua-chao-yuan-tu-yi-ming-221842","永乐宫壁画三清殿壁画朝元图","山西永乐宫","永乐宫在山西最南端的芮城县郊外，《朝元图》在永乐宫的三清殿（又名无极殿）内，是永乐宫壁画中的重点，画幅面积为403.34平方米，主尊人物高达3米，最低的也有2米，共绘人物近300身，距今近700多年，是留存下来的最精彩的元代壁画。永乐宫始建于元代全真教兴盛时期，宫殿内部的墙壁上，布满了精心绘制的壁画，其艺术价值之高，数量之多，实属世上罕见。\n该壁画泰定三年（1325年）由河南画家马君详、马七等人绘制而成，描绘了诸神朝拜元始天尊的故事。画面上共有人物 290个左右，以8个高3米的主像（南极、北极、东极、玉皇、勾陈、木公、后土、金母）为中心，其余人物按对称仪仗形式排列，以南墙的青龙、白虎星君为前导，分别画出天帝、王母等28 位主神。围绕主神，28宿、12宫辰等“天兵天将”在画面上徐徐展开。画中主像庄严肃穆，群像环立，形象丰满圆润，个个神采奕奕，无一雷同。他们之间有的对语，有的倾听，有的沉思，有的注视，神情姿态彼此呼应，成为有机的整体。整个画面，气势不凡，场面浩大。\n壁画中人物服饰冠戴华丽辉煌，衣纹多用吴道子“莼菜条”线条，用笔劲健而流畅，既含蓄又有力度，衣带飞舞飘逸，有如满墙风动，充分发挥了线条的高度表现力。用色方面，采用重彩勾填，色彩厚重而丰富，绚烂而协调，道具在背景上都富有装饰性，在冠戴、衣襟、薰炉等处沥粉贴金，绚烂夺目。",[23,78,7,52,53,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3db7198209c86d23475d84a3d7cee5.jpg","426×9468cm",[],484,{"id":258,"slug":259,"title":260,"dynasty":18,"author":47,"museum":261,"description":262,"tags":263,"thumbUrl":264,"material":265,"size":103,"collection":37,"collections":266,"showCount":267,"zanCount":176,"manualWeight":11,"mainColor":68},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[96,24,25,26,53,52,7,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[37],473,{"id":269,"slug":270,"title":271,"dynasty":46,"author":272,"museum":75,"description":273,"tags":274,"thumbUrl":282,"material":152,"size":153,"collection":283,"collections":284,"showCount":285,"zanCount":200,"manualWeight":11,"mainColor":215},225614,"rembrandt-harmensz-van-rijn-019-lun-bo-lang-225614","Rembrandt Harmensz.van Rijn - 019","伦勃朗","伦勃朗（Rembrandt Harmensz. van Rijn）所创作的这幅作品，聚焦于耶稣受难这一经典场景。画面正中央，被钉于十字架之上的耶稣，其身躯扭曲，呈现出极度痛苦的模样，十字架巍峨矗立，瞬间抓住观者的目光，形成一种极具震撼力的视觉冲击感。\n\n环绕在耶稣身旁的诸多人物，每一位皆被赋予了鲜明独特的个性。他们的神情姿态丰富多样，或面露悲痛之色，眉眼低垂，泪水几欲夺眶而出；或虔诚祈祷，双手合十，双唇微启念念有词；亦或驻足观望，眼神中交织着震惊、悲悯与思索。伦勃朗凭借其细腻入微的笔触，将这些人物刻画得栩栩如生，淋漓尽致地展现出他超凡脱俗的绘画技艺，以及对人物内在情感深邃且精准的洞察与把控能力。特别值得留意的是，画面左下角有一人躺卧在地，从其姿态与场景氛围推测，大概率为已逝去之人，这一细节无疑进一步渲染烘托出整幅画面所弥漫的悲剧色彩。\n\n目光移至画面背景处，可见阴沉压抑的苍穹笼罩在上空，仿若一块铅灰色的幕布，沉甸甸地压将下来。远处城市的轮廓若隐若现，影影绰绰间尽显萧瑟之感。整幅画作以灰暗色调为主调，恰似一层厚重的阴霾，将悲伤、压抑的情绪丝丝缕缕地渗透出来，营造出一种仿若全世界都被裹挟于耶稣受难这一沉重阴影之下的氛围感。伦勃朗在创作过程中巧妙运用光影效果，精准地突出了画面核心 —— 耶稣及周边人物，令观者的视线不由自主地聚焦于此。这一独特的光影处理方式，便是在绘画史上赫赫有名的 “伦勃朗光”，成为其作品标志性的艺术特征之一。\n\n总体而言，这幅画作绝非仅仅局限于宗教题材层面，它更是伦勃朗对人性幽微、苦难磨砺以及救赎希望等一系列深刻主题深入骨髓的艺术诠释，承载着极高的艺术审美价值，同时也积淀着深厚的历史文化底蕴，成为人类艺术宝库中熠熠生辉的瑰宝。",[275,7,28,276,277,53,278,279,280,281],"油画","十字架","明暗对比","人物群像","梯子","地面","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce05a7aa063b679cb1cba4e79fb37994.jpg","油画精选",[283],409,{"id":287,"slug":288,"title":289,"dynasty":181,"author":290,"museum":75,"description":291,"tags":292,"thumbUrl":293,"material":294,"size":295,"collection":37,"collections":296,"showCount":298,"zanCount":299,"manualWeight":11,"mainColor":68},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,96,24,25,26,27,7,28,29,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","绢本","纵44.3cm，横580cm",[37,297],"水墨画精选",395,4,{"id":301,"slug":302,"title":303,"dynasty":129,"author":304,"museum":305,"description":306,"tags":307,"thumbUrl":308,"material":309,"size":310,"collection":37,"collections":311,"showCount":313,"zanCount":299,"manualWeight":11,"mainColor":124},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","仇英","台北故宫博物院","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[96,24,25,51,7,28,52,53,240,193,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纸本,设色","纵104.2横52.5厘米",[37,312],"设色画精选",393,{"id":315,"slug":316,"title":17,"dynasty":18,"author":19,"museum":75,"description":317,"tags":318,"thumbUrl":322,"material":152,"size":153,"collection":103,"collections":323,"showCount":324,"zanCount":176,"manualWeight":11,"mainColor":124},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","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。",[23,24,25,26,27,28,7,31,319,32,320,101,33,321],"云纹","发髻","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg",[],358,{"id":326,"slug":327,"title":328,"dynasty":181,"author":329,"museum":305,"description":330,"tags":331,"thumbUrl":332,"material":63,"size":333,"collection":37,"collections":334,"showCount":335,"zanCount":156,"manualWeight":11,"mainColor":68},215045,"tian-nv-xian-hua-tu-liu-song-nian-215045","天女献花图","刘松年","本幅为「名绘集珍」册第十二幅，绘一菩萨身披璎珞，坐于华座之上，旁立比丘三人，均神情专注地看着文殊菩萨座前的天女与舍利弗。天女左手捧花盘，二指捻花，转身回首，比丘则双唇微启，二人似在对话，人物神情生动。此作原来可能为「维摩演教卷」的一部份，但因后半残损，重裱时，遂将其改为册页形式。",[23,96,24,25,7,28,52,53,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d05d689ac3a90b6dfe91a9190be229.jpg","26.6x51.4cm",[37],336,{"id":337,"slug":338,"title":339,"dynasty":18,"author":47,"museum":118,"description":340,"tags":341,"thumbUrl":344,"material":152,"size":153,"collection":103,"collections":345,"showCount":346,"zanCount":299,"manualWeight":11,"mainColor":68},226460,"ku-zhu-shi-zao-jing-yi-ming-226460","窟主室藻井","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。",[78,53,7,98,342,343],"飞天","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0fd513cb82c0e435822e3003c47784.jpg",[],334,{"id":348,"slug":349,"title":350,"dynasty":111,"author":112,"museum":113,"description":351,"tags":352,"thumbUrl":353,"material":103,"size":103,"collection":103,"collections":354,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":124},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[23,24,25,117,118,52,53,7,28,229,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],304,{"id":357,"slug":358,"title":359,"dynasty":181,"author":47,"museum":305,"description":360,"tags":361,"thumbUrl":363,"material":63,"size":103,"collection":37,"collections":364,"showCount":355,"zanCount":176,"manualWeight":11,"mainColor":215},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[24,25,96,51,7,28,52,53,193,362],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[37],{"id":366,"slug":367,"title":368,"dynasty":18,"author":19,"museum":75,"description":369,"tags":370,"thumbUrl":372,"material":103,"size":373,"collection":37,"collections":374,"showCount":375,"zanCount":11,"manualWeight":11,"mainColor":68},221113,"guan-yin-pu-sa-xiang-wu-dao-zi-221113","观音菩萨像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[24,25,27,7,28,371],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab452937c56ebab3c3994f7c7a8a10c.jpg","80x32cm",[37],281,{"id":377,"slug":378,"title":379,"dynasty":220,"author":380,"museum":305,"description":381,"tags":382,"thumbUrl":387,"material":309,"size":103,"collection":37,"collections":388,"showCount":389,"zanCount":176,"manualWeight":11,"mainColor":124},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","姚文瀚","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[96,24,53,52,28,7,383,384,385,30,209,187,386,193],"护法神","琵琶","兽","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[37],263,{"id":391,"slug":392,"title":393,"dynasty":394,"author":47,"museum":395,"description":396,"tags":397,"thumbUrl":398,"material":63,"size":399,"collection":37,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":68},218466,"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","隋","上海博物馆","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[24,25,7,52,53,28,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[37],258,{"id":403,"slug":404,"title":405,"dynasty":129,"author":47,"museum":48,"description":406,"tags":407,"thumbUrl":409,"material":63,"size":410,"collection":37,"collections":411,"showCount":412,"zanCount":245,"manualWeight":11,"mainColor":68},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,408,24,25,51,7,52,53,28,385],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[37],233,{"id":414,"slug":415,"title":416,"dynasty":18,"author":417,"museum":75,"description":418,"tags":419,"thumbUrl":420,"material":63,"size":103,"collection":103,"collections":421,"showCount":412,"zanCount":200,"manualWeight":11,"mainColor":68},218279,"ren-wang-pu-sa-xiang-xin-cheng-218279","仁王菩萨像","辛澄","仁王坐在一朵大莲花中，身穿朱红色袈裟，头戴圆形光环，气势磅礴，神情庄重。",[24,25,51,7,53,52,28,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ba5477aefb276616bf3deed39787a7.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":73,"author":426,"museum":427,"description":428,"tags":429,"thumbUrl":431,"material":432,"size":433,"collection":434,"collections":435,"showCount":437,"zanCount":176,"manualWeight":11,"mainColor":124},220858,"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","赵孟頫","日本京都国立博物馆","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[23,190,430,7,26],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纸本","纵35.8厘米，横283.8厘米","书法精选",[434,436],"碑帖精选",230,{"id":439,"slug":440,"title":441,"dynasty":46,"author":47,"museum":118,"description":340,"tags":442,"thumbUrl":454,"material":152,"size":153,"collection":37,"collections":455,"showCount":456,"zanCount":11,"manualWeight":11,"mainColor":68},226158,"yu-lin-ku-003-ku-zhu-shi-nan-pi-yi-ming-226158","榆林窟003窟主室南披",[78,7,53,443,28,444,445,446,447,448,449,450,451,452,453],"佛像","装饰图案","几何纹样","花纹边框","传统纹样","连续造像","图案装饰","色彩装饰","宗教形象","造像群","纹样组合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac18271bb005bee4242c71c4670c0b0.jpg",[37],223,{"id":458,"slug":459,"title":460,"dynasty":181,"author":182,"museum":461,"description":462,"tags":463,"thumbUrl":468,"material":469,"size":103,"collection":197,"collections":470,"showCount":471,"zanCount":200,"manualWeight":11,"mainColor":68},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","私人收藏","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,25,464,27,465,7,28,189,466,467,209],"册","水墨","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg","绢本,水墨",[197,37],217,{"id":473,"slug":474,"title":475,"dynasty":220,"author":476,"museum":75,"description":477,"tags":478,"thumbUrl":479,"material":309,"size":480,"collection":37,"collections":481,"showCount":482,"zanCount":245,"manualWeight":11,"mainColor":124},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","黄慎","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[23,24,25,51,465,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[37],214,{"id":484,"slug":485,"title":237,"dynasty":181,"author":47,"museum":486,"description":487,"tags":488,"thumbUrl":489,"material":63,"size":490,"collection":37,"collections":491,"showCount":492,"zanCount":176,"manualWeight":11,"mainColor":68},218476,"shui-yue-guan-yin-xiang-yi-ming-218476","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[24,25,51,7,28,27,53,58,189,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[37],213,{"id":494,"slug":495,"title":339,"dynasty":18,"author":47,"museum":118,"description":340,"tags":496,"thumbUrl":499,"material":152,"size":153,"collection":103,"collections":500,"showCount":501,"zanCount":502,"manualWeight":11,"mainColor":124},226215,"ku-zhu-shi-zao-jing-yi-ming-226215",[96,24,78,7,52,53,149,497,498],"花卉","卷草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9523ba3f8abaac0ac6ff9edee579d76d.jpg",[],212,6,{"id":504,"slug":505,"title":506,"dynasty":129,"author":507,"museum":305,"description":508,"tags":509,"thumbUrl":510,"material":195,"size":511,"collection":37,"collections":512,"showCount":513,"zanCount":245,"manualWeight":11,"mainColor":124},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[23,24,25,7,27,465,28,149,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[37],209,{"id":515,"slug":516,"title":517,"dynasty":129,"author":47,"museum":130,"description":518,"tags":519,"thumbUrl":522,"material":78,"size":523,"collection":103,"collections":524,"showCount":525,"zanCount":176,"manualWeight":11,"mainColor":68},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,78,24,7,52,53,28,30,520,146,521],"神兽","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],207,{"id":527,"slug":528,"title":529,"dynasty":111,"author":112,"museum":113,"description":530,"tags":531,"thumbUrl":532,"material":103,"size":103,"collection":103,"collections":533,"showCount":525,"zanCount":176,"manualWeight":11,"mainColor":124},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[23,24,117,118,78,7,53,28,98,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],{"id":535,"slug":536,"title":537,"dynasty":394,"author":47,"museum":538,"description":539,"tags":540,"thumbUrl":543,"material":195,"size":103,"collection":297,"collections":544,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":68},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[24,25,465,27,7,28,541,385,467,209,542,193],"虎","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[297],203,{"id":547,"slug":548,"title":549,"dynasty":181,"author":182,"museum":550,"description":551,"tags":552,"thumbUrl":553,"material":195,"size":554,"collection":37,"collections":555,"showCount":556,"zanCount":245,"manualWeight":11,"mainColor":124},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","大英博物馆","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,96,24,25,26,7,27,28,149,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[37],201,{"id":558,"slug":559,"title":560,"dynasty":18,"author":19,"museum":20,"description":21,"tags":561,"thumbUrl":562,"material":35,"size":36,"collection":103,"collections":563,"showCount":564,"zanCount":176,"manualWeight":11,"mainColor":124},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯",[23,24,96,25,26,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg",[],200,{"id":566,"slug":567,"title":568,"dynasty":46,"author":47,"museum":118,"description":569,"tags":570,"thumbUrl":574,"material":152,"size":153,"collection":103,"collections":575,"showCount":576,"zanCount":11,"manualWeight":11,"mainColor":68},226517,"cai-hui-na-mo-di-zang-pu-sa-zuo-xiang-yi-ming-226517","彩绘南无地藏菩萨坐像","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。",[24,571,53,28,7,572,573,98,61],"彩绘","佛教","地藏菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d01f9871874d39add34560f2264bbe.jpg",[],196,{"id":578,"slug":579,"title":580,"dynasty":220,"author":47,"museum":581,"description":582,"tags":583,"thumbUrl":584,"material":63,"size":585,"collection":37,"collections":586,"showCount":587,"zanCount":176,"manualWeight":11,"mainColor":68},214337,"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,53,52,28,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","27.5x16",[37],193,{"id":589,"slug":590,"title":591,"dynasty":181,"author":592,"museum":305,"description":593,"tags":594,"thumbUrl":596,"material":432,"size":597,"collection":37,"collections":598,"showCount":599,"zanCount":176,"manualWeight":11,"mainColor":68},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[23,24,25,26,7,52,53,28,443,229,342,595,193],"经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[37,312],189,{"id":601,"slug":602,"title":603,"dynasty":181,"author":47,"museum":604,"description":605,"tags":606,"thumbUrl":608,"material":53,"size":609,"collection":37,"collections":610,"showCount":611,"zanCount":200,"manualWeight":11,"mainColor":68},220245,"rui-guang-ta-si-tian-wang-xiang-yi-ming-220245","瑞光塔四天王像","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[181,7,28,53,52,385,607],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb600a4c58790b06121a6db55967ede52.jpg","42.5X123厘米",[37],186,{"id":613,"slug":614,"title":615,"dynasty":18,"author":47,"museum":75,"description":616,"tags":617,"thumbUrl":618,"material":152,"size":153,"collection":103,"collections":619,"showCount":620,"zanCount":200,"manualWeight":11,"mainColor":68},226157,"yin-lu-pu-sa-yu-shi-zhe-yi-ming-226157","引路菩萨与侍者","此画发现于敦煌藏经洞。本幅描绘菩萨为亡灵引路升天国的场面。上有“引路菩（萨）”的题记。前面领路的大菩萨右手执香炉，左手持莲花，莲花旁垂下白幡。菩萨后面跟随的女子为死者生前的形象，人物形象丰腴饱满，洁白晶莹的肌肤闪耀着青春美的光彩，有“周家样”之风。线描写实明快、流畅飞动，接笔处不露痕迹，一气呵成。\n敦煌藏经洞发现。本幅描绘菩萨为亡灵引路升天国的场面。上有[引路菩（萨）]的题记。前面领路的大菩萨右手执柄香炉，左手持莲花，莲花旁垂下白幡。幡分四栏，各栏分绘图案。画左上角菩萨所乘的黄云中隐出一些建筑物，那是亡灵要去的净土世界。菩萨后面跟随的女子为死者生前的形象，梳着典型的唐代妇女的发式。画面中的很多部分如香炉、菩萨之发饰等都描金敷色，全画彩绘艳丽，完好的保存了唐代绘画的面貌。\n唐代“贞观之治”和“开元盛世”的具体表现是经济发展、社会富庶，手工业商业发达，各民族接触密切，中外经济文化交流频繁，创造了辉煌灿烂的文化艺术。这个时期佛教仍为统治阶级所提倡，大规模的石窟造像不断涌现。在敦煌莫高窟、洛阳龙门石窟、太原天龙山石窟等石窟中，唐代造像的规模和艺术水平都特别突出。\n唐代是古代人物画鼎盛时期，在反映贵族生活和宗教题材上都有大成就，在宗教题材作品中也更世俗化，在大量经变故事画和菩萨、罗汉的塑造中显示出明显的人间味。菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，这在敦煌壁画中多有体现。在敦煌，还发现了一帧《引路菩萨像》，绢本，纵85厘米，横53.6厘米，约九世纪后半期作品，现藏大英博物馆。这件作品具有很高超的绘画技巧，设色艳丽，渲染技法娴熟，可以看出后世工笔人物画对它的继承。",[24,25,371,7,28,53,52,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722fa84e18f98c3ee78c33ac7cd2c8b5.jpg",[],183,{"id":622,"slug":623,"title":624,"dynasty":129,"author":47,"museum":183,"description":625,"tags":626,"thumbUrl":628,"material":63,"size":629,"collection":37,"collections":630,"showCount":631,"zanCount":11,"manualWeight":11,"mainColor":68},218294,"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[24,7,28,149,53,52,51,209,627],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","172.2x109.2",[37],179,{"id":633,"slug":634,"title":635,"dynasty":18,"author":19,"museum":75,"description":369,"tags":636,"thumbUrl":639,"material":640,"size":641,"collection":37,"collections":642,"showCount":643,"zanCount":200,"manualWeight":11,"mainColor":68},221112,"xie-yi-guan-yin-xiang-wu-dao-zi-221112","写意观音像",[24,7,28,27,637,51,638],"拓本","吴带当风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76df8acb5d86ef3de96d8dfef46cb63e.jpg","拓片","68x31厘米",[37],176,{"id":645,"slug":646,"title":647,"dynasty":129,"author":648,"museum":649,"description":650,"tags":651,"thumbUrl":653,"material":654,"size":655,"collection":37,"collections":656,"showCount":657,"zanCount":200,"manualWeight":11,"mainColor":68},221884,"xi-ying-tu-you-ming-tong-zi-li-fo-tu-chen-hong-shou-221884","戏婴图（又名童子礼佛图）","陈洪绶","北京故宫博物院","《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。",[23,24,52,53,28,189,652,7,497],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","绢本，设色","纵150厘米，横67.3厘米",[37,312],174,{"id":659,"slug":660,"title":661,"dynasty":220,"author":47,"museum":662,"description":663,"tags":664,"thumbUrl":680,"material":53,"size":103,"collection":37,"collections":681,"showCount":682,"zanCount":245,"manualWeight":11,"mainColor":68},219259,"lv-du-mu-tang-ka-yi-ming-219259","绿度母唐卡","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。",[23,223,7,53,52,28,385,665,321,666,30,667,668,669,670,671,672,673,571,674,675,676,677,678,679],"莲花座","宝相花","重彩","金箔","神佛","华丽纹饰","佛教题材","传统绘画","宗教艺术","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",[37],173,{"id":684,"slug":685,"title":686,"dynasty":181,"author":182,"museum":427,"description":687,"tags":688,"thumbUrl":689,"material":690,"size":691,"collection":197,"collections":692,"showCount":693,"zanCount":245,"manualWeight":11,"mainColor":68},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[23,96,24,25,51,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","绢本水墨","纵91 2厘米，横51 4厘米",[197,37,297],170,{"id":695,"slug":696,"title":697,"dynasty":73,"author":47,"museum":75,"description":698,"tags":699,"thumbUrl":701,"material":152,"size":153,"collection":103,"collections":702,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":124},228180,"yong-le-gong-bi-hua-chao-yuan-tu-quan-tu-yi-ming-228180","永乐宫壁画朝元图全图","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。",[23,96,24,25,700,78,7,53,28,52,667],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876253f354c6f4ded8f8464fd3ee1773.jpg",[],167,{"id":705,"slug":706,"title":707,"dynasty":18,"author":708,"museum":709,"description":710,"tags":711,"thumbUrl":715,"material":63,"size":716,"collection":37,"collections":717,"showCount":703,"zanCount":718,"manualWeight":11,"mainColor":68},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","日本大阪市立美术馆","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,96,24,25,26,7,52,53,27,28,712,713,385,149,714],"牛","马","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[37],7,{"id":720,"slug":721,"title":722,"dynasty":46,"author":47,"museum":118,"description":723,"tags":724,"thumbUrl":727,"material":152,"size":153,"collection":103,"collections":728,"showCount":729,"zanCount":11,"manualWeight":11,"mainColor":68},226519,"xian-miao-liu-bi-pu-sa-xiang-zheng-mian-yi-ming-226519","线描六臂菩萨像正面","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[27,725,7,28,98,726],"线描","六臂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8639331748242dd2ef42b1c4dc9d8d1e.jpg",[],166,{"id":731,"slug":732,"title":733,"dynasty":129,"author":47,"museum":75,"description":569,"tags":734,"thumbUrl":737,"material":152,"size":153,"collection":103,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":215},228414,"shui-yue-guan-yin-zuo-xiang-yi-ming-228414","水月观音坐像",[408,24,25,53,52,7,28,210,667,671,735,30,736],"衣纹勾勒","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5ec879dad57cb6f26224e6447e0ea1.jpg",[],164,{"id":741,"slug":742,"title":743,"dynasty":73,"author":426,"museum":744,"description":745,"tags":746,"thumbUrl":748,"material":432,"size":749,"collection":434,"collections":750,"showCount":739,"zanCount":176,"manualWeight":11,"mainColor":124},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[23,96,24,25,26,27,192,747,7,193,28],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[434],{"id":752,"slug":753,"title":754,"dynasty":73,"author":47,"museum":305,"description":755,"tags":756,"thumbUrl":757,"material":294,"size":758,"collection":103,"collections":759,"showCount":760,"zanCount":200,"manualWeight":11,"mainColor":68},231477,"wen-shu-pu-sa-yi-ming-231477","文殊菩萨","菩萨垂目敛神，面庞圆融柔和，静穆间自含慈悲沉静的气韵。朱红衬袍搭配织金纹饰的华彩僧衣，衣纹流转自然，晕染得宜，古雅厚重的设色尽显质感。\n\n身下青狮昂首蹙眉，獠牙毕露，卷曲如棘的鬃毛发散周身，狞猛威悍的模样，恰好衬出菩萨的超然平和。画面仅以淡墨晕出圆光，素净背景将视觉焦点全然落于主仆二者之上。\n\n构图疏密得当，将神性肃穆与瑞兽犷悍融于一轴，用笔精细却无匠气，尽显此件佛造像兼具美学价值与精神意蕴的独特风貌。",[24,53,52,7,28,385,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c29bb18dc9a52f9c138d2229b1e27e.jpg","30.4x59.8厘米",[],161,{"id":762,"slug":763,"title":764,"dynasty":181,"author":765,"museum":766,"description":767,"tags":768,"thumbUrl":769,"material":469,"size":103,"collection":37,"collections":770,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":124},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[23,24,25,51,27,465,7,28,190,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[37],160,{"id":773,"slug":774,"title":339,"dynasty":18,"author":47,"museum":118,"description":340,"tags":775,"thumbUrl":776,"material":152,"size":153,"collection":103,"collections":777,"showCount":778,"zanCount":245,"manualWeight":11,"mainColor":215},226402,"ku-zhu-shi-zao-jing-yi-ming-226402",[78,7,53,497,343,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bda2d4520f30335b9744716dc3d4576.jpg",[],157,{"id":780,"slug":781,"title":782,"dynasty":18,"author":783,"museum":183,"description":784,"tags":785,"thumbUrl":786,"material":63,"size":787,"collection":37,"collections":788,"showCount":778,"zanCount":200,"manualWeight":11,"mainColor":215},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","周昉","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,24,52,53,7,51,28,29,187,209,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[37],{"id":790,"slug":791,"title":792,"dynasty":181,"author":205,"museum":206,"description":793,"tags":794,"thumbUrl":797,"material":798,"size":799,"collection":197,"collections":800,"showCount":801,"zanCount":245,"manualWeight":11,"mainColor":68},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,25,96,52,53,7,28,795,210,796],"竹","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg","绢本设色","111.5x53.1cm",[197,37,312],152,{"id":803,"slug":804,"title":805,"dynasty":220,"author":806,"museum":550,"description":807,"tags":808,"thumbUrl":809,"material":63,"size":810,"collection":37,"collections":811,"showCount":812,"zanCount":200,"manualWeight":11,"mainColor":68},218420,"fang-wu-dao-zi-wu-liang-shou-zun-zhe-xiang-li-gen-218420","仿吴道子无量寿尊者像","李根","面容饱满圆润，眉眼含笑间藏着悲悯与智慧，耳垂丰腴垂坠，尽显尊者气度。袈裟层叠厚重，墨黑与棕褐交织的纹理间，露出青绿裙摆，绣纹繁复精致，足见匠心。手中竹杖纹理清晰，似能触到岁月的质感，步履间衣袂轻扬，暗合吴带当风之韵。笔墨流转传神，设色古雅沉静，将尊者的慈悲与自在跃然绢上，尽显传统人物画的传神妙趣，观之令人心生敬意与平和。",[23,24,25,51,7,53,28,117,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3ebcf7aef87cf32d2b60941bb44dc0.jpg","168x83",[37],149,{"id":814,"slug":815,"title":97,"dynasty":129,"author":304,"museum":305,"description":816,"tags":817,"thumbUrl":818,"material":63,"size":103,"collection":37,"collections":819,"showCount":820,"zanCount":200,"manualWeight":11,"mainColor":68},219376,"guan-yin-chou-ying-219376","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[24,25,51,7,52,53,28,30,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[37],148,{"id":822,"slug":823,"title":824,"dynasty":181,"author":47,"museum":75,"description":825,"tags":826,"thumbUrl":828,"material":152,"size":153,"collection":103,"collections":829,"showCount":830,"zanCount":245,"manualWeight":11,"mainColor":68},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,24,25,51,53,52,7,28,827,665,101,321],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],147,{"id":832,"slug":833,"title":834,"dynasty":181,"author":290,"museum":75,"description":835,"tags":836,"thumbUrl":837,"material":103,"size":103,"collection":103,"collections":838,"showCount":830,"zanCount":176,"manualWeight":11,"mainColor":68},227537,"chao-yuan-xian-zhang-tu-quan-tu-wu-zong-yuan-227537","朝元仙仗图全图","《朝元仙仗图》为北宋宗教画家武宗元所绘制的一幅绢本白描长卷，曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。",[23,24,7,27,26,28,29,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20def5f9abc833a0d5a4c488f47d5ad.jpg",[],{"id":840,"slug":841,"title":842,"dynasty":129,"author":47,"museum":130,"description":843,"tags":844,"thumbUrl":847,"material":78,"size":103,"collection":37,"collections":848,"showCount":849,"zanCount":200,"manualWeight":11,"mainColor":68},222152,"fu-hui-xi-yi-ming-222152","赴会西","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,78,7,53,52,28,30,187,845,846,209,26],"小桥","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[37],146,{"id":851,"slug":852,"title":853,"dynasty":181,"author":854,"museum":305,"description":855,"tags":856,"thumbUrl":860,"material":63,"size":861,"collection":197,"collections":862,"showCount":849,"zanCount":200,"manualWeight":11,"mainColor":68},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","李嵩","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[23,24,96,25,857,53,52,7,28,29,858,859,193],"界画","树","台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[197],{"id":864,"slug":865,"title":866,"dynasty":129,"author":47,"museum":183,"description":867,"tags":868,"thumbUrl":870,"material":309,"size":103,"collection":37,"collections":871,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":68},219702,"liu-zhi-guan-yin-xiang-yi-ming-219702","柳枝观音像","此作观音跏趺安坐，长发垂落飘拂，神态温婉静谧，自带慈悲柔和的气韵。一手拈柳枝，一手托净瓶，正是渡厄救难的经典意象。衣袂线条舒展柔婉，青蓝主调雅致沉静，朱红饰带点缀其间，提亮画面的同时更衬出清净出尘之感。\n\n敷色晕染细腻动人，肌肤柔润通透，宝冠华饰刻画入微，发丝纤毫毕现，尽显工笔细谨之态。淡墨晕开的朦胧背景，让观音恍若隐于烟岚之中，将沉静悲悯的神性融于笔墨方寸，整体清隽典雅，把观音的温婉慈蔼诠释得淋漓尽致，尽显古典佛造像的审美意趣。",[24,52,53,7,28,869,59,51,101],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d5db2c784faec6cc21f518b4575362.jpg",[37],{"id":873,"slug":874,"title":875,"dynasty":18,"author":47,"museum":261,"description":876,"tags":877,"thumbUrl":878,"material":53,"size":103,"collection":37,"collections":879,"showCount":849,"zanCount":245,"manualWeight":11,"mainColor":68},217906,"guan-yin-jing-bian-tu-juan-yi-ming-217906","观音经变图卷","画面分栏叙事，线条如铁线银钩，遒劲中藏柔婉；设色古拙温润，晕染间沉淀着岁月的厚重。左侧人物仪态娴雅，衣纹流转似携清风；中间鬼怪造型夸张，狰狞里仍见动态生机；右侧场景描摹细致，骑乘的昂扬与受刑的肃穆形成对照，暗合经文中的因果寓意。图文相生，将抽象经义化作具象图景，既有宗教的神圣感，又融入世俗生活的烟火气。每一处细节皆显匠心，把经卷故事铺展得鲜活可感，尽显唐代经变画的叙事魅力与艺术高度。",[18,26,7,53,28,190,118,571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a302c97f60fce4016a6eb33371fd9c1.jpg",[37],{"id":881,"slug":882,"title":883,"dynasty":46,"author":47,"museum":884,"description":885,"tags":886,"thumbUrl":890,"material":53,"size":891,"collection":37,"collections":892,"showCount":849,"zanCount":200,"manualWeight":11,"mainColor":68},216776,"ri-ben-shi-jia-jin-guan-chu-xian-tu-yi-ming-216776","日本· 释迦金棺出现图","日本东京国立博物馆","这幅画描绘了释迦牟尼佛躺在金棺材里，进入涅槃，这时他以巨大的神力复活，并对他的母亲说话，他的母亲从天上来，但还没有看到他。",[23,96,53,28,7,572,887,888,889],"释迦牟尼","涅槃","金棺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb770ce3cc7a39753b7dfa8bac03fa17b.jpg","160x229.5",[37],{"id":894,"slug":895,"title":896,"dynasty":129,"author":47,"museum":130,"description":897,"tags":898,"thumbUrl":899,"material":78,"size":136,"collection":103,"collections":900,"showCount":901,"zanCount":176,"manualWeight":11,"mainColor":215},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,78,7,52,53,28,385,186,210,796,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg",[],145,{"id":903,"slug":904,"title":905,"dynasty":18,"author":47,"museum":75,"description":340,"tags":906,"thumbUrl":907,"material":152,"size":153,"collection":103,"collections":908,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":68},231004,"mo-gao-ku-329-yi-ming-231004","莫高窟329",[78,7,53,28,118,371,858,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4418173c3cc1ad02ff65e163e5c89e84.jpg",[],140,{"id":911,"slug":912,"title":913,"dynasty":914,"author":915,"museum":662,"description":916,"tags":917,"thumbUrl":922,"material":103,"size":103,"collection":103,"collections":923,"showCount":909,"zanCount":245,"manualWeight":11,"mainColor":68},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","五代十国","巨然","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,24,96,51,465,918,186,919,858,209,920,921,7],"皴法","山","溪流","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":925,"slug":926,"title":927,"dynasty":46,"author":928,"museum":75,"description":929,"tags":930,"thumbUrl":931,"material":152,"size":153,"collection":283,"collections":932,"showCount":933,"zanCount":200,"manualWeight":11,"mainColor":68},225702,"ji-du-xian-sheng-ya-li-shan-da-an-de-lie-ye-wei-qi-yi-wan-nuo-fu-225702","基督显圣","亚历山大·安德烈耶维奇·伊万诺夫","亚历山大·安德烈耶维奇·伊万诺夫（Александр Андреевич Иванов，1806.7.16-1858.7.3）。俄罗斯十九世纪杰出艺术家。",[96,275,7,28,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07b2d30f150bb16adf8923ae5e2bcea.jpg",[283],137,{"id":935,"slug":936,"title":937,"dynasty":129,"author":47,"museum":305,"description":938,"tags":939,"thumbUrl":940,"material":63,"size":941,"collection":37,"collections":942,"showCount":933,"zanCount":245,"manualWeight":11,"mainColor":68},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[23,24,25,51,52,53,7,28,240,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[37],{"id":944,"slug":945,"title":946,"dynasty":18,"author":947,"museum":948,"description":949,"tags":950,"thumbUrl":952,"material":195,"size":953,"collection":103,"collections":954,"showCount":955,"zanCount":245,"manualWeight":11,"mainColor":215},214206,"ji-wang-sheng-jiao-xu-huai-ren-214206","集王圣教序","怀仁","西安碑林博物馆","据说唐僧玄奘从印度回到长安后，为太宗皇帝翻译了各种佛经，太宗皇帝为他写了一篇序言和一份奏折。这篇序言与太宗皇帝的回信、太子的回文和玄奘的《般若波罗密多心经》译文一起被刻在石头上，成为这块碑。从647年到672年，由于志宁、赖吉、许敬宗、薛元超和李义府历时25年完成，并由诸葛神力润色，朱敬彰刻印。宋代以后，宋以后碑石中断，因捶拓日久，字画逐渐浅细，所以未破损的地形都是宋代的地形。",[23,371,637,190,192,7,951],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9d33b6ee3ce2f2eadb6650d95c9212.jpg","315.3x141.3",[],136,{"id":957,"slug":958,"title":764,"dynasty":181,"author":959,"museum":75,"description":960,"tags":961,"thumbUrl":963,"material":195,"size":103,"collection":37,"collections":964,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":124},217069,"bu-dai-he-shang-tu-liang-kai-217069","梁楷","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[23,24,25,181,51,7,28,465,962,193],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg",[37],135,{"id":967,"slug":968,"title":969,"dynasty":181,"author":970,"museum":971,"description":972,"tags":973,"thumbUrl":976,"material":195,"size":977,"collection":37,"collections":978,"showCount":979,"zanCount":200,"manualWeight":11,"mainColor":68},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","牧溪","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,25,465,27,7,28,541,385,974,186,975,193],"枯树","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[37],134,{"id":981,"slug":982,"title":983,"dynasty":129,"author":47,"museum":305,"description":984,"tags":985,"thumbUrl":986,"material":987,"size":988,"collection":103,"collections":989,"showCount":990,"zanCount":502,"manualWeight":11,"mainColor":124},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,96,24,25,51,7,52,53,28,98,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","白纸本","98.1x35.6公分",[],130,{"id":992,"slug":993,"title":994,"dynasty":18,"author":995,"museum":305,"description":996,"tags":997,"thumbUrl":998,"material":63,"size":999,"collection":37,"collections":1000,"showCount":1001,"zanCount":245,"manualWeight":11,"mainColor":68},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[96,24,25,51,7,53,28,52,193,118,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","109x39.2cm",[37],129,{"id":1003,"slug":1004,"title":1005,"dynasty":129,"author":47,"museum":130,"description":1006,"tags":1007,"thumbUrl":1009,"material":78,"size":1010,"collection":103,"collections":1011,"showCount":1012,"zanCount":176,"manualWeight":11,"mainColor":215},222142,"san-da-shi-tu-pu-xian-yi-ming-222142","三大士图-普贤","普賢菩薩圖位於水月觀音圖之東。普賢菩薩梵文為“三曼多跋羅”，即普遍賢善之意，通常作釋迦佛的右脅侍，專司“理德”，表“大行”。普賢的特徵是頭戴五佛寶冠，乘騎六牙白象，一般手執蓮花，上有利劍”。同一菩薩，不同經書，對手持法物有不同解釋。法海寺壁畫普賢是右手持蓮花，蓮花上置一寶卷。\n普賢的坐騎六牙白象，並不是自然界中真實動物，六牙白像是一種象徵，表示到達彼岸的六種方法。六牙白象雖非真實動物，但壁畫中的六牙白象，捲曲蹲坐的姿態，具有大威力感。再細看白象眼睛是淚汪汪的，具有情感，強化了它的性善柔順，“佛眼淚眼”，突出了普賢的“大慈”形象。感染力很強，沒有高超的繪畫技巧，是不會引起觀眾共鳴的。\n普賢菩薩的左下部繪一信士，稱最勝老人。最勝老人是古印度念佛行者、施主、供養人的尊稱。老人身著綠袍，兩腳分開，雙手胸前相合，目視前方，長髯自然下垂，在沉思，在默禱，像在祝願十方世界救出眾生、脫離苦海。壁畫上這一信士和文殊右下部那一信士，東西對稱，他們同是老人，信仰一致，願望相同，而一仰望一沉思，一扶杖抬手一雙合十，一動一靜，神態各異，反映了現實生活的多樣性，也反映了壁畫構思的巧秒。",[23,78,53,52,7,28,1008,796],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8d5a14d19329266f0933f5ed0a3b3.jpg","摹本的尺寸規格分別是壁畫約四分之一和二分之一；",[],126,{"id":1014,"slug":1015,"title":1016,"dynasty":129,"author":1017,"museum":550,"description":1018,"tags":1019,"thumbUrl":1020,"material":63,"size":1021,"collection":37,"collections":1022,"showCount":1023,"zanCount":245,"manualWeight":11,"mainColor":215},218375,"ri-ben-luo-han-tu-dui-fu-ji-shan-ming-zhao-218375","日本· 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疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[23,24,25,96,51,465,962,28,974,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[297],115,{"id":1157,"slug":1158,"title":1159,"dynasty":220,"author":47,"museum":75,"description":1160,"tags":1161,"thumbUrl":1166,"material":152,"size":153,"collection":103,"collections":1167,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":124},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[24,51,1162,53,52,7,28,385,1163,713,1164,134,240,186,1165,796],"青绿","大象","狮子","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":1170,"slug":1171,"title":1172,"dynasty":46,"author":47,"museum":118,"description":698,"tags":1173,"thumbUrl":1181,"material":152,"size":153,"collection":103,"collections":1182,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":68},226514,"bi-hua-p-4518-cai-hui-qian-shou-qian-yan-guan-yin-guan-yin-tu-yi-ming-226514","壁画P.4518彩绘千手千眼观音观音图",[78,571,7,53,28,1174,1175,1176,736,1177,1178,1106,145,1179,1180],"观音像","千手千眼","光环","古画","传统技法","宗教题材","设色画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab075ae459d8db70624d7a88f36c66cc.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":18,"author":1187,"museum":48,"description":1188,"tags":1189,"thumbUrl":1193,"material":1194,"size":1195,"collection":434,"collections":1196,"showCount":1168,"zanCount":200,"manualWeight":11,"mainColor":124},221067,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行","钟绍京","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,190,430,747,7,193,1190,1191,1192],"典籍","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg","墨迹本","20.8×8.9cm",[434,436],{"id":1198,"slug":1199,"title":1200,"dynasty":181,"author":1201,"museum":884,"description":1202,"tags":1203,"thumbUrl":1204,"material":63,"size":1205,"collection":197,"collections":1206,"showCount":1207,"zanCount":176,"manualWeight":11,"mainColor":68},220122,"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,96,24,25,51,53,52,7,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[197,37],113,{"id":1209,"slug":1210,"title":1211,"dynasty":129,"author":47,"museum":305,"description":1212,"tags":1213,"thumbUrl":1216,"material":63,"size":1217,"collection":37,"collections":1218,"showCount":1219,"zanCount":11,"manualWeight":11,"mainColor":68},218437,"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[24,53,52,7,51,28,1137,1214,858,1215],"小鬼","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","135.7x76.8",[37],112,{"id":1221,"slug":1222,"title":1223,"dynasty":220,"author":1224,"museum":75,"description":1225,"tags":1226,"thumbUrl":1227,"material":432,"size":103,"collection":37,"collections":1228,"showCount":1219,"zanCount":200,"manualWeight":11,"mainColor":215},217110,"bai-miao-luo-han-10-leng-mei-217110","白描罗汉-10","冷枚","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,25,464,27,7,28,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af19c162f3cd549674293ab8722bc5f.jpg",[37],{"id":1230,"slug":1231,"title":1232,"dynasty":46,"author":1233,"museum":884,"description":1234,"tags":1235,"thumbUrl":1236,"material":63,"size":1237,"collection":37,"collections":1238,"showCount":1239,"zanCount":245,"manualWeight":11,"mainColor":215},219237,"xu-kong-zang-pu-sa-xiang-ri-ben-yi-ming-219237","虚空蔵菩萨像","日本·佚名","画面沉敛的墨色里，虚空藏菩萨端坐莲台，面容温润如满月，双目微阖似含慈悲。头戴宝冠缀饰精巧，璎珞垂肩映出细碎华光，衣纹线条婉转如流云，金箔点缀处更显庄严雅致。身后多层背光暗红交织墨色，层层晕染如涟漪扩散，凝住神性的辉光。莲座花瓣层叠纹理细腻，承托坐姿安稳如山。整幅作品以凝练笔触勾勒庄严法相，每一处细节都藏着对神性的敬畏与美的追求，凝视间仿佛能触到心灵的沉静，感知那怀纳无尽智慧与福德的力量，让浮躁心绪在这古典的静谧里慢慢沉淀。",[23,7,52,53,28,677],"https:\u002F\u002Foss.ch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厘米，横：23.8 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王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,26,52,53,857,7,28,240,55,29,385,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[37],{"id":1552,"slug":1553,"title":1554,"dynasty":18,"author":47,"museum":261,"description":1555,"tags":1556,"thumbUrl":1559,"material":265,"size":103,"collection":103,"collections":1560,"showCount":1542,"zanCount":11,"manualWeight":11,"mainColor":68},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[96,24,25,26,53,52,7,28,118,1163,119,187,98,1557,1558,149],"帐篷","僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":1562,"slug":1563,"title":1564,"dynasty":220,"author":1565,"museum":75,"description":1566,"tags":1567,"thumbUrl":1568,"material":152,"size":153,"collection":103,"collections":1569,"showCount":1570,"zanCount":245,"manualWeight":11,"mainColor":124},230292,"zhao-meng-fu-da-shi-zan-ai-xin-jue-luo-yong-xing-230292","赵孟頫大士赞","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[23,190,430,193,25,26,7,951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239d73cbdf3045fafccec73a08a508ad.jpg",[],89,{"id":1572,"slug":1573,"title":1574,"dynasty":181,"author":182,"museum":75,"description":1575,"tags":1576,"thumbUrl":1577,"material":432,"size":1578,"collection":197,"collections":1579,"showCount":1580,"zanCount":245,"manualWeight":11,"mainColor":124},221398,"fa-hai-ling-shan-tu-ce-li-gong-lin-221398","法海灵山图册","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,24,96,25,464,27,7,28,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0df1b380f365d00c48d70258594a85.jpg","23x299cm",[197,37],88,{"id":1582,"slug":1583,"title":1584,"dynasty":73,"author":426,"museum":649,"description":1585,"tags":1586,"thumbUrl":1587,"material":430,"size":1588,"collection":434,"collections":1589,"showCount":1590,"zanCount":245,"manualWeight":11,"mainColor":124},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[23,25,190,26,430,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 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、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[430,637,190,951,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d37fc973561d02da112fe7cedaa550.jpg",[],86,{"id":1602,"slug":1603,"title":1604,"dynasty":129,"author":47,"museum":75,"description":569,"tags":1605,"thumbUrl":1606,"material":152,"size":153,"collection":103,"collections":1607,"showCount":1600,"zanCount":11,"manualWeight":11,"mainColor":68},228405,"da-pu-xian-pu-sa-zuo-xiang-yi-ming-228405","大普贤菩萨坐像",[24,7,28,52,53,59,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879769e52d7eb2be5f8935ae85a068a2.jpg",[],{"id":1609,"slug":1610,"title":1611,"dynasty":181,"author":182,"museum":75,"description":1612,"tags":1613,"thumbUrl":1614,"material":103,"size":103,"collection":103,"collections":1615,"showCount":1600,"zanCount":11,"manualWeight":11,"mainColor":124},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[23,96,24,25,26,7,28,27,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":1617,"slug":1618,"title":1619,"dynasty":18,"author":47,"museum":118,"description":340,"tags":1620,"thumbUrl":1623,"material":152,"size":153,"collection":103,"collections":1624,"showCount":1600,"zanCount":200,"manualWeight":11,"mainColor":68},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披",[371,78,53,7,28,342,385,1313,713,186,1621,134,149,319,1622],"山峦","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":1626,"slug":1627,"title":1628,"dynasty":129,"author":47,"museum":1629,"description":1630,"tags":1631,"thumbUrl":1633,"material":63,"size":103,"collection":37,"collections":1634,"showCount":1600,"zanCount":200,"manualWeight":11,"mainColor":124},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","耶鲁大学艺术博物馆","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[96,24,25,1632,7,53,28,54,189,497,193,52],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[37],{"id":1636,"slug":1637,"title":1638,"dynasty":129,"author":1639,"museum":305,"description":1640,"tags":1641,"thumbUrl":1642,"material":195,"size":1643,"collection":37,"collections":1644,"showCount":1645,"zanCount":200,"manualWeight":11,"mainColor":124},216944,"ru-lai-xiang-sun-huang-216944","如来像","孙璜","Rādhārāṇī是释迦牟尼佛的十大名号之一。如 又称 如来，即 真如，指的是佛陀所说的绝对真理，按照这个真理行事，就能达到佛陀领地的外部世界。中国佛教徒尊崇他为最高的神灵。这幅画的笔法与《曹衣出水》相同，只是手太大了，也可能是作者为了显示自己的 神性 而想这么做。",[24,25,7,28,27,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df3abe0179d316e6b6680707fa9ce16.jpg","101x45.1",[37],85,{"id":1647,"slug":1648,"title":1649,"dynasty":46,"author":47,"museum":75,"description":1650,"tags":1651,"thumbUrl":1653,"material":152,"size":153,"collection":103,"collections":1654,"showCount":1655,"zanCount":11,"manualWeight":11,"mainColor":68},230794,"cai-hui-zuo-fo-xiang-yi-ming-230794","彩绘坐佛像","主尊结跏趺坐莲台，三重背光环环相衬，外缘焰纹灵动炽热，内层晕染青绿暖棕，柔和过渡明暗，衬得法相端严沉静。佛陀身披朱红袈裟，袒胸结印，面容圆润温婉，眉目垂敛含慈，平和安然的气韵扑面而来。\n\n八角莲台基座纹饰繁丽，朱红、石青、米白撞色鲜明，尽显精致庄严。右下侍仆捧香跪坐，身形恭谨小巧，反衬出佛尊的宏大慈悲。\n\n整幅设色古朴厚重，线条稚拙凝练，带着民间画工的朴拙意趣。虽纸面因年深日久泛黄残破，却依旧传递出静谧祥和的宗教感染力，尽显民间佛教绘画的独特韵味。",[23,571,53,7,28,1652,665,193],"坐佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1627ef9b0f7bbe1ed3c2a99a88c04916.jpg",[],84,{"id":1657,"slug":1658,"title":1659,"dynasty":129,"author":47,"museum":75,"description":1660,"tags":1661,"thumbUrl":1662,"material":152,"size":153,"collection":103,"collections":1663,"showCount":1655,"zanCount":11,"manualWeight":11,"mainColor":215},228411,"wen-shu-xiang-yi-ming-228411","文殊像","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。",[96,24,25,78,7,52,53,28,186,187,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":1665,"slug":1666,"title":1667,"dynasty":18,"author":1668,"museum":305,"description":1669,"tags":1670,"thumbUrl":1671,"material":654,"size":1672,"collection":37,"collections":1673,"showCount":1655,"zanCount":200,"manualWeight":11,"mainColor":68},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[96,24,25,51,7,28,53,52,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[37,312],{"id":1675,"slug":1676,"title":1677,"dynasty":73,"author":426,"museum":744,"description":1678,"tags":1679,"thumbUrl":1680,"material":432,"size":1681,"collection":434,"collections":1682,"showCount":1655,"zanCount":200,"manualWeight":11,"mainColor":124},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,96,24,25,26,7,192,190,747,193,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[434],{"id":1684,"slug":1685,"title":1686,"dynasty":129,"author":47,"museum":884,"description":1687,"tags":1688,"thumbUrl":1693,"material":1694,"size":103,"collection":312,"collections":1695,"showCount":1655,"zanCount":200,"manualWeight":11,"mainColor":215},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","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。",[23,24,52,53,51,7,28,1689,1690,98,1691,667,444,671,1692,497],"孔雀","鸟","多臂人物","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg","设色,绢本",[312],{"id":1697,"slug":1698,"title":1699,"dynasty":129,"author":47,"museum":48,"description":1700,"tags":1701,"thumbUrl":1702,"material":63,"size":1703,"collection":37,"collections":1704,"showCount":1655,"zanCount":200,"manualWeight":11,"mainColor":68},218510,"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[24,25,408,7,52,53,28,149,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[37],{"id":1706,"slug":1707,"title":339,"dynasty":18,"author":47,"museum":118,"description":340,"tags":1708,"thumbUrl":1709,"material":152,"size":153,"collection":103,"collections":1710,"showCount":1711,"zanCount":11,"manualWeight":11,"mainColor":68},226248,"ku-zhu-shi-zao-jing-yi-ming-226248",[78,7,53,343,98,371,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff11543814879add73dc01d236489c0.jpg",[],83,{"id":1713,"slug":1714,"title":1715,"dynasty":73,"author":47,"museum":75,"description":1716,"tags":1717,"thumbUrl":1721,"material":103,"size":103,"collection":103,"collections":1722,"showCount":1711,"zanCount":245,"manualWeight":11,"mainColor":68},223616,"shi-di-pu-sa-yi-ming-223616","十地菩萨","此作图绘天界胜境，祥云翻卷如绵，晕染出缥缈禅意。六位菩萨仪容温婉慈悲，宝冠璎珞层层叠叠，錾刻入微，尽显华贵庄严。衣袂敷色厚重雅致，朱砂暖艳撞映石青沉邃，晕染柔和自然，将织物肌理与垂坠感尽数展现。\n\n菩萨排布错落有致，或合掌凝思，或垂目禅定，法相自带沉静祥和的气韵。线条婉转流畅，勾勒出体态舒展柔和，细节处纹饰精巧细腻，将工笔重彩的精妙匠艺展露无遗，神性之美与世俗工巧相融，满溢静谧的宗教感染力。",[23,1715,24,52,53,7,28,30,1718,1719,1720],"工笔重彩","华贵庄严","沉静祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e98cf3a4bed512db310fe30d0f538.jpg",[],{"id":1724,"slug":1725,"title":1726,"dynasty":181,"author":959,"museum":427,"description":1727,"tags":1728,"thumbUrl":1729,"material":798,"size":1730,"collection":197,"collections":1731,"showCount":1711,"zanCount":11,"manualWeight":11,"mainColor":68},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,24,25,51,53,7,28,189,974,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[197,1732],"山水画精选",{"id":1734,"slug":1735,"title":1736,"dynasty":73,"author":47,"museum":662,"description":1737,"tags":1738,"thumbUrl":1741,"material":63,"size":103,"collection":37,"collections":1742,"showCount":1711,"zanCount":200,"manualWeight":11,"mainColor":215},219235,"yao-shi-ru-lai-ji-shi-er-shen-jiang-tu-yi-ming-219235","药师如来及十二神将图","中央药师如来法相庄严，结跏趺坐于层叠莲座之上，手印沉静，身周光环如晕，暖意暗涌。十二神将环伺左右，或持法器怒目，或执兵戈肃立，衣袂间纹饰流转，铠甲暗映微光。构图层次分明，从莲座之稳到神将之动，动静相生；色彩沉郁中见华彩，金箔隐现于深褐与朱红之间，似藏千年香火余温。整幅画作既显佛法的慈悲肃穆，又含护法神将的威严张力，每一处线条与色彩的交织，皆暗喻着护持众生的愿力与力量，仿佛能听见古刹钟声里，护法者的坚定心跳。",[23,24,7,28,52,53,51,1739,1740],"佛教人物","神将","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdf94c9cba41d6cda65e6d7278d109b.jpg",[37],{"id":1744,"slug":1745,"title":560,"dynasty":18,"author":19,"museum":461,"description":1746,"tags":1747,"thumbUrl":1748,"material":294,"size":1749,"collection":103,"collections":1750,"showCount":1751,"zanCount":11,"manualWeight":11,"mainColor":68},232268,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-232268","吴道子勤奋好学，天资过人，借鉴古法，画技创新，打破沿袭顾恺之的游丝描，开创兰叶描，把复杂的物体形态凹凸面、阴阳面，归纳为不可再减的“线”，画出物体的线条性格，探索线条变化规律，力求每条线符合造型传神的要求，《八十七神仙卷》就是这样一幅充满线条美妙韵律的千古神作。\n《八十七神仙卷》是描绘八十七位仙人去朝拜元始天尊场景，画面人物描绘夸张，帝王高大魁梧，神圣威严，面相和蔼，头罩光环，构图以帝王为中心分布聚集，左右端是身披铠甲的护将武士，须发如生，毛根出肉，怒目圆睁，握拳拔剑。最为引人注目是出尘脱俗，如花似玉，明艳动人，顾盼生姿的数十位仙女，吹奏打板，抚琴托盘，捧花献果，举旗摇幡，长裙肥袖，满壁风动，发髻头饰，高耸光鲜，神态自若，形象各异。\n《八十七神仙卷》画面阵容恢弘，排布随意，主角突出，层次分明，人物神情丰富，形态举止自然，写实与艺术夸张手法结合并用，线条流畅如水，舞动飘逸如风，瑞气喷涌如云，天堂景致如虹，是一幅匠心独运神来之笔，画苑冠冕千古名作\n《八十七神仙卷》帝王天仙、武将文官等男士仙人造像，这些神仙人物以凡间人物为创作原形。《八十七神仙卷》是一幅道教画，道教是惟一在中国本土发育的宗教，由先秦道家思想演化而来，尊老子为道祖，奉老子著作《道德经》为主要经典，信仰尊道贵德，认为道是产生天地万物的本源，人和万物由道生、由德育，道可以修得升天成仙，长生不死。道教神仙众多，既有来源于中国古代神话人物，又有历朝褒奖、社会崇拜的真人，成为凡界修道成仙的范例，形成庞大繁杂的神仙谱系。道教神仙故有凡间人物化身，有以普通人面貌隐迹凡世。\n《八十七神仙卷》仙女众多，仙女的形象、发髻、头饰、衣衫及手持晋献花篮、托盘、果品，吹奏器乐、举旗打幡等，构成仙女喜乐，花枝招展，祥云缥缈，众神欢颜的天堂盛景，画卷中各式仙女造型是研究唐风民俗的珍贵资料\n仙女发饰，呈现出奇异多彩，令人眼花缭乱，一千多年前古代妇女发艺，放在当代也是时尚造型，媲美现代科技手段的发艺打理，由此可见作者对大唐皇室贵族妇女梳妆研究充分，观察细致，作者的社会生活见识广泛，发艺素材积累深厚，创作随心所欲，绘画信手拈来，塑造出一群貌美如花形象鲜活的天堂仙女。\n吴道子身处唐朝中期，是大唐历史最辉煌时代，史称“开元盛世”或“开元之治”，社会经济空前繁荣，国力空前强盛，人口大幅度增长，商业发达，城市繁华，上流社会时尚流行奢靡之风，来自波斯的西域工匠，带来金银珠宝与精湛加工技艺，把大唐金饰制品与华贵头饰，从皇室走出成为富豪贵族的奢侈配置。\n唐代画家周昉、张萱、王贞白等民间仕女画的片段，发式造型相似画卷中仙女，但没有佩戴耀目华贵的头饰，华贵头饰显然不属于普通妇女。在吴道子笔下仙女，不仅发型发饰具有大唐韵味，而且体现唐代崇尚妇女身形微胖的审美观念，仙女们个个脸型圆润，体态丰腴，气质雍容，超凡脱俗。\n《八十七神仙卷》服饰与纹样局部，白描有条不紊，构图复杂繁密，铁线萦绕，丝丝入扣，显示了绘画的精细功力，把仙人衣着刻画的风舞飘动，牵之欲出。唐代服饰是以社会经济发达为基础，纺织、印染技术达到了历史巅峰，为服饰文化提供了物质条件。唐代服饰具有多样性、开放性、奢华性的特点，多样性表现为融合多民族文化与中外文化的款式设计；开放性体现在造型样式方面如衣裙、肩披、围腰的“粉胸半掩疑暗雪”的装扮，图16即是唐代画家张萱《捣练图》中女性服饰图样；奢华性是服饰的绚丽多彩与华贵配饰及梳妆相搭，唐诗“眉黛夺得萱草色 红裙妒杀石榴花”，就是对唐代仕女及服饰的美艳写照。\n吴道子把唐代服饰风貌搬上《八十七神仙卷》，尤其衣衫纹样画法，线条密集、画迹流畅、繁杂有序、柔韧雄放、粗细相间、交织如网、鲜活灵动、造型夸张的笔法，后世称为“吴家样”，对衣饰飘舞形象称为“吴带当风”画法，表现了后人对吴道子超凡画技与与作品魅力的敬仰崇拜。\n唐朝从“贞观之治”到“开元之治”期间一百多年，虽有外患内乱但终被平息，国家政治局势基本稳定，经济繁荣昌盛，也是文化艺术发展的最好时代，涌现多位载入史册的文化名人，带领唐朝的文学诗歌、书法绘画、音乐舞蹈等取得了辉煌成就。《八十七神仙卷》仙女群组形象，有取材唐朝宫廷乐舞的身影",[23,24,25,26,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa144931d6cc1956dc7dacc5dd4c037.jpg","画芯长800厘米、宽75厘米",[],81,{"id":1753,"slug":1754,"title":1755,"dynasty":220,"author":1133,"museum":649,"description":1756,"tags":1757,"thumbUrl":1758,"material":294,"size":1759,"collection":103,"collections":1760,"showCount":1751,"zanCount":245,"manualWeight":11,"mainColor":124},223245,"bao-xiang-guan-yin-tu-ding-guan-peng-223245","宝相观音图","观音为佛教大乘菩萨之一，佛经上说此菩萨能“救苦难众生”，示现种种形象，名为“普门示众”，一般形态多作女相。此图绘千手宝相观音一尊，各手分别持小斧、莲花、宝剑、弓箭等各种法宝；头上祥云朵朵飘荡，云中托出小佛十尊，花朵飞扬。观音面容和手臂作多层烘托，有较强的立体质感。说明作者在继承传统技法的同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[23,24,25,52,53,7,28,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":1762,"slug":1763,"title":1764,"dynasty":111,"author":1765,"museum":1282,"description":1766,"tags":1767,"thumbUrl":1768,"material":1769,"size":103,"collection":103,"collections":1770,"showCount":1751,"zanCount":11,"manualWeight":11,"mainColor":124},220583,"zhuan-shu-e-mi-tuo-fo-qi-bai-shi-220583","篆书“阿弥陀佛”","齐白石","此作用隶意入篆，打破篆书匀整旧制，起收笔斩截刚劲，线条厚重苍莽，带着金石摩挲出的斑驳质感。四字排布开张奇崛，字势欹侧错落却浑融一体，将佛号的庄穆，以生辣雄强的笔力托出。\n\n左侧题款小字灵动舒展，与厚重篆文形成动静对冲，疏密间尽显错落意趣。整作褪去雕琢匠气，把禅门静穆与写意野趣相融，笔墨间满是老辣天真的风骨，以书法写尽禅意沉浑。",[24,25,51,7,191,190,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd1d7fbd1e528643671dd29dda0d313.jpg","Ink on paper",[],{"id":1772,"slug":1773,"title":1774,"dynasty":220,"author":1133,"museum":305,"description":1775,"tags":1776,"thumbUrl":1777,"material":63,"size":1778,"collection":37,"collections":1779,"showCount":1751,"zanCount":11,"manualWeight":11,"mainColor":124},218459,"shi-liu-luo-han-xiang-di-shi-si-na-a-ga-sai-na-zun-zhe-ding-guan-peng-218459","十六罗汉像-第十四纳阿噶塞纳尊者","虽临摹自贯休的作品，但这套16幅画用明暗法来表现人物脸部、手部和脚部的裸露部分，使其具有逼真生动的肌肉纹理。周围的家具和石头有相当精确的透视，明显受到西方绘画风格的影响，色彩鲜艳丰富，有凹凸的立体感。人物的头发和胡须也被仔细地、艰苦地描绘出来。这幅画展示了罗汉的性格和品质，他是一个具有超越性思维和开放性思想的人。",[24,25,53,52,28,7,193,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[37],{"id":1781,"slug":1782,"title":1783,"dynasty":18,"author":1784,"museum":75,"description":1785,"tags":1786,"thumbUrl":1787,"material":63,"size":1788,"collection":37,"collections":1789,"showCount":1790,"zanCount":200,"manualWeight":11,"mainColor":68},218434,"jie-bo-tu-juan-zhao-gong-you-218434","掲钵图卷","赵公佑","残卷斑驳，却凝萃着盛唐绘画的磅礴气象。画面中神祇与魔众的对峙张力十足，线条流转如行云流水，虽历经岁月褪色，朱红与墨色的交织仍显古雅厚重。人物动态鲜活，或持械交锋，或肃立说法，神态各异间铺展叙事脉络。构图疏密有致，虚实相生，既见个体形象的精谨刻画，亦有整体场景的宏阔铺陈。笔墨间藏着唐代画坛的雄浑笔力与细腻情思，即便残损处也似时光留痕，诉说着千年之前的艺术风华，堪称研究唐代宗教绘画与叙事艺术的珍贵遗存。其笔墨间的雄浑与细腻，既显宗教题材的庄严神圣，又含世俗绘画的生动意趣，是盛唐艺术兼容并蓄精神的鲜活注脚。",[23,24,25,26,53,7,28,713,1406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076f4968eb11391f30728e56d3fad1d8.jpg","27.4x109.4",[37],80,{"id":1792,"slug":1793,"title":359,"dynasty":129,"author":1330,"museum":305,"description":1794,"tags":1795,"thumbUrl":1796,"material":469,"size":1797,"collection":37,"collections":1798,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":68},216995,"yu-lan-guan-yin-tu-wu-bin-216995","这幅画描绘的是鱼篓里的观音，身穿草鞋，手持经卷，旁边还有一个背着鱼篓的小孩。虽然她是个女人，但她的脸是椭圆形的，有大眉毛和大眼睛，她没有女人的特征。她的身体和孩子的身体比例不均，人物被拉长变形，衣服用浓墨重彩的笔触画出来，有很多平行的弧形线条，整个作品奇特而有趣。",[96,24,25,51,7,28,27,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fbc09085c36b93a042a9a0aa5784c1.jpg","187.8x85",[37],79,{"id":1801,"slug":1802,"title":1803,"dynasty":181,"author":1804,"museum":75,"description":1805,"tags":1806,"thumbUrl":1808,"material":63,"size":103,"collection":1732,"collections":1809,"showCount":1799,"zanCount":200,"manualWeight":11,"mainColor":124},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,1177,25,26,7,857,53,28,186,29,845,133,713,385,134,187,210,1807],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[1732],{"id":1811,"slug":1812,"title":1813,"dynasty":181,"author":1814,"museum":305,"description":1815,"tags":1816,"thumbUrl":1818,"material":63,"size":1819,"collection":197,"collections":1820,"showCount":1821,"zanCount":200,"manualWeight":11,"mainColor":68},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","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。",[23,24,96,52,53,7,28,712,149,385,146,210,32,1817],"神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[197],78,{"id":1823,"slug":1824,"title":1825,"dynasty":18,"author":47,"museum":118,"description":340,"tags":1826,"thumbUrl":1827,"material":152,"size":153,"collection":103,"collections":1828,"showCount":1821,"zanCount":11,"manualWeight":11,"mainColor":68},226169,"ku-zhu-shi-xi-bi-yi-ming-226169","窟主室西壁",[78,7,53,28,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221f3dcbbfbd09c8fec964f467975396.jpg",[],{"id":1830,"slug":1831,"title":1832,"dynasty":18,"author":47,"museum":75,"description":1833,"tags":1834,"thumbUrl":1842,"material":103,"size":103,"collection":231,"collections":1843,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":215},253609,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253609","铜鎏金杨柳枝观音菩萨立像","此造像身姿婉转柔美，是盛唐审美意趣的凝练缩影。高发髻纹饰细密，面庞圆润慈悲，垂目含睇，自带温婉悲悯的神性柔光。\n\n右手持枝，左手牵瓶，衣褶如流水般自然垂落，鎏金虽经岁月经年晕染斑驳，仍能窥见旧时明丽华贵。璎珞环身勾勒曼妙身形，贴体长裙尽显丰腴婀娜，将神性的庄严融于世俗的柔美中，灵动舒展的体态里，藏着盛唐包容万象的雍容气韵，静立间便弥散出祥和安宁之感。",[7,1030,1835,1836,228,1837,1838,1839,1840,1841],"鎏金","观音菩萨","净瓶","杨柳枝","璎珞","慈悲","祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdfff917e97a18a75a91924122abde4.jpg",[231],77,{"id":1846,"slug":1847,"title":1848,"dynasty":129,"author":47,"museum":183,"description":1849,"tags":1850,"thumbUrl":1853,"material":432,"size":103,"collection":37,"collections":1854,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":68},219895,"liu-hai-du-hai-tu-yi-ming-219895","刘海渡海图","赤足凌于翻涌浪涛之上，衣袂被海风拂卷翻飞，仙者神色沉静安然，不见渡海的惶然。怀中紧捧三足金蟾，另一手牵系着仙桃的丝带，仙家灵韵尽数铺展。\n\n画作以劲挺流畅的线条勾勒衣褶，衣物垂坠质感尽显。细密笔触层叠出浪涛奔涌之态，虚实相映烘托出烟波浩渺的渡海意境。整体色调沉古雅致，将世外之人超凡出尘的气质晕染开来，把刘海渡海的传说融于笔墨间，空灵悠远，在叙事与审美之间达成绝妙平衡，尽显古画仙逸出尘的独特意趣。",[24,25,51,53,52,7,28,1851,1852],"海浪","蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e14f2c2835480ab5d26a9db6287108.jpg",[37],{"id":1856,"slug":1857,"title":1858,"dynasty":220,"author":47,"museum":75,"description":1859,"tags":1860,"thumbUrl":1861,"material":63,"size":103,"collection":37,"collections":1862,"showCount":1844,"zanCount":200,"manualWeight":11,"mainColor":215},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,7,53,52,1162,28,858,209,150,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[37],{"id":1864,"slug":1865,"title":1866,"dynasty":181,"author":182,"museum":75,"description":1867,"tags":1868,"thumbUrl":1871,"material":432,"size":103,"collection":37,"collections":1872,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":124},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,25,464,27,465,7,28,1869,1870,210],"罗汉","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[37],{"id":1874,"slug":1875,"title":1876,"dynasty":73,"author":1877,"museum":305,"description":1878,"tags":1879,"thumbUrl":1880,"material":63,"size":1881,"collection":37,"collections":1882,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":68},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,25,51,53,52,7,28,795,189,134,55,796,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[37],{"id":1884,"slug":1885,"title":1886,"dynasty":18,"author":19,"museum":75,"description":369,"tags":1887,"thumbUrl":1888,"material":152,"size":153,"collection":103,"collections":1889,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":68},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像",[24,96,25,51,7,53,28,572,443,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],76,{"id":1892,"slug":1893,"title":1894,"dynasty":73,"author":47,"museum":75,"description":1895,"tags":1896,"thumbUrl":1899,"material":152,"size":153,"collection":103,"collections":1900,"showCount":1890,"zanCount":200,"manualWeight":11,"mainColor":68},228240,"yu-lan-guan-yin-zhou-yi-ming-228240","鱼篮观音轴","此尊观音菩萨即为鱼篮观音，像高束发，垂发挽结，自然舒卷，搭在双肩，富有写实感。观音菩萨面相丰满，头微颔，双眼作俯视状，双眉正中嵌珍珠白毫。五官刻画柔和，轮廓端正，表情和悦，深沉内省，充分表现出观音菩萨大慈大悲、慈悯众生的佛性。观音菩萨袒露前胸，佩戴牡丹花饰缨络项链，内束裙，裙边饰花纹，折迭自然起伏，裙带扎束小结，线条流畅细腻，富有动感。外罩双领下垂大衣，衣领雕饰牡丹花草，翻卷自由活泼，富有写实性和立体感。",[23,24,51,53,52,7,28,1897,241,240,1898],"鱼","篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41ecfe8a6fc43621a056f7ae4293a6a.jpg",[],{"id":1902,"slug":1903,"title":1904,"dynasty":18,"author":47,"museum":118,"description":340,"tags":1905,"thumbUrl":1909,"material":152,"size":153,"collection":103,"collections":1910,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":41},226221,"ku-yong-dao-nan-pi-yi-ming-226221","窟甬道南披",[78,53,7,1906,666,1907,1839,1908],"垂幔","花纹","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f12c198df8e645b413e5f0b8a85545d.jpg",[],{"id":1912,"slug":1913,"title":1914,"dynasty":73,"author":426,"museum":395,"description":1915,"tags":1916,"thumbUrl":1918,"material":432,"size":1919,"collection":434,"collections":1920,"showCount":1890,"zanCount":200,"manualWeight":11,"mainColor":124},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[23,24,25,190,26,192,7,1917,193],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[434],{"id":1922,"slug":1923,"title":1924,"dynasty":220,"author":1925,"museum":75,"description":1926,"tags":1927,"thumbUrl":1928,"material":152,"size":153,"collection":103,"collections":1929,"showCount":1930,"zanCount":200,"manualWeight":11,"mainColor":124},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,24,25,26,7,27,28,1393,149,385,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],75,{"id":1932,"slug":1933,"title":1825,"dynasty":18,"author":47,"museum":118,"description":340,"tags":1934,"thumbUrl":1935,"material":152,"size":153,"collection":103,"collections":1936,"showCount":1930,"zanCount":200,"manualWeight":11,"mainColor":68},226216,"ku-zhu-shi-xi-bi-yi-ming-226216",[96,78,7,857,53,28,29,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc239266b541c9c02b59870053dd1a161.jpg",[],{"id":1938,"slug":1939,"title":1940,"dynasty":73,"author":47,"museum":427,"description":1941,"tags":1942,"thumbUrl":1944,"material":294,"size":1945,"collection":103,"collections":1946,"showCount":1930,"zanCount":200,"manualWeight":11,"mainColor":215},223593,"bai-yi-guan-yin-tu-zhou-yi-ming-223593","白衣观音图轴","此作用淡墨白描写就，线条清劲圆转如兰叶拂风，将观音衣袂的舒展柔曼尽数铺陈。菩萨安坐枯木之上，神态恬寂慈悲，身罩圆光，愈发显得清宁出尘。一旁净瓶斜插柳枝，暗点禅意。背景寥寥数笔勾勒寒江枯石，简淡空寂，烘托出幽远澄澈的水月之境。画首题诗暗合观心见性的禅思，笔墨极简却神完气足，以空灵之境托出观音自在无染的悲悯之态，尽显简逸高古的审美意趣，淡远清和之中，悠悠禅韵扑面而来。",[23,24,25,51,7,27,28,1943,209,1837,725],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650731d393f311c93711e07f496fca71.jpg","83x39",[],{"id":1948,"slug":1949,"title":1950,"dynasty":18,"author":1951,"museum":1629,"description":1952,"tags":1953,"thumbUrl":1955,"material":63,"size":1956,"collection":37,"collections":1957,"showCount":1930,"zanCount":11,"manualWeight":11,"mainColor":215},218416,"san-jiao-tu-han-huang-218416","三教图","韩滉","素绢铺展，三贤围坐成一方思想的庭院。衣袂翩然间，儒的端雅、释的清寂、道的旷达如溪涧交汇。左侧禅者执物凝思，眉峰轻锁藏着般若妙谛；中间老者须髯垂胸，宽袍裹着天地自然的灵韵；右侧儒者冠带齐整，手抚衣襟尽显经世的沉厚。指尖微触的默契，眼神交汇的了然，无需言语，便将三教汇通的哲思织进斑驳的绢丝。古绢的纹理似时光的掌纹，晕开的墨色把千年论道的余温凝在方寸之间，每一道笔触都成了跨越时空的对话，引观者叩响那扇哲思的门扉。",[96,24,28,7,53,1954],"儒释道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d94fa61e6d5894e6e617ecf1fc8e542.jpg","58x42",[37],{"id":1959,"slug":1960,"title":17,"dynasty":18,"author":19,"museum":75,"description":317,"tags":1961,"thumbUrl":1962,"material":152,"size":153,"collection":103,"collections":1963,"showCount":1964,"zanCount":11,"manualWeight":11,"mainColor":124},289986,"ba-shi-qi-shen-xian-juan-wu-dao-zi-289986",[23,96,24,25,26,27,28,7,1393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ff0a4375f3f773c38c1951165e4cfe.jpg",[],74,{"id":1966,"slug":1967,"title":1968,"dynasty":220,"author":1969,"museum":75,"description":1970,"tags":1971,"thumbUrl":1972,"material":432,"size":103,"collection":434,"collections":1973,"showCount":1964,"zanCount":200,"manualWeight":11,"mainColor":1974},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,190,747,7,430,193,25,26,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[434],"FFFFFF",{"id":1976,"slug":1977,"title":1978,"dynasty":181,"author":290,"museum":75,"description":1979,"tags":1980,"thumbUrl":1981,"material":294,"size":295,"collection":103,"collections":1982,"showCount":1964,"zanCount":200,"manualWeight":11,"mainColor":68},221326,"chao-yuan-xian-zhang-tu-di-yi-duan-wu-zong-yuan-221326","朝元仙仗图-第一段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,24,96,26,27,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":1984,"slug":1985,"title":969,"dynasty":914,"author":1506,"museum":427,"description":1507,"tags":1986,"thumbUrl":1988,"material":432,"size":1512,"collection":37,"collections":1989,"showCount":1964,"zanCount":200,"manualWeight":11,"mainColor":124},221177,"er-zu-diao-xin-tu-shi-ke-221177",[23,96,24,465,28,7,541,1987],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg",[37,297],{"id":1991,"slug":1992,"title":1993,"dynasty":73,"author":47,"museum":662,"description":1994,"tags":1995,"thumbUrl":2000,"material":53,"size":103,"collection":312,"collections":2001,"showCount":1964,"zanCount":200,"manualWeight":11,"mainColor":68},219248,"shi-jia-san-zun-xiang-yi-ming-219248","释迦三尊像","三屏并置构局对称庄严，中央主尊端坐莲台，袈裟朱红如燃，衣纹流转似风拂涟漪；左普贤乘六牙白象，象踏祥云，彩饰环身；右文殊跨青狮，狮吼若闻，威凛自生。下方侍从或执杖肃立，或捧器躬身，衣袂飘举间线条劲健。设色虽历久斑驳，仍可见朱砂浓艳、石绿清润与泥金辉光相映，兼具宋画细腻工致与元人开阔气度，将佛国神圣与人间鲜活悄然融合，尽显元代佛画独特神韵——既承汉地传统笔墨之精，又融多元文化的开阔气象，是佛画艺术在时代交融中的生动遗存。",[23,24,7,51,52,53,28,520,677,1139,1996,1997,572,443,1998,1999,1138],"胁侍","坐骑","骑兽","胁侍菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0d370ff3dae005e118f1bc294f41e9.jpg",[312],{"id":2003,"slug":2004,"title":2005,"dynasty":73,"author":2006,"museum":305,"description":2007,"tags":2008,"thumbUrl":2011,"material":309,"size":2012,"collection":37,"collections":2013,"showCount":1964,"zanCount":11,"manualWeight":11,"mainColor":124},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","张渥","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[24,25,53,52,7,28,974,1381,1451,2009,2010,193],"桌子","书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[37],{"id":2015,"slug":2016,"title":2017,"dynasty":18,"author":1490,"museum":75,"description":2018,"tags":2019,"thumbUrl":2021,"material":152,"size":153,"collection":103,"collections":2022,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":215},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[96,24,25,53,28,7,193,1081,2020,52],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],{"id":2024,"slug":2025,"title":2026,"dynasty":129,"author":648,"museum":75,"description":2027,"tags":2028,"thumbUrl":2029,"material":103,"size":103,"collection":37,"collections":2030,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":68},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[24,25,51,7,28,52,53,241,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[37],{"id":2032,"slug":2033,"title":2034,"dynasty":46,"author":47,"museum":118,"description":723,"tags":2035,"thumbUrl":2038,"material":152,"size":153,"collection":103,"collections":2039,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":68},226516,"cai-hui-liu-bi-shi-yi-tou-guan-yin-xiang-yi-ming-226516","彩绘六臂十一头观音像",[7,28,53,571,78,2036,2037,97,52],"多臂","多头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9706df4d6bc0bbc3def6af9410f119ed.jpg",[],{"id":2041,"slug":2042,"title":2043,"dynasty":129,"author":2044,"museum":884,"description":2045,"tags":2046,"thumbUrl":2048,"material":432,"size":2049,"collection":1732,"collections":2050,"showCount":5,"zanCount":200,"manualWeight":11,"mainColor":68},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,2047,51,7,53,52,918,186,28,975,467,209,210],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[1732],{"id":2052,"slug":2053,"title":2054,"dynasty":73,"author":47,"museum":75,"description":2055,"tags":2056,"thumbUrl":2057,"material":152,"size":153,"collection":103,"collections":2058,"showCount":2059,"zanCount":11,"manualWeight":11,"mainColor":68},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[24,51,7,53,28,52,97,385,54,795,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":2061,"slug":2062,"title":2063,"dynasty":73,"author":47,"museum":395,"description":2064,"tags":2065,"thumbUrl":2066,"material":63,"size":103,"collection":37,"collections":2067,"showCount":2059,"zanCount":11,"manualWeight":11,"mainColor":68},218469,"zhu-cha-ban-tuo-jia-zun-zhe-xiang-yi-ming-218469","注茶半讬迦尊者像","画面中尊者面容沉静慈悲，耳垂丰厚，胡须轻覆唇角，尽显庄严与亲和。蓝色袈裟厚重垂坠，红色内衬点缀其间，白色布巾在腕间流转，质感细腻灵动。右手托举的器物造型古朴，纹理刻画入微，似藏禅意。衣纹线条勾勒精准传神，既有工笔的细腻，又不失写意的洒脱。色彩晕染层次丰富，蓝红对白交织出沉稳而鲜活的视觉效果，背景的素净更衬出主体的庄重。整幅作品将尊者的禅定之态与器物的精巧相融，尽显元代宗教绘画的精湛技艺与精神内涵。",[24,25,51,7,52,53,28,652,61,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3569652e8e110d2bd91593319be8bb9.jpg",[37],{"id":2069,"slug":2070,"title":2071,"dynasty":220,"author":47,"museum":75,"description":2072,"tags":2073,"thumbUrl":2076,"material":152,"size":153,"collection":2077,"collections":2078,"showCount":2079,"zanCount":11,"manualWeight":11,"mainColor":124},253566,"de-hua-yao-bai-you-guan-yin-pu-sa-li-xiang-yi-ming-253566","德化窑白釉观音菩萨立像","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。",[223,2074,2075,7,28,225],"陶瓷","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefff6acbb327d1debb44cffe6346272.jpg","瓷器精选",[2077],71,{"id":2081,"slug":2082,"title":2083,"dynasty":46,"author":47,"museum":75,"description":2084,"tags":2085,"thumbUrl":2087,"material":152,"size":153,"collection":103,"collections":2088,"showCount":2079,"zanCount":11,"manualWeight":11,"mainColor":215},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[23,24,25,51,7,53,52,28,97,2086],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":2090,"slug":2091,"title":2092,"dynasty":181,"author":329,"museum":305,"description":2093,"tags":2094,"thumbUrl":2098,"material":294,"size":2099,"collection":197,"collections":2100,"showCount":2079,"zanCount":200,"manualWeight":11,"mainColor":68},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,96,24,7,145,52,53,1869,2095,2096,2097],"僧人","猿猴","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","纵117公分，横55.8公分",[197,1073,312],{"id":2102,"slug":2103,"title":1904,"dynasty":18,"author":47,"museum":118,"description":340,"tags":2104,"thumbUrl":2106,"material":152,"size":153,"collection":103,"collections":2107,"showCount":2108,"zanCount":200,"manualWeight":11,"mainColor":68},226206,"ku-yong-dao-nan-pi-yi-ming-226206",[78,7,53,28,443,98,2105],"纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a3119938322f459547c31aab6e4a99.jpg",[],70,{"id":2110,"slug":2111,"title":2112,"dynasty":181,"author":47,"museum":427,"description":2113,"tags":2114,"thumbUrl":2115,"material":654,"size":2116,"collection":103,"collections":2117,"showCount":2108,"zanCount":299,"manualWeight":11,"mainColor":215},223578,"xuan-zang-san-zang-xiang-li-zhou-yi-ming-223578","玄奘三藏像立轴","绘玄奘大师赤足芒履，体态壮硕，略有疲惫，身负满载佛经的行笈，右手拿着拂尘，前悬灯盏，日夜兼程、西去取经。",[23,24,25,51,7,28,53,52,101,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F543bc49dad0fa1d57d1f2a920b223347.jpg","135.1×59.9cm",[],{"id":2119,"slug":2120,"title":2121,"dynasty":181,"author":2122,"museum":75,"description":2123,"tags":2124,"thumbUrl":2126,"material":2127,"size":2128,"collection":197,"collections":2129,"showCount":2108,"zanCount":200,"manualWeight":11,"mainColor":68},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,96,24,25,51,7,52,53,28,1265,2125,133,61],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[197,37,312],{"id":2131,"slug":2132,"title":506,"dynasty":73,"author":47,"museum":48,"description":2133,"tags":2134,"thumbUrl":2135,"material":63,"size":2136,"collection":37,"collections":2137,"showCount":2108,"zanCount":200,"manualWeight":11,"mainColor":215},218310,"luo-han-tu-yi-ming-218310","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[24,25,51,53,28,7,172,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[37],{"id":2139,"slug":2140,"title":2141,"dynasty":129,"author":2142,"museum":75,"description":2143,"tags":2144,"thumbUrl":2145,"material":432,"size":103,"collection":37,"collections":2146,"showCount":2147,"zanCount":200,"manualWeight":11,"mainColor":124},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[23,24,25,26,27,53,28,148,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[37],69,{"id":2149,"slug":2150,"title":2151,"dynasty":181,"author":47,"museum":48,"description":2152,"tags":2153,"thumbUrl":2154,"material":53,"size":2155,"collection":312,"collections":2156,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":124},219226,"lv-dong-bin-guo-yue-yang-lou-tu-yi-ming-219226","吕洞宾过岳阳楼图","飞檐翘角似欲凌云，层叠瓦当如鳞排列，宋代楼阁的雅致在圆幅中徐徐铺陈。楼上回廊人影错落，或执盏品茗，或凭栏望水；楼下石阶人潮攘攘，市井声息仿佛可闻。衣袂轻扬的身影悄然驻足，仙韵与凡俗在此温柔碰撞。远山淡墨晕染，近树浓笔点染，古旧绢色裹着岁月温度，将“过楼”瞬间定格成既有人间烟火、又藏仙意缥缈的画卷。没有惊世邂逅，只有含蓄相逢——尘俗热闹里藏着跨越凡界的余味，引人遐想那仙客过楼时，风掠过檐角的轻响，与楼中茶烟的缠绵。",[23,24,96,1632,857,53,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fcaf3edfa5fb282679ccfb73b4778f.jpg","23.8x25.1厘米",[312],{"id":2158,"slug":2159,"title":506,"dynasty":129,"author":2160,"museum":305,"description":2161,"tags":2162,"thumbUrl":2163,"material":63,"size":2164,"collection":37,"collections":2165,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":68},216948,"luo-han-tu-song-xu-216948","宋旭","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[24,51,53,28,186,2125,189,210,918,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[37],{"id":2167,"slug":2168,"title":2169,"dynasty":220,"author":2170,"museum":75,"description":2171,"tags":2172,"thumbUrl":2173,"material":103,"size":103,"collection":37,"collections":2174,"showCount":2175,"zanCount":11,"manualWeight":11,"mainColor":124},228989,"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","石涛","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[24,25,7,465,27,28,467,189,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[37],68,{"id":2177,"slug":2178,"title":142,"dynasty":181,"author":47,"museum":75,"description":2179,"tags":2180,"thumbUrl":2181,"material":103,"size":103,"collection":103,"collections":2182,"showCount":2175,"zanCount":245,"manualWeight":11,"mainColor":68},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,96,24,25,26,27,7,28,149,385,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":2184,"slug":2185,"title":506,"dynasty":181,"author":47,"museum":305,"description":2186,"tags":2187,"thumbUrl":2193,"material":63,"size":2194,"collection":37,"collections":2195,"showCount":2175,"zanCount":200,"manualWeight":11,"mainColor":68},218719,"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[23,24,25,51,53,52,7,28,1869,2188,2189,2190,2191,827,187,2192],"柳树","栏杆","座椅","鞋履","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[37],{"id":2197,"slug":2198,"title":2199,"dynasty":220,"author":47,"museum":75,"description":2200,"tags":2201,"thumbUrl":2203,"material":152,"size":153,"collection":103,"collections":2204,"showCount":2205,"zanCount":11,"manualWeight":11,"mainColor":68},288197,"fang-chou-ying-jie-bo-tu-yi-ming-288197","仿仇英揭钵图","佛尊安坐莲台，神态静定超然，护法眷属恭立环伺，一派庄穆。另一侧群魔攒动，夜叉鬼卒或拽绳撼钵，或挥戈咆啸，狞恶跳脱，奔走腾挪间满是躁动戾气，将救母揭钵的冲突推向极致。飞天振袂穿插云间，衣袂飘举柔化了杀伐之氛。\n\n整卷设色沉厚古雅，铁线描勾勒劲利灵动，人物神态各异，夜叉的凶蛮、天众的肃穆、佛尊的慈悲皆跃然绢上，把神魔相争的戏剧张力尽数铺展，尽显宗教故事画的叙事感染力。",[23,24,26,53,52,117,28,7,572,79,2202],"佛教故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafca72c1f7d102945d31b9ddf001121.jpg",[],67,{"id":2207,"slug":2208,"title":1968,"dynasty":18,"author":2209,"museum":948,"description":2210,"tags":2211,"thumbUrl":2212,"material":103,"size":2213,"collection":103,"collections":2214,"showCount":2205,"zanCount":200,"manualWeight":11,"mainColor":215},232597,"xin-jing-chu-sui-liang-232597","褚遂良","古往今來，《心經》深受人們喜愛，歷代書法名家和廣大書法愛好者以之練習書法或進行書法創作，既能提高書法水平，又能起到修心養性的作用。\n此拓本褚遂良《心經》，雖然落款「辛丑年 遂良書」，但是很多人認爲是僞托之作。\n释文:观自在菩萨,行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色，受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界。无无明，亦无无明尽，乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵，依般若波罗蜜多故，心无罣碍，无罣碍故，无有恐怖，远离颠倒梦想，究竟涅磐。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：揭谛揭谛 波罗揭谛 波罗僧揭谛 菩提萨婆诃。",[190,747,430,637,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870e9df1ad4582940f40d44cbf34d87.jpg","高285厘米，宽102厘米",[],{"id":2216,"slug":2217,"title":2218,"dynasty":46,"author":2219,"museum":75,"description":2220,"tags":2221,"thumbUrl":2233,"material":152,"size":153,"collection":283,"collections":2234,"showCount":2205,"zanCount":11,"manualWeight":11,"mainColor":68},225700,"sha-mo-zhong-de-sheng-fang-ji-ge-qiao-fan-ni-bei-li-ni-225700","沙漠中的圣方济各","乔凡尼·贝利尼","乔凡尼·贝利尼，（Giovanni Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[275,7,2222,53,28,1265,187,2223,712,2224,2225,2226,2227,2228,2229,542,2230,2231,2232],"写实","建筑","天空","洞穴","围栏","草地","远山","峭壁","绿植","村庄","城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg",[283],{"id":2236,"slug":2237,"title":2238,"dynasty":46,"author":272,"museum":75,"description":1079,"tags":2239,"thumbUrl":2242,"material":152,"size":153,"collection":283,"collections":2243,"showCount":2205,"zanCount":11,"manualWeight":11,"mainColor":68},225643,"rembrandt-harmensz-van-rijn-053-lun-bo-lang-225643","Rembrandt Harmensz.van Rijn - 053",[275,2240,28,2241,7],"宗教画","天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60706225461182f891d5f20974206cc.jpg",[283],{"id":2245,"slug":2246,"title":2247,"dynasty":181,"author":205,"museum":206,"description":2248,"tags":2249,"thumbUrl":2250,"material":63,"size":2251,"collection":103,"collections":2252,"showCount":2205,"zanCount":200,"manualWeight":11,"mainColor":215},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,24,25,51,7,53,28,52,1451,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":2254,"slug":2255,"title":2256,"dynasty":18,"author":47,"museum":261,"description":2257,"tags":2258,"thumbUrl":2259,"material":265,"size":103,"collection":103,"collections":2260,"showCount":2205,"zanCount":200,"manualWeight":11,"mainColor":68},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[96,24,25,26,53,52,7,118,28,520,186,134,187,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg",[],{"id":2262,"slug":2263,"title":2264,"dynasty":181,"author":959,"museum":427,"description":2265,"tags":2266,"thumbUrl":2267,"material":1454,"size":2268,"collection":103,"collections":2269,"showCount":2270,"zanCount":11,"manualWeight":11,"mainColor":68},221601,"liu-zu-fa-zhu-tu-liang-kai-221601","六祖伐竹图","《六祖伐竹图》，国画精品，南宋画家梁楷代表作品，画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,96,24,25,51,465,962,1509,7,28,1414,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c50153fca7867c60253d20906dc274.jpg","纵72.7cm，横31.5cm",[],66,{"id":2272,"slug":2273,"title":2274,"dynasty":914,"author":47,"museum":2275,"description":2276,"tags":2277,"thumbUrl":2278,"material":78,"size":2279,"collection":103,"collections":2280,"showCount":2270,"zanCount":11,"manualWeight":11,"mainColor":41},221157,"wen-xian-ci-sheng-si-bi-hua-yi-ming-221157","温县慈胜寺壁画","赛德勒博物馆","慈胜寺壁画现在分藏于欧美7家著名的博物馆、美术馆中，以面积和品质论，公推纳尔逊博物馆上世纪50年代初购买受赠的3幅藏品最佳，包括后周广顺年间（951～954年）所绘的立姿供养菩萨图和坐姿观音菩萨图，以及自后周作品下方揭出更具唐代风韵的后晋立姿持莲菩萨图。",[23,78,7,28,53,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278c3a97376a47c03dfe2aa4a15874e1.jpg","59x45厘米",[],{"id":2282,"slug":2283,"title":2284,"dynasty":220,"author":1088,"museum":75,"description":2285,"tags":2286,"thumbUrl":2287,"material":1071,"size":103,"collection":297,"collections":2288,"showCount":2289,"zanCount":200,"manualWeight":11,"mainColor":124},236338,"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[24,25,51,7,465,53,28,467,193,190,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg",[297,434],65,{"id":2291,"slug":2292,"title":2293,"dynasty":46,"author":1351,"museum":75,"description":1352,"tags":2294,"thumbUrl":2298,"material":152,"size":153,"collection":103,"collections":2299,"showCount":2289,"zanCount":200,"manualWeight":11,"mainColor":68},230657,"yao-shen-xiang-xi-zang-tang-ka-230657","药神像",[23,7,61,53,28,1163,713,98,2295,2296,2297,1032,52],"火焰","法轮","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028ee73993c9fc718ee7851c324b4215.jpg",[],{"id":2301,"slug":2302,"title":2303,"dynasty":2304,"author":47,"museum":2305,"description":2306,"tags":2307,"thumbUrl":2309,"material":430,"size":103,"collection":436,"collections":2310,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":124},226534,"shi-ping-gong-zao-xiang-ji-yi-ming-226534","始平公造像记","南北朝","洛阳龙门石窟古阳洞","《始平公造像記》，全稱《比丘慧成為亡父洛州刺史始平公造像題記》，是由孟達撰文，朱義章書寫的龍門石窟造像題記之一，石刻位於洛陽市南郊龍門石窟古陽洞北壁，刊刻於北魏太和二十二年（498年，另有太和十二年、二年、十九年等數種説法）。書體為楷書。為“龍門四品”和“龍門二十品”之一。\n《始平公造像記》記錄了比丘慧成為亡夫造佛像的緣由及願望，石刻正文分縱向10行，每行20字，有方界格，石高75釐米，寬39釐米，額楷書陽文“始平公像一區”2行6字。文與格欄均陽刻凸起，是石刻中所少見的。此石刻已泯盡隸書痕跡，既有漢晉雍容方正之態，又具北方少數民族“金戈鐵馬”粗獷強悍之神，書法雄重遒密，端莊流逸，具龍震虎威之勢，富有陽剛之美。\n用笔\n1．锋鋭果敢，整峻大方\n点的形状多呈几何图形状，以类似三角形的为多。如图中“流”字的侧点，“容”字的竖点、“宗”字的撇点和“答”字的挑点，它们在形态上都类似于三角形，但又不失饱满，起笔多侧锋入纸，露锋短促有力，向右下重顿后逆锋收笔，慢慢弹出，用笔锋鋭果敢，在点画上显得整峻大方。\n2．逆锋行笔，笔含隶意\n用笔以方切为主，在线条运行过程中以逆锋行笔。如图中“大”“寻”“不”字横的写法，起笔时侧锋入纸，向右下重顿，依靠毛笔与纸的摩擦力向右上调锋，然后逆锋行笔，顿笔后回锋。而“丘”字最后的横则为雁尾横，前半段和横的写法一样，只是到收笔时，雁尾横则像隶书的波磔一样向右上，含而不出，再往回收尾，笔含隶意，古朴典雅。\n3．浑厚沉实，亦露亦藏\n用笔方峻，和其他碑帖一样都是无垂不缩，无往不收。但它和唐代楷书在笔法上的不同之处在于线条中段沉实浑厚，以斜鋭之势收笔。如图中“师”“攀”“率”字的竖以藏锋为主，收笔时逆锋向回收笔；“下”字的竖则露锋起笔，收笔时向右下轻顿再出锋。\n4．笔势圆浑，流畅不滞\n在外形上看似有些凝重呆滞，但在点画细节处，《始平公造像记》却通过点画方向的变化和某些连带的点画表现出流畅不滞的书写性。如图中“夫”字的撇向上回环以呼应捺的起笔“玳”字的撇向右上回环以顺承竖的起笔。再如图“大”“运”两字的捺，沉稳劲健，点画浑圆，“一波三折”的用笔特点在其中十分明显，甚至有些装饰性的意味。\n5．用笔准确，骨力内含\n用笔的准确性主要体现在点画的起收笔处，特别是写钩的时候。如图中“代”字的斜钩，起笔如竖线，向右下斜切，其势向下倾斜，行笔厚重有力，至收笔处驻笔，笔锋聚拢，腕指齐力，翻毫向上，靠毛笔所蓄之力将笔锋送出。“则”“寻”“容”字钩的写法也是如此。此外，对骨力的感受则不仅仅停留在方笔的运用上。如图中“国”“恩”“月”“愿”字的转折，虽大多是方折，很少有圆转，这应与刻工有很大关系。\n结体\n1．结构扁方，朴拙飞动\n全文结字以方扁为主，这是隶书向楷书过渡时期的必然结果。横线以舒展为主，竖线则多短粗有力，如图中“始”字本应是方形的，但由于作者巧妙的安排，“女”字旁点画厚重而倾斜，有挤压“台”部之势，而“台”中的“口”正好安置在“女”字旁右下角的空间里，使全字呈扁方形，有向右上飞动之势。又如“公”字，左上方的点以圆笔见浑穆，右上方的点方硬有形，形成一种飞动之态，呼应对比和谐，而下半部分则呈现出一种压缩之态，有向左运动之势，与上半部分呼应顾盼，自然朴拙。“灵”字的处理方式也是如此。\n2．结构欹侧，变化丰富\n除了扁方结体，《始平公造像记》单字结体也有纵长体势的。如图中“焉”字，一般来说应该是方形或是偏扁一些的，而《始平公造像记》则将其变方为长，横线排叠，趋势右上，点画密结，密不透风，最后四点化为一横，大胆开张，反辅为主，起到了承载的作用。也正是因为横线紧密排叠，所以整个字也就由方形变为长方形，造就出了欹侧之势。又如“崇”字，习惯写法是中间的宝盖头要包裹下面的部分，可《始平公造像记》里的“崇”字则是宝盖头紧缩，而下面“示”的第二横伸展夸张，使原本方形的字变成了长方形。再如“奄”字，撇写得开张，而却以捺作点，收缩紧凑，出人意料。\n3．抑左扬右，收放有度\n在结构上习惯压缩左边的部分而舒展右边。如图中“逢”字，上半部分的右面向外舒展，“走”字底的左半部分则向中间压缩，这样整个字就呈现出一种倾斜过来的梯形结构，向右呈辐射状。另外，《始平公造像记》中单个字的结构收放对比也比较大，这是因为结字时中宫往往收得比较紧凑，而一些突出的主笔舒展开来正好与这种紧凑产生了强烈的对比。如“答”字，上半部分收得比较紧凑，而下半部分的撇和捺非常舒展。整个字上下之间的收放对比较大，呈梯形结构，有稳重感。\n章法\n全文皆用阳刻，逐字界格，在整个刻石系统中甚为少见。《始平公造像记》的章法，一个总的特点是横竖成行，端正整齐。如其碑额“始平公像一区”六字，这六字虽然横竖成行，但它们之间的间距很近，大小交错，相互伸展，搭配十分巧妙。如“像”字笔画多，但写得小；“一”字只有一笔，反而写得大。“始”字的一撇与“像”字的一捺搭配，“平”字的一横与“一”字的搭配，“平”字的一竖与“公”的搭配，都妙若天成。再如阳文镌刻的正文。界格横竖交错的线条并不是笔直的，而是有粗有细，有弯有直。界格内的字与字之间的笔画配合也有伸缩。因此，界格根据格内字的结构变化而进行变化，构成了浑然一体的章法。",[23,2308,430,637,7,190],"魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63291057f9d37c1c9c08d87ade89090b.jpg",[436],{"id":2312,"slug":2313,"title":2314,"dynasty":181,"author":2315,"museum":662,"description":2316,"tags":2317,"thumbUrl":2318,"material":654,"size":2319,"collection":103,"collections":2320,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":124},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[96,24,25,26,7,52,53,28,193,101,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":2322,"slug":2323,"title":2324,"dynasty":181,"author":2325,"museum":486,"description":2326,"tags":2327,"thumbUrl":2330,"material":63,"size":2331,"collection":37,"collections":2332,"showCount":2289,"zanCount":176,"manualWeight":11,"mainColor":68},219027,"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,7,52,53,28,29,2328,796,652,2329],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[37],{"id":2334,"slug":2335,"title":2336,"dynasty":220,"author":47,"museum":75,"description":2337,"tags":2338,"thumbUrl":2339,"material":103,"size":103,"collection":103,"collections":2340,"showCount":2341,"zanCount":11,"manualWeight":11,"mainColor":68},223491,"ming-wang-tang-ka-yi-ming-223491","明王（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。 唐卡是藏族文化中一种独具特色的绘画艺术形式。",[23,223,7,28,53,52,61,240,2295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc45b75d2d19f4d7bac59bc0e28e8dbc.jpg",[],64,{"id":2343,"slug":2344,"title":2345,"dynasty":181,"author":2122,"museum":206,"description":2346,"tags":2347,"thumbUrl":2348,"material":63,"size":212,"collection":37,"collections":2349,"showCount":2341,"zanCount":176,"manualWeight":11,"mainColor":215},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,96,24,25,7,857,53,28,209,210,2223,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[37],{"id":2351,"slug":2352,"title":506,"dynasty":220,"author":1088,"museum":550,"description":2353,"tags":2354,"thumbUrl":2355,"material":195,"size":2356,"collection":37,"collections":2357,"showCount":2341,"zanCount":11,"manualWeight":11,"mainColor":124},218382,"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,24,25,51,7,27,465,28,858,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[37],{"id":2359,"slug":2360,"title":2361,"dynasty":18,"author":2362,"museum":649,"description":2363,"tags":2364,"thumbUrl":2365,"material":63,"size":2366,"collection":37,"collections":2367,"showCount":2341,"zanCount":11,"manualWeight":11,"mainColor":68},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,24,25,464,53,52,7,28,190,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[37],{"id":2369,"slug":2370,"title":2371,"dynasty":914,"author":1378,"museum":305,"description":2372,"tags":2373,"thumbUrl":2375,"material":63,"size":103,"collection":37,"collections":2376,"showCount":2341,"zanCount":200,"manualWeight":11,"mainColor":68},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[24,25,51,7,145,53,52,28,57,2374,671,672],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[37],{"id":2378,"slug":2379,"title":2380,"dynasty":181,"author":970,"museum":75,"description":2381,"tags":2382,"thumbUrl":2384,"material":152,"size":153,"collection":103,"collections":2385,"showCount":2386,"zanCount":200,"manualWeight":11,"mainColor":68},289610,"da-de-si-san-zhou-mu-xi-289610","大德寺三轴","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[24,465,7,28,1481,2383,466],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe99cf51b9466552ce92335fe26fb02.jpg",[],63,{"id":2388,"slug":2389,"title":2390,"dynasty":46,"author":47,"museum":75,"description":2391,"tags":2392,"thumbUrl":2393,"material":152,"size":153,"collection":103,"collections":2394,"showCount":2386,"zanCount":200,"manualWeight":11,"mainColor":124},231610,"fu-hua-bai-miao-shi-er-tian-tu-xiang-di-shi-tian-zhen-hai-ben-dong-jing-yi-ming-231610","佛画 白描十二天图像 帝释天(珍海本-东京)","此作为白描佛画，以纯墨线塑就神祇形象。作者以游丝描勾勒衣袂褶皱，婉转舒展如流云拂过，尽显织物飘逸柔润；刻画宝冠璎珞时则换为挺劲铁线描，凝练勾勒出庄严华贵的气度。\n帝释天面容慈悲沉静，眉眼间自带悲悯沉静的神性。两侧题字斑驳古拙，为画作晕染出厚重的岁月质感。整作极简笔墨中兼具宗教造像的肃穆威仪，尽显中古佛画的典雅法度，笔墨之间藏着东方宗教美术的内敛禅意，是一件极具韵味的宗教绘事佳品。",[23,24,25,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f79510cd2eea3790c69a98476d0571.jpg",[],{"id":2396,"slug":2397,"title":1517,"dynasty":181,"author":47,"museum":75,"description":2398,"tags":2399,"thumbUrl":2401,"material":152,"size":153,"collection":103,"collections":2402,"showCount":2386,"zanCount":11,"manualWeight":11,"mainColor":68},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,2400,24,25,51,7,28,53,52],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":2404,"slug":2405,"title":2406,"dynasty":129,"author":47,"museum":48,"description":406,"tags":2407,"thumbUrl":409,"material":63,"size":2408,"collection":37,"collections":2409,"showCount":2386,"zanCount":200,"manualWeight":11,"mainColor":68},219701,"song-zi-guan-yin-yi-ming-219701","送子观音",[24,53,52,7,51,28,385,30,101],"120.7x60.3cm",[37],{"id":2411,"slug":2412,"title":2413,"dynasty":129,"author":2414,"museum":305,"description":2415,"tags":2416,"thumbUrl":2417,"material":195,"size":2418,"collection":37,"collections":2419,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":124},219362,"guan-shi-yin-xiang-tu-shen-shi-chong-219362","观世音像图","沈士充","淡墨线条如行云流水，勾勒出观音端坐之姿。衣纹婉转流畅，纱幔轻盈似有风动，垂坠间尽显织物柔韵。她垂眸含慈，眉宇间凝着悲悯与安宁，头饰虽简却见匠心，衬得面容圣洁温婉。留白处散落的题跋与朱印，既添古朴韵味，亦映证作品流传脉络。整幅画以极简笔触，传递出深沉禅意与人文温度，观之如沐清辉，心渐沉静。",[24,25,96,51,7,28,27,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d098b00d77f489e63754c4af5e92d3.jpg","60.1x32",[37],62,{"id":2422,"slug":2423,"title":2424,"dynasty":129,"author":1330,"museum":305,"description":2425,"tags":2426,"thumbUrl":2428,"material":309,"size":103,"collection":37,"collections":2429,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":124},218052,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-wu-bin-218052","楞严廿五圆通佛像册","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[24,25,464,53,52,7,28,2427],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aadd995b48af2ed2edde0fe67d588ec.jpg",[37],{"id":2431,"slug":2432,"title":2433,"dynasty":73,"author":2434,"museum":305,"description":2435,"tags":2436,"thumbUrl":2437,"material":63,"size":2438,"collection":37,"collections":2439,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":68},216990,"shi-de-zi-tu-yan-hui-216990","拾得子图","颜辉","拾得子图是指《拾得》这本书中所收录的图画，其中包含了许多关于中国古代历史、文化、生活、工艺技术的图画。《拾得》是元朝时期的一本图画书，作者是颜辉。这本书是在元朝时期绘制的，所以拾得子图中所描绘的内容也主要是元朝时期的。\n\n拾得子图中收录了许多元朝时期的图画，包括人物画、动物画、植物画、建筑物画、花卉画、工艺品画等。这些图画描绘了元朝时期的生活、文化、工艺技术等方面的内容，为我们了解元朝时期的历史、文化提供了重要的资料。",[24,25,51,7,28,465,27,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5385df89b8f503cbf4142f4a1cbf67d.jpg","152.8x69.5",[37],{"id":2441,"slug":2442,"title":2443,"dynasty":46,"author":47,"museum":75,"description":2444,"tags":2445,"thumbUrl":2450,"material":103,"size":103,"collection":231,"collections":2451,"showCount":2452,"zanCount":200,"manualWeight":11,"mainColor":215},245452,"liu-cheng-jin-fu-shi-yi-ming-245452","六成金佛饰","此像通体鎏金，宝光内蕴华贵雍容。造像面容圆润慈悲，笑意柔和内敛，宝冠嵌饰点缀，更显庄严。双手托宝瓶结禅定印，身佩璎珞环钏，纹饰饱满细腻。莲座与背光一体铸就，背光层次分明，莲瓣周正规整，线条流畅利落。整体比例合度，金水厚重匀净，尽显精妙工法，沉静肃穆间裹挟着庄重气韵，将藏地造像的审美意趣凝练其中，是兼具宗教意蕴与工艺价值的上乘造像。",[7,224,225,674,675,2446,677,2447,2448,2449],"结印","火焰纹","六成金","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea3fd2ed62e691ffc607b3703739476a.jpg",[231],61,{"id":2454,"slug":2455,"title":2456,"dynasty":220,"author":47,"museum":75,"description":2457,"tags":2458,"thumbUrl":2459,"material":103,"size":103,"collection":231,"collections":2460,"showCount":2452,"zanCount":200,"manualWeight":11,"mainColor":215},245370,"jin-fu-yi-ming-245370","金佛","此像宝相慈悲端严，垂目敛容，神态静谧祥和。通体鎏金，色泽明丽华贵。背光以累丝技法打造，火焰轮廓灵动舒展，嵌饰松石与珍珠，宝气盈盈，两侧祥龙攀附护持，更添庄严法相。\n\n佛像结跏趺坐于嵌满东珠的莲台，莲瓣饱满圆润，结禅定印尽显静定妙谛。衣纹婉转流畅，线条柔和精妙，将佛国清净庄严与宫廷精工匠心融于一体，沉静之间自有摄人的神圣气场，是金细作与造像艺术相融的上乘之作。",[223,7,224,2449,225,226,443,665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ec4bedac1f0f192b6a0fe1c33abe33.jpg",[231],{"id":2462,"slug":2463,"title":2464,"dynasty":46,"author":1351,"museum":75,"description":1352,"tags":2465,"thumbUrl":2468,"material":152,"size":153,"collection":103,"collections":2469,"showCount":2452,"zanCount":11,"manualWeight":11,"mainColor":215},230654,"wu-liang-shou-fu-jing-tu-xiang-xi-zang-tang-ka-230654","无量寿佛净土像",[23,1102,7,53,52,667,28,29,30,186,497,133,2466,2467],"宗教造像","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10df8168c8017de1f6c15027c9a30589.jpg",[],{"id":2471,"slug":2472,"title":2473,"dyna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心经","《般若波罗蜜多心经》（梵语：प्रज्ञापारमिताहृदय Prajñāpāramitāhṛdaya 藏语：བཅོམ་ལྡན་འདས་མ་ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པའི་སྙིང་པོ）是大乘佛教表达空性和般若波罗蜜观点的经典，又称《摩诃般若波罗蜜多心经》，简称《般若心经》、《心经》。本经是《大品般若经》的别生经，取自〈习应品〉和〈劝持品〉，作为《大般若经》的精要而集出，无序分与流通分。与《金刚经》并为通行最广的般若经。",[23,371,7,190,747,430,53,25,2476,736],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],{"id":2480,"slug":2481,"title":1369,"dynasty":18,"author":47,"museum":118,"description":340,"tags":2482,"thumbUrl":2483,"material":152,"size":153,"collection":103,"collections":2484,"showCount":2452,"zanCount":200,"manualWeight":11,"mainColor":68},226175,"ku-yong-dao-bei-bi-yi-ming-226175",[78,53,28,796,7,857,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07dac132f05fefabb70d0f8300e753.jpg",[],{"id":2486,"slug":2487,"title":2488,"dynasty":220,"author":1969,"museum":75,"description":1970,"tags":2489,"thumbUrl":2490,"material":432,"size":103,"collection":37,"collections":2491,"showCount":2452,"zanCount":11,"manualWeight":11,"mainColor":1974},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷",[23,96,24,25,26,7,27,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[37],{"id":2493,"slug":2494,"title":506,"dynasty":73,"author":2495,"museum":884,"description":2496,"tags":2497,"thumbUrl":2498,"material":63,"size":2499,"collection":197,"collections":2500,"showCount":2452,"zanCount":11,"manualWeight":11,"mainColor":68},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[23,24,25,51,7,28,52,53,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[197],{"id":2502,"slug":2503,"title":2504,"dynasty":181,"author":182,"museum":75,"description":2505,"tags":2506,"thumbUrl":2508,"material":432,"size":103,"collection":37,"collections":2509,"showCount":2452,"zanCount":200,"manualWeight":11,"mainColor":124},218088,"bai-miao-shi-liu-luo-han-du-hai-tu-li-gong-lin-218088","白描十六罗汉渡海图","宋朝时期，有一位名叫李公麟的画家，他创作了一幅名为“白描十六罗汉渡海图”的作品。这幅画描绘了十六位罗汉在海上渡江的情景。\n\n在这幅画中，十六位罗汉都站在船上，举着经书，准备渡江。他们身穿红袈裟，头戴黄色的僧帽，神情肃穆。周围的水面上有许多小鱼和蝴蝶在玩耍。\n\n这幅画的背景是一片蔚蓝的天空和海水，上面有云朵在飘动。整幅画的画风简洁明快，线条流畅，色彩明亮，充满了生机和动感。\n\n这幅画反映了宋朝佛教文化的特点，也是李公麟作品中的经典之作。",[23,24,26,27,7,28,186,1869,2507],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fe367beaa46b579b2e0e93d18fe367.jpg",[37],{"id":2511,"slug":2512,"title":2513,"dynasty":220,"author":47,"museum":75,"description":2514,"tags":2515,"thumbUrl":2523,"material":152,"size":153,"collection":103,"collections":2524,"showCount":2525,"zanCount":245,"manualWeight":11,"mainColor":68},275005,"hong-se-duan-hui-hua-fu-fan-yi-ming-275005","红色缎绘花佛幡","整体形制端庄雅致，顶饰卷草纹搭配宝相花与“卍”字纹开篇点题。主体黄缎之上，折枝玉兰、牡丹次第绽放，簇花插于青瓷宝瓶，寓意四季平安、富贵满堂。两侧红缎间，暗八仙纹样缠于云纹之中，藏纳祥瑞祈愿。\n\n下方三色绦带接续绣绘百花、吉纹，针脚细腻晕染柔和，将花木娇妍与吉祥意趣相融。整幅绣作配色明丽协调，把平安纳福的美好愿景织入经纬，尽显清代刺绣工艺的雅致匠心。",[7,2516,61,2517,497,2518,2519,2520,2521,2522],"佛幡","绘花","牡丹","玉兰","暗八仙","吉祥纹样","瓶供","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356520ee24741e3e671d0155e7209593.jpg",[],60,{"id":2527,"slug":2528,"title":2529,"dynasty":914,"author":47,"museum":305,"description":2530,"tags":2531,"thumbUrl":2533,"material":63,"size":2534,"collection":37,"collections":2535,"showCount":2525,"zanCount":200,"manualWeight":11,"mainColor":68},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[2532,53,7,28,2125,845,1313,1690,30,385,2374,2223],"线绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[37],{"id":2537,"slug":2538,"title":2539,"dynasty":46,"author":47,"museum":75,"description":2540,"tags":2541,"thumbUrl":2542,"material":152,"size":153,"collection":103,"collections":2543,"showCount":2544,"zanCount":11,"manualWeight":11,"mainColor":68},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[23,24,25,53,7,28,52,98,193,61,571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],59,{"id":2546,"slug":2547,"title":2548,"dynasty":181,"author":47,"museum":709,"description":2549,"tags":2550,"thumbUrl":2551,"material":195,"size":103,"collection":37,"collections":2552,"showCount":2544,"zanCount":200,"manualWeight":11,"mainColor":68},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,24,25,26,7,27,53,52,28,541,385,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[37],{"id":2554,"slug":2555,"title":2556,"dynasty":181,"author":205,"museum":206,"description":2557,"tags":2558,"thumbUrl":2559,"material":63,"size":2560,"collection":103,"collections":2561,"showCount":2544,"zanCount":200,"manualWeight":11,"mainColor":215},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[23,96,24,25,53,52,7,28,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb680b35d1ebd1ff03c465bd75e3c1.jpg","113.0x51.5",[],{"id":2563,"slug":2564,"title":2565,"dynasty":73,"author":47,"museum":1244,"description":2566,"tags":2567,"thumbUrl":2568,"material":63,"size":103,"collection":37,"collections":2569,"showCount":2544,"zanCount":11,"manualWeight":11,"mainColor":68},218473,"shi-jia-xiang-yi-ming-218473","释迦像","法相端严，双目微垂似含悲悯，右手结印如引众生出迷津。红衣团花缀身，绿袖轻垂，与莲座清雅相映。须弥座层叠有致，瑞兽纹饰暗藏生机，整体色调沉厚却不失灵动，线条勾勒精准，将释迦牟尼的慈悲与威严融于一体，尽显元代佛画肃穆匠心与宗教意蕴之美。",[24,51,7,52,53,28,98,1137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76489862a54b40b602a7a42c7f40218e.jpg",[37],{"id":2571,"slug":2572,"title":2573,"dynasty":73,"author":47,"museum":2574,"description":2575,"tags":2576,"thumbUrl":2577,"material":63,"size":2578,"collection":37,"collections":2579,"showCount":2544,"zanCount":200,"manualWeight":11,"mainColor":68},218465,"fa-du-luo-zun-zhe-xiang-yi-ming-218465","伐阇罗尊者像","南京大学艺术博物馆","绢色晕染着时光的痕迹，伐阇罗尊者安坐其间。光头圆融，头光隐现，神态沉静中藏着悲悯。衣袂流转间，蓝粉色块交错，黑纹如墨线勾勒出衣褶层次，线条流畅似流水舒展。右手轻握法器，左手自然垂落，指节间似含对世间的观照。坐姿随性却不失庄严，鞋履细节亦见匠心。整幅画以传神之笔，将尊者的慈悲与智慧凝于绢上，岁月摩挲更添古朴厚重，仿佛能窥见千年前画者的虔诚与技艺，每一处线条都藏着对信仰的敬畏。",[24,7,28,53,52,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033322db375b770e377224792228fd04.jpg","128x63.1",[37],{"id":2581,"slug":2582,"title":2583,"dynasty":73,"author":47,"museum":1629,"description":2584,"tags":2585,"thumbUrl":2586,"material":63,"size":2587,"collection":37,"collections":2588,"showCount":2544,"zanCount":200,"manualWeight":11,"mainColor":215},218418,"ke-si-xi-wang-mu-tu-yi-ming-218418","缂丝西王母图","通经断纬的缂丝技艺，织就西王母的神姿。华冠璀璨，光环隐现，衣袍层叠间青蓝与金褐交织，纹饰藏着瑞气。双手捧物的姿态庄重温婉，衣袂如流云舒展，似携云端仙气。沉敛底色衬得圣像愈发灵动，每一丝经纬都凝注匠心，将神性雍容与人间细腻悄然融合。千年后的我们，仍能触摸到信仰的温度与技艺的精妙，时光仿佛在这丝线交织处停驻，静静诉说着古远的虔诚与巧思。",[1392,7,28,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ecb8c93b15f6cc3b06e9978d578dc5.jpg","99.1x46.7",[37],{"id":2590,"slug":2591,"title":2592,"dynasty":181,"author":205,"museum":206,"description":2593,"tags":2594,"thumbUrl":2595,"material":63,"size":212,"collection":103,"collections":2596,"showCount":2544,"zanCount":200,"manualWeight":11,"mainColor":215},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,24,25,51,52,53,7,28,186,209,975,187,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg",[],{"id":2598,"slug":2599,"title":2600,"dynasty":220,"author":2601,"museum":75,"description":2602,"tags":2603,"thumbUrl":2605,"material":152,"size":153,"collection":103,"collections":2606,"showCount":2607,"zanCount":11,"manualWeight":11,"mainColor":68},288995,"qian-shou-guan-yin-xiang-xu-zhi-chang-288995","千手观音像","徐知常","徐知常(1069～1154)，字子中，北宋道士，福建建阳人。\n徐知常善写文章，长于吟咏，精通道家经典，是北宋著名的宗教画家。政和年间(1111～1117年)徐知常得到徽宗皇帝召见，赐号冲虚大夫。宣和年间任蕊珠殿侍晨。他根据道家经典的神仙故事作画，取材全面，结构完整，富于艺术性，画作被收入《宣和画谱》",[24,25,51,7,572,53,52,28,2604,98,30],"千手观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fdb04832d2f5156bb346d7c7e19482.jpg",[],58,{"id":2609,"slug":2610,"title":2611,"dynasty":46,"author":47,"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ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,96,24,25,700,51,7,28,52,53,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":2625,"slug":2626,"title":2627,"dynasty":220,"author":1969,"museum":75,"description":1970,"tags":2628,"thumbUrl":2629,"material":432,"size":103,"collection":103,"collections":2630,"showCount":2607,"zanCount":200,"manualWeight":11,"mainColor":124},223263,"shu-fa-zhou-hong-yi-fa-shi-223263","书法轴",[23,190,51,430,7,465,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaae1ac16db741762ddffa2749d8d99.jpg",[],{"id":2632,"slug":2633,"title":2634,"dynasty":181,"author":329,"museum":305,"description":2635,"tags":2636,"thumbUrl":2638,"material":63,"size":2639,"collection":37,"collections":2640,"showCount":2607,"zanCount":200,"manualWeight":11,"mainColor":68},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[23,2400,24,25,52,53,28,467,209,2637,7],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[37],{"id":2642,"slug":2643,"title":2644,"dynasty":129,"author":47,"museum":550,"description":2645,"tags":2646,"thumbUrl":2648,"material":63,"size":103,"collection":37,"collections":2649,"showCount":2607,"zanCount":200,"manualWeight":11,"mainColor":68},219570,"lie-xian-tu-yi-ming-219570","列仙图","此作是道教仙官造像的经典手笔，人物分两列肃穆排布，尽显仙班整饬威仪。八位仙官仪容端方沉静，冠冕华服纹样繁丽工细，朱红石青晕染出古雅厚重的色调，衣袂间暗纹流转古朴雅致。人人手持朝笏，头覆圆光，晕出神圣清寂的气韵。背景祥云舒卷，漫出缥缈空灵的天界氛围。\n\n历经岁月，绢面虽有斑驳旧痕，却更衬设色的沉凝精妙，将天界仙僚的端严神圣凝于绢上，承载着旧时对玄穹仙班的敬畏与瑰丽想象。",[23,24,25,53,52,28,7,30,2647,408],"传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4400c57ed5ee3fbe7fffc6b7e169558.jpg",[37],{"id":2651,"slug":2652,"title":2653,"dynasty":46,"author":47,"museum":48,"description":2654,"tags":2655,"thumbUrl":2656,"material":469,"size":2657,"collection":37,"collections":2658,"showCount":2607,"zanCount":11,"manualWeight":11,"mainColor":68},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[24,25,51,7,28,27,53,58,133,189,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[37],{"id":2660,"slug":2661,"title":2653,"dynasty":73,"author":47,"museum":75,"description":2662,"tags":2663,"thumbUrl":2664,"material":469,"size":103,"collection":37,"collections":2665,"showCount":2607,"zanCount":245,"manualWeight":11,"mainColor":68},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[24,25,51,7,27,465,53,28,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[37],{"id":2667,"slug":2668,"title":2669,"dynasty":220,"author":2670,"museum":305,"description":2671,"tags":2672,"thumbUrl":2674,"material":195,"size":2675,"collection":37,"collections":2676,"showCount":2607,"zanCount":200,"manualWeight":11,"mainColor":124},216960,"gan-lu-da-shi-tu-yang-da-zhang-216960","甘露大士图","杨大章","这是杨大章的一幅虔诚之作，以白描的方式画出了观音，用的是细笔和淡墨。",[24,25,51,7,28,27,193,2673],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1759f3a863f1747347f926856bc74106.jpg","131.7x64.5",[37],{"id":2678,"slug":2679,"title":2680,"dynasty":18,"author":47,"museum":118,"description":340,"tags":2681,"thumbUrl":2682,"material":152,"size":153,"collection":103,"collections":2683,"showCount":2684,"zanCount":245,"manualWeight":11,"mainColor":68},226285,"ku-zhu-shi-nan-bi-yi-ming-226285","窟主室南壁",[78,7,53,857,52,28,29,186,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573bae825e97fe194a68b5e2a3d28eb3.jpg",[],57,{"id":2686,"slug":2687,"title":2688,"dynasty":73,"author":2689,"museum":48,"description":2690,"tags":2691,"t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星凤楼本宋刻本","此小楷神品，字势宽博舒展，点画温润圆劲，起收含蓄雅致，提按间尽显灵动韵致。布白匀整疏朗，字字如珠玑排布，通篇气息平和冲淡，暗合道经清虚出尘的意蕴。\n行笔牵丝映带若有似无，谨守法度又暗含萧散简远的魏晋风度，将书法工稳与经文玄妙融为一体。墨色沉郁莹润，刻工精湛忠实还原原作风神，笔笔皆具雅正高古之姿，观之如对魏晋清淡萧散的林下之风，尽显超然出俗的书卷雅韵。",[430,637,190,951,747,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794b3c1a917aa55be794eda0c644b484.jpg",[],53,{"id":2841,"slug":2842,"title":2843,"dynasty":129,"author":304,"museum":75,"description":2844,"tags":2845,"thumbUrl":2846,"material":152,"size":153,"collection":103,"collections":2847,"showCount":2839,"zanCount":11,"manualWeight":11,"mainColor":124},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,24,25,26,27,117,7,28,1869,541,1481,385,209,240,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":2849,"slug":2850,"title":2680,"dynasty":18,"author":47,"museum":118,"description":340,"tags":2851,"thumbUrl":2852,"material":152,"size":153,"collection":103,"collections":2853,"showCount":2839,"zanCount":11,"manualWeight":11,"mainColor":68},226166,"ku-zhu-shi-nan-bi-yi-ming-226166",[78,7,857,53,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273402eec4cc4462b478a2ee087690bf.jpg",[],{"id":2855,"slug":2856,"title":2857,"dynasty":181,"author":47,"museum":75,"description":2858,"tags":2859,"thumbUrl":2861,"material":103,"size":103,"collection":2862,"collections":2863,"showCount":2839,"zanCount":11,"manualWeight":11,"mainColor":215},221646,"yu-shi-fo-jiao-seng-lv-yi-ming-221646","玉饰（佛教僧侣）","青白玉质，局部俏色取洒金皮为僧侣披帛。圆雕僧侣丰面圆颅，神态憨稚平和，抬掌曲膝自在随性，身旁瑞兽蜷蹲依偎，灵动温顺。整器刀法圆融洗练，线条柔畅凝练，褪去宗教肃穆感，将佛门清宁与世俗意趣相融，温润玉质晕出莹润柔光，把宋人的文玩雅趣凝于方寸，消解禅门距离，尽显日常化的安然禅意，是宋代世俗化玉雕审美精巧体现。",[2400,2860,225,7,28,385,652],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdefc7923c68d894d2d55c6a8d8d9b2d.jpg","玉器精选",[2862],{"id":2865,"slug":2866,"title":506,"dynasty":220,"author":47,"museum":183,"description":2867,"tags":2868,"thumbUrl":2869,"material":63,"size":103,"collection":37,"collections":2870,"showCount":2839,"zanCount":11,"manualWeight":11,"mainColor":68},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[24,25,51,7,52,53,28,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[37],{"id":2872,"slug":2873,"title":2874,"dynasty":129,"author":2875,"museum":305,"description":2876,"tags":2877,"thumbUrl":2880,"material":309,"size":2881,"collection":37,"collections":2882,"showCount":2839,"zanCount":11,"manualWeight":11,"mainColor":68},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,52,53,7,28,713,858,186,209,2227,2878,193,827,2879],"河流","经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[37],{"id":2884,"slug":2885,"title":45,"dynasty":181,"author":47,"museum":75,"description":2886,"tags":2887,"thumbUrl":2888,"material":152,"size":153,"collection":103,"collections":2889,"showCount":2890,"zanCount":11,"manualWeight":11,"mainColor":68},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,24,96,51,7,27,465,28,97,58,209,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],52,{"id":2892,"slug":2893,"title":2894,"dynasty":129,"author":47,"museum":75,"description":569,"tags":2895,"thumbUrl":2896,"material":152,"size":153,"collection":103,"collections":2897,"showCount":2890,"zanCount":11,"manualWeight":11,"mainColor":215},287648,"wen-shu-pu-sa-zuo-xiang-wu-se-cha-ban-yi-ming-287648","文殊菩萨坐像（无色差版）",[24,7,572,53,52,28,385,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d41534d13dcade9bfedf364d5ee228c.jpg",[],{"id":2899,"slug":2900,"title":2901,"dynasty":46,"author":272,"museum":75,"description":1079,"tags":2902,"thumbUrl":2907,"material":152,"size":153,"collection":283,"collections":2908,"showCount":2890,"zanCount":200,"manualWeight":11,"mainColor":68},225628,"rembrandt-harmensz-van-rijn-037-lun-bo-lang-225628","Rembrandt 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而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[23,747,190,430,26,25,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[434,436],{"id":3029,"slug":3030,"title":3031,"dynasty":73,"author":47,"museum":75,"description":3032,"tags":3033,"thumbUrl":3034,"material":63,"size":103,"collection":37,"collections":3035,"showCount":2981,"zanCount":200,"manualWeight":11,"mainColor":68},218221,"luo-han-xiang-yi-ming-218221","罗汉像","罗汉像通常是用来表示佛教修行者的，特别是罗汉像。罗汉是佛教中的一种超凡脱俗的观念，它象征着禅定、慈悲、智慧和善良。罗汉像图通常都是画在纸上，并且经常被用来作为供品，以祈求佛菩萨的加持和保佑。",[24,25,51,53,52,7,28,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec12997a6b1db02e1cea6ef601106de.jpg",[37],{"id":3037,"slug":3038,"title":1273,"dynasty":129,"author":47,"museum":75,"description":569,"tags":3039,"thumbUrl":3040,"material":152,"size":153,"collection":103,"collections":3041,"showCount":3042,"zanCount":11,"manualWeight":11,"mainColor":68},288076,"wen-shu-pu-sa-zuo-xiang-yi-ming-288076",[23,7,572,754,145,53,52,1163,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6bee5b9cb582ea461ca75903fb25be.jpg",[],49,{"id":3044,"slug":3045,"title":3046,"dynasty":220,"author":47,"museum":75,"description":3047,"tags":3048,"thumbUrl":3050,"material":152,"size":153,"collection":103,"collections":3051,"showCount":3042,"zanCount":245,"manualWeight":11,"mainColor":68},267345,"xiu-ran-deng-fo-xiang-zhou-yi-ming-267345","绣燃灯佛像轴","此作以刺绣为骨，晕染出浓郁的宗教静穆氛围。主尊趺坐莲台，面容慈悲恬和，双手结说法印，朱红织金法衣细密华贵，绣纹流转间尽显堂皇质感。背景以绣线晕织出层叠祥云、青绿峰峦，层次柔和分明，铺就出空灵祥瑞的圣域图景。两侧胁侍菩萨身姿舒展安闲，衣袂飘然，与主尊呼应共生出平和肃穆的场域。外框以重复梵字绣纹环绕，规整庄重，将画面牢牢托于神圣氛围之中。整作针线细密入微，配色饱满浓郁，将藏地唐卡的宗教审美与刺绣工艺精妙融合，尽显匠心与信仰的交融之美。",[51,2936,7,572,3049,28,53,30,186,229,61],"燃灯佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998f92cc28a96bf3f9ffa3b1bd164074.jpg",[],{"id":3053,"slug":3054,"title":3055,"dynasty":129,"author":3056,"museum":75,"description":3057,"tags":3058,"thumbUrl":3059,"material":103,"size":103,"collection":37,"collections":3060,"showCount":3042,"zanCount":11,"manualWeight":11,"mainColor":68},237889,"ba-xian-tu-zhou-zheng-wen-lin-237889","八仙图轴","郑文林","郑文林，号颠仙，明代画家，闽侯（今属福建）人。生卒年不详。活动时期约在嘉靖间（1522—1566）。工山水、人物，与汪肇、钟礼、张路等均为浙派后期名家。继蒋嵩之后，多用焦墨枯笔，点染粗豪，板重颓放，尤其是人物。《图绘宝鉴续纂》卷一以颠仙与袁尚统（字叔明，苏州人）并列一条目，谓两人“画人物俱野放”，并被吴派讥评为“狂邪”，其实颠仙所作有其独特风格。\n传世作品有《二仙图》轴、《女仙图》轴，现均藏中央美术学院；《群仙图》轴藏广州美术馆；《牧人瑞梦图》轴藏美国高居翰景元斋；《渔童吹笛图》轴、《柳荫人物图》轴均流入日本。图1以泼墨侧锋，拖泥带水，尽情挥写乱石老柳，以细碎之笔，密点柳叶，疾写杂草。人物造型，偏头斜目，举止怪诞，神情诙谐，更以颤笔写衣纹，颠狂之气，跃然画外。此幅图吸取牧溪、梁楷天然之趣，而舍浙派生硬之弊，构成此图动人的艺术特点。",[24,25,51,27,465,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2a5609b3948be540700520769704c1.jpg",[37],{"id":3062,"slug":3063,"title":3064,"dynasty":46,"author":1351,"museum":75,"description":1352,"tags":3065,"thumbUrl":3068,"material":152,"size":153,"collection":103,"collections":3069,"showCount":3042,"zanCount":11,"manualWeight":11,"mainColor":68},230658,"yan-luo-wang-xiang-xi-zang-tang-ka-230658","阎罗王像",[23,1102,7,53,28,385,3066,3067],"阎罗王","六道轮回","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12e51c1d8b7574c3133a641ba81f6bbc.jpg",[],{"id":3071,"slug":3072,"title":506,"dynasty":129,"author":3073,"museum":305,"description":3074,"tags":3075,"thumbUrl":3076,"material":309,"size":3077,"collection":37,"collections":3078,"showCount":3042,"zanCount":11,"manualWeight":11,"mainColor":124},217000,"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[24,25,51,7,52,53,28,467,652,796,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[37],{"id":3080,"slug":3081,"title":3082,"dynasty":181,"author":47,"museum":75,"description":3083,"tags":3084,"thumbUrl":3088,"material":152,"size":153,"collection":103,"collections":3089,"showCount":3090,"zanCount":11,"manualWeight":11,"mainColor":68},290101,"da-nuo-tu-yi-ming-290101","大傩图","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,24,145,53,52,3085,3086,7,28,119,3087],"傩仪","民俗","驱疫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0214edf785d84df72358586c5782c05d.jpg",[],48,{"id":3092,"slug":3093,"title":3094,"dynasty":129,"author":304,"museum":75,"description":3095,"tags":3096,"thumbUrl":3097,"material":152,"size":153,"collection":103,"collections":3098,"showCount":3090,"zanCount":11,"manualWeight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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,96,24,25,26,27,465,28,186,467,209,7,1869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":3100,"slug":3101,"title":3102,"dynasty":220,"author":47,"museum":75,"description":3103,"tags":3104,"thumbUrl":3107,"material":103,"size":103,"collection":231,"collections":3108,"showCount":3090,"zanCount":11,"manualWeight":11,"mainColor":215},245477,"jin-wu-liang-shou-fu-yi-ming-245477","金无量寿佛","此像宝冠巍峨，面态圆融慈悲，垂眸敛目间自带沉静祥和的气韵。周身璎珞层叠，嵌饰彩石熠熠生辉，衣纹柔婉舒展，贴合身形垂落如流云泻地。结跏趺端坐，双手捧持长寿宝瓶，寓意福寿恒长、法身永住。通体鎏金匀净厚重，光泽莹润凝实，铸工精细入微，将神性的庄严与工艺的华美相融无间，尽显匠心极致，是藏传造像艺术中的上乘之作，寄寓着绵长深切的祈愿。",[7,224,223,28,3105,226,3106],"铸造","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1470a3b0b3fc84e2978b11c7df105.jpg",[231],{"id":3110,"slug":3111,"title":3112,"dynasty":220,"author":3113,"museum":649,"description":3114,"tags":3115,"thumbUrl":3117,"material":103,"size":103,"collection":1732,"collections":3118,"showCount":3090,"zanCount":200,"manualWeight":11,"mainColor":124},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,25,51,465,918,186,29,7,193,3116,187,209],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[1732,297,434],{"id":3120,"slug":3121,"title":3122,"dynasty":220,"author":47,"museum":75,"description":1660,"tags":3123,"thumbUrl":3124,"material":152,"size":153,"collection":103,"collections":3125,"showCount":3090,"zanCount":11,"manualWeight":11,"mainColor":68},234421,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234421","清人文殊菩萨像轴",[24,51,7,53,52,28,229,1139,98,2295,30,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144bc0ee0d7f076112633815d6773f52.jpg",[],{"id":3127,"slug":3128,"title":3129,"dynasty":46,"author":47,"museum":75,"description":3130,"tags":3131,"thumbUrl":3133,"material":152,"size":153,"collection":103,"collections":3134,"showCount":3090,"zanCount":11,"manualWeight":11,"mainColor":124},231794,"gu-hua-fen-ben-zhong-kui-xiang-li-zhou-yi-ming-231794","古画粉本 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宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[96,24,25,465,962,28,7,190,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[37],{"id":3254,"slug":3255,"title":506,"dynasty":129,"author":47,"museum":550,"description":3256,"tags":3257,"thumbUrl":3258,"material":63,"size":3259,"collection":37,"collections":3260,"showCount":3220,"zanCount":200,"manualWeight":11,"mainColor":68},218368,"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[24,53,52,7,28,795,541,209,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[37],{"id":3262,"slug":3263,"title":180,"dynasty":129,"author":47,"museum":183,"description":3264,"tags":3265,"thumbUrl":3267,"material":195,"size":3268,"collection":1732,"collections":3269,"showCount":3220,"zanCount":200,"manualWeight":11,"mainColor":124},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[23,96,24,26,25,7,572,28,190,192,3266],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[1732,37],{"id":3271,"slug":3272,"title":3273,"dynasty":220,"author":47,"museum":75,"description":3274,"tags":3275,"thumbUrl":3278,"material":103,"size":103,"collection":103,"collections":3279,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":124},234590,"xu-liang-biao-zhong-kui-jia-mei-wan-shan-yi-ming-234590","许良标钟馗嫁妹纨扇","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,1632,223,53,52,28,3276,3277,7],"驴","轮车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5c85bb02e13742198d4579ee0569f.jpg",[],46,{"id":3282,"slug":3283,"title":3284,"dynasty":18,"author":47,"museum":118,"description":340,"tags":3285,"thumbUrl":3288,"material":152,"size":153,"collection":103,"collections":3289,"showCount":3280,"zanCount":200,"manualWeight":11,"mainColor":68},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披",[78,7,53,52,371,28,342,520,134,30,2223,445,150,444,3286,3287],"线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],{"id":3291,"slug":3292,"title":3293,"dynasty":18,"author":47,"museum":118,"description":340,"tags":3294,"thumbUrl":3295,"material":152,"size":153,"collection":103,"collections":3296,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":215},226327,"ku-zhu-shi-ren-zi-pi-xi-pi-yi-ming-226327","窟主室人字披西披",[78,53,7,28,2297,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ba4db1bfd3ac3236001af3ca315d5d.jpg",[],{"id":3298,"slug":3299,"title":2680,"dynasty":18,"author":47,"museum":118,"description":340,"tags":3300,"thumbUrl":3301,"material":152,"size":153,"collection":103,"collections":3302,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":68},226212,"ku-zhu-shi-nan-bi-yi-ming-226212",[78,371,7,53,28,29,186,857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5a658edcc8872178e851212a95fb1b.jpg",[],{"id":3304,"slug":3305,"title":3306,"dynasty":181,"author":2325,"museum":486,"description":3307,"tags":3308,"thumbUrl":3309,"material":63,"size":3310,"collection":37,"collections":3311,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":68},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 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而此菩萨摩诃萨。已能修行甚深般若波罗蜜多。观自五蕴自性皆空。尔时尊者舍利子。承佛威神。前白观自在菩萨摩诃萨言：若善男子善女人， 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俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 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"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。",[408,2074,7,28,225,2075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff312c083ebb290befe0117ffdd19a75c.jpg",[2077],{"id":3457,"slug":3458,"title":3459,"dynasty":2304,"author":47,"museum":75,"description":569,"tags":3460,"thumbUrl":3462,"material":152,"size":153,"collection":103,"collections":3463,"showCount":3430,"zanCount":11,"manualWeight":11,"mainColor":215},253292,"tong-mi-le-fo-zuo-xiang-yi-ming-253292","铜弥勒佛坐像",[2304,1030,3461,7,28,225,1032],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bbdab89a628ce29e8227f6c5937f7b9.jpg",[],{"id":3465,"slug":3466,"title":443,"dynasty":73,"author":47,"museum":75,"description":3467,"tags":3468,"thumbUrl":3469,"material":152,"size":153,"collection":103,"collections":3470,"showCount":3430,"zanCount":11,"manualWeight":11,"mainColor":68},231848,"fo-xiang-yi-ming-231848","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[23,24,7,51,52,53,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa625b9eb159088ba4568259afe93d57a.jpg",[],{"id":3472,"slug":3473,"title":3474,"dynasty":46,"author":3475,"museum":75,"description":3476,"tags":3477,"thumbUrl":3482,"material":103,"size":103,"collection":103,"collections":3483,"showCount":3430,"zanCount":11,"manualWeight":11,"mainColor":68},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 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装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十余岁之作。",[24,25,51,7,28,27,465,467,56,3557,193],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79db6107aefbfd5dd16156dfd05f3f4.jpg","156.8x53.1",[297],{"id":3562,"slug":3563,"title":3564,"dynasty":129,"author":3565,"museum":183,"description":3566,"tags":3567,"thumbUrl":3568,"material":309,"size":3569,"collection":37,"collections":3570,"showCount":3430,"zanCount":245,"manualWeight":11,"mainColor":215},218361,"wu-bai-ying-zhen-tu-dao-hong-218361","五百应真图","道宏","长卷中包含了几百名神态各异的僧人。或骑鹤乘凤，遨游虚空，或聚于山林讲经，或坐或卧于山涧或树下，或站而不语。...... 这些团体是不同的，而且剧情也不同。有几个小组只有一个人，但很多小组有几十个人。在群体之间，他们被那些回头看的人和搔首弄姿的人联系起来，以一种自然的方式不留痕迹地过渡。这确实是运动和起伏的组合。",[23,24,25,26,7,28,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564d9e1b9d92f19ebe7c9da066bf364a.jpg","34.6x893",[37],{"id":3572,"slug":3573,"title":3574,"dynasty":129,"author":2875,"museum":75,"description":3575,"tags":3576,"thumbUrl":3577,"material":469,"size":103,"collection":37,"collections":3578,"showCount":3430,"zanCount":11,"manualWeight":11,"mainColor":124},217055,"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,25,26,7,27,28,467,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg",[37],{"id":3580,"slug":3581,"title":3582,"dynasty":220,"author":47,"museum":75,"description":1100,"tags":3583,"thumbUrl":3587,"material":152,"size":153,"collection":103,"collections":3588,"showCount":3589,"zanCount":11,"manualWeight":11,"mainColor":124},263661,"dui-ling-zun-sheng-fu-mu-xiang-tang-ka-yi-ming-263661","堆绫尊胜佛母像唐卡",[1102,3584,7,3585,1739,53,30,3586,98,2978,145],"堆绫","尊胜佛母","日月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5e6011c253c2727eee6da61ae3a995.jpg",[],42,{"id":3591,"slug":3592,"title":3593,"dynasty":220,"author":47,"museum":305,"description":3594,"tags":3595,"thumbUrl":3598,"material":103,"size":103,"collection":312,"collections":3599,"showCount":3589,"zanCount":200,"manualWeight":11,"mainColor":68},238934,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238934","清人群仙祝寿贴落","画面分境铺陈仙宴盛景：云端仙袂翩跹，凌风御虚似携云而来；苍松怪石间，仙宾或晤语清谈，或凭崖远眺，仪态雍和。水滨舟上群仙围坐言欢，山麓间侍从捧礼随行，步履悠然。\n\n设色古雅沉静，石青晕染出山峦苍劲，赭红点染衣褶灵动，线描清细秀逸，将仙众出尘之姿描摹入微。整体动静相映，把祝寿的吉庆意涵融在清虚悠远的山水意境中，尽显仙乡雅聚的祥和瑞气，将雅致古淡的仙佛画韵致铺陈开来。",[24,25,53,52,28,186,240,858,3596,713,7,3597,209,133],"舟","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf80cd142cdc24231bc03c616a78b24.jpg",[312],{"id":3601,"slug":3602,"title":3603,"dynasty":220,"author":3604,"museum":649,"description":3605,"tags":3606,"thumbUrl":3607,"material":1093,"size":3608,"collection":103,"collections":3609,"showCount":3589,"zanCount":11,"manualWeight":11,"mainColor":124},233969,"zui-zhong-kui-tu-zhou-luo-pin-233969","醉钟馗图轴","罗聘","罗聘的《醉钟馗图》，以漫画的手法，描绘出一幅迷离朴塑、奇异怪谲的鬼怪世界，借以讽刺社会现实。有人将此图比作蒲松龄的《聊斋志异》，称它们都是用“以鬼喻人”的手法来讽诲世事。\n以上解说词是北京故宫博物院对《醉钟馗图》的介绍，这段解说词其实适用于上面的两幅画。罗聘作画题材广泛，人物肖像、鬼神佛道、山水花卉兼擅，作画大胆而细心，金农赞其“笔端聪明，无毫末之桀”。颇具画家柔中带钢、洁身自好之风。罗聘的人物画流传量甚少，其特点是人物身体结构清晰，衣纹线条垂长方折多变，人物意态栩栩如生，整个画面体现一种疏淡雅洁的格调。\n罗聘（1733－1799），字遯夫，号两峰，又号花之寺僧、金牛山人、蓼舟渔父、竹叟、衣云和尚、两峰子、喜道人、师莲老人。江苏扬州人，一作安徽歙县人。清代著名画家，扬州八怪之一。金农入室弟子。未作官，好游历。在扬州自称住处谓“朱草诗林”。工诗，善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，别具一格。又善画鬼趣图，描写形形色色的丑恶鬼态，无不极尽其妙，借以讽刺当时社会的丑态。亦善刻印，着有《广印人传》。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。妻方婉仪，子允绍、允缵，皆能画梅，被誉为“罗家梅派”。有《香叶草堂诗草》等行世。罗聘是“扬州八怪”最年轻的一位。少年苦读诗书，勤於习画，好学无倦，才艺出众，又拜金农为师，临摹宋人、元四家、石涛等先贤作品，不拘泥成法，自创风格而成为扬州八怪之一。罗聘工诗善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，貌鬼独绝。",[24,51,53,28,7,209,1414,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed30d125486b48ea1ded0b4bee3fd526.jpg","57×39 公分",[],{"id":3611,"slug":3612,"title":97,"dynasty":73,"author":47,"museum":75,"description":3613,"tags":3614,"thumbUrl":3615,"material":152,"size":153,"collection":103,"collections":3616,"showCount":3589,"zanCount":11,"manualWeight":11,"mainColor":68},228230,"guan-yin-yi-ming-228230","以淡逸铁线白描勾勒造像，衣纹圆转舒和如流云垂落，将观音静定安和的神态晕染开来。淡描头光不着浓色，愈发衬出造像澄澈出尘的气质。\n\n上方题字朴拙苍劲，率意天真，笔墨意趣与造像的清寂禅心相融相合，文与画互为表里。整幅舍去敷色繁饰，以极简笔墨托出慈悲空寂之态，将禅门万象皆空之理藏于素净纸面，于简淡之中见至深佛韵，观之令人俗念渐消，心神安谧。",[23,24,25,51,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf1fc1fccfe0241e7cf06c9f7628590.jpg",[],{"id":3618,"slug":3619,"title":3620,"dynasty":181,"author":970,"museum":427,"description":3621,"tags":3622,"thumbUrl":3623,"material":690,"size":3624,"collection":103,"collections":3625,"showCount":3589,"zanCount":11,"manualWeight":11,"mainColor":68},221499,"yan-yuan-hou-tu-mu-xi-221499","岩猿猴图","日本古籍《松斋梅谱》中评价牧溪的绘画“皆随笔点墨而成，意思简当，不费装缀。”中国《画继补遗·卷上》载：“僧法常，自号牧溪。善作龙虎、人物、芦雁、杂画，枯淡山野，诚非雅玩，仅可僧房道舍，以助清幽耳。”其画笔墨淋漓，颇具禅意。遗迹多流日本。其《远浦归帆图》真迹藏于京都国立博物馆。其《松猿图》对日本禅画尤有影响。甚至被评为“日本画道的大恩人”。\n南宋画家牧溪是一个谜一样的人物，他擅长画山水、蔬果、和大写意破墨僧道人物，从这张《六柿图》中，我们可以体会到六个柿子随机的摆设，用在每个柿子上不同的笔墨、虚实、阴阳、粗细间的灵活运用，作品呈现出静物作品的“随处皆真”的境界。\n史籍关于牧溪的记载语焉不详。元代吴大素《松斋梅谱》有关于这位画家比较多的文字描述：“僧法常，蜀人，号牧溪。喜画龙虎、猿鹤、禽鸟、山水、树石、人物，不曾设色。多用蔗渣草结，又皆随笔点墨而成，意思简当，不费妆缀。松竹梅兰石具形似，荷芦写，俱有高致。”",[23,96,24,25,51,465,7,1481,189,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5cdc6899d1872fe756bc08c0532dfd.jpg","37.3×28",[],{"id":3627,"slug":3628,"title":3629,"dynasty":73,"author":426,"museum":395,"description":3630,"tags":3631,"thumbUrl":3632,"material":3633,"size":3634,"collection":434,"collections":3635,"showCount":3589,"zanCount":245,"manualWeight":11,"mainColor":124},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[23,192,190,951,637,193,26,465,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纸本墨笔","纵34.4厘米，横408.9厘米",[434,436],{"id":3637,"slug":3638,"title":3639,"dynasty":73,"author":2434,"museum":550,"description":3640,"tags":3641,"thumbUrl":3642,"material":63,"size":3643,"collection":37,"collections":3644,"showCount":3589,"zanCount":11,"manualWeight":11,"mainColor":68},219567,"xian-ren-tu-yan-hui-219567","仙人图","苍古松壑间，三位仙者围坐清谈。左侧童子恭谨侍立，执器物垂首静听；居中仙者虬眉圆睁，神态矍铄灵动；右侧长髯仙人安坐抚膝，意态萧散出尘。\n\n画家以粗简苍劲的笔触勾勒山石古松，暗沉色调晕染出幽寂山野氛围，人物衣纹顿挫凝练，兼具写意笔趣与写实精微，将仙人各异的神采刻画入微，整体冷逸清旷，尽显出世高玄的仙道意境。",[23,24,25,51,465,53,28,186,7,52,918,209,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1392a21c9e50699689313e4c79cf7f.jpg","纵144.8横82.2厘米",[37],{"id":3646,"slug":3647,"title":3648,"dynasty":181,"author":182,"museum":75,"description":3649,"tags":3650,"thumbUrl":3651,"material":469,"size":103,"collection":37,"collections":3652,"showCount":3589,"zanCount":11,"manualWeight":11,"mainColor":68},218092,"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[23,96,24,25,26,27,7,28,186,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[37],{"id":3654,"slug":3655,"title":3656,"dynasty":129,"author":47,"museum":75,"description":3657,"tags":3658,"thumbUrl":3659,"material":152,"size":153,"collection":103,"collections":3660,"showCount":3661,"zanCount":11,"manualWeight":11,"mainColor":124},287957,"fang-zhao-meng-fu-shi-liu-luo-han-tu-yi-ming-287957","仿赵孟頫十六罗汉图","此作用笔清逸秀雅，罗汉形象线条匀净灵动，将世外高人沉静安然的神态刻画入微，衣褶流转间兼具温润质感与古朴意趣。搭配的书法题识笔意萧散，与图像相映成趣，墨色浓淡相宜。古雅的暗纹衬底更添沉静书卷气，整体气韵呼应元人笔墨的温婉雅致，尽现禅意悠远的意境，复刻出原作的文人画风骨。将释道题材的静穆和书法的文雅融为一体，尽显古拙澹泊的古典美学韵味，是一件兼具临摹意趣与审美价值的长卷。",[23,24,26,7,28,572,1869,465,190,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778036322ea0f4d59bd5410859e7de73.jpg",[],41,{"id":3663,"slug":3664,"title":3665,"dynasty":46,"author":47,"museum":118,"description":3666,"tags":3667,"thumbUrl":3668,"material":152,"size":153,"collection":103,"collections":3669,"showCount":3661,"zanCount":200,"manualWeight":11,"mainColor":68},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[26,25,24,7,53,28,29,52,747,149,193,190,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":3671,"slug":3672,"title":339,"dynasty":18,"author":47,"museum":118,"description":340,"tags":3673,"th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笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[96,24,25,51,7,27,465,28,240,3819],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[37],{"id":3824,"slug":3825,"title":3639,"dynasty":129,"author":47,"museum":183,"description":3826,"tags":3827,"thumbUrl":3828,"material":63,"size":3829,"collection":37,"collections":3830,"showCount":3740,"zanCount":245,"manualWeight":11,"mainColor":68},218292,"xian-ren-tu-yi-ming-218292","四位仙者衣袂翩跹，神态各异。左侧长者身着浅褐长袍，双手抱胸而立，眉宇间沉静儒雅；右下者深蓝长衣加身，躬身持物，姿态恭谨。背景二人或持杖浅笑，或低语互动，似有仙缘相契。衣纹线条流畅婉转，色彩经岁月沉淀仍显古朴雅致，云雾隐现间，缥缈仙境呼之欲出。人物神情生动传神，举手投足间尽显超凡气度，仙者之姿与人间情味交融，尽显古画神韵。",[24,53,52,28,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8688357244e4cdd1e92b2b1fed833a6.jpg","147.4x75.2",[37],{"id":3832,"slug":3833,"title":506,"dynasty":220,"author":47,"museum":75,"description":3834,"tags":3835,"thumbUrl":3837,"material":63,"size":3838,"collection":37,"collections":3839,"showCount":3740,"zanCount":200,"manualWeight":11,"mainColor":68},217061,"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,24,53,52,7,28,2125,209,497,3836,51],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[37],{"id":3841,"slug":3842,"title":3843,"dynasty":394,"author":47,"museum":75,"description":3844,"tags":3845,"thumbUrl":3848,"material":3328,"size":3849,"collection":103,"collections":3850,"showCount":3740,"zanCount":11,"manualWeight":11,"mainColor":68},214311,"deng-zhou-she-li-ta-xia-ming-yi-ming-214311","邓州舍利塔下铭","这座塔铭的形式为圆形柱础，直径80.5厘米，厚13厘米；竖铭由14行组成，共13个字，全铭154个字的楷书，刻在石板中央，排列成方形。该塔铭的书法风格融合了汉代和北魏的风格，楷书精致有力，典雅大方，节奏感强，书法功底深厚。",[23,637,190,430,7,3846,3847],"石刻","隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75c73203388b50e52164530ccf72203.jpg","80.5x80.5",[],{"id":3852,"slug":3853,"title":3854,"dynasty":46,"author":47,"museum":75,"description":3855,"tags":3856,"thumbUrl":3857,"material":152,"size":153,"collection":103,"collections":3858,"showCount":3859,"zanCount":200,"manualWeight":11,"mainColor":124},289580,"yin-lu-yin-lu-fo-xiang-yi-ming-289580","尹魯引路佛像","此作为镂空雕版佛造像，线条洗练古拙，菩萨身姿端丽舒展。宝冠垂缨，璎珞环身，神情恬和悲悯。天衣飘带如流云舒卷，绕身缠回，将静穆佛身衬出灵动仙气。左手执引幡，右手轻捻莲茎，双足踏莲，背光隐现，莲台素雅净洁。\n\n漏空留白恰似梵境虚渺，粗粝纸色晕开古旧禅意，整体造型庄重不失飘逸，尽显引路菩萨慈悲接引之态，静穆间暗含渡化的温柔力量。",[23,7,572,229,145,27,2966,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80aeedc119fca7203c8deff4d8155074.jpg",[],39,{"id":3861,"slug":3862,"title":3863,"dynasty":73,"author":47,"museum":75,"description":3864,"tags":3865,"thumbUrl":3866,"material":294,"size":3867,"collection":103,"collections":3868,"showCount":3859,"zanCount":11,"manualWeight":11,"mainColor":68},232834,"xiang-long-luo-han-tu-zhou-yi-ming-232834","降龙罗汉图轴","画面以深褐底色晕染出幽寂古雅的氛围，层次错落有致。罗汉虬髯凸目，身披蟒纹僧衣，神态威严沉静，正凝神注视下方寒潭。侍童躬身持器静立，蛟龙潜于潭水之间，身姿灵动矫健，水纹与神将周身的焰光相映，烘托出张力满溢的降伏瞬间。\n线条刚劲凝练，设色沉厚古朴，工笔描摹精细入微，将罗汉的威严、龙神的灵动与护法的雄浑刻画尽致，尽显佛教绘画肃穆庄严的神性，亦饱含古雅厚重的丹青意趣。",[23,24,53,7,28,149,51,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],{"id":3870,"slug":3871,"title":764,"dynasty":181,"author":959,"museum":395,"description":3872,"tags":3873,"thumbUrl":3874,"material":798,"size":3875,"collection":103,"collections":3876,"showCount":3859,"zanCount":11,"manualWeight":11,"mainColor":68},221603,"bu-dai-he-shang-tu-liang-kai-221603","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,25,28,7,465,962,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 3厘米，横24 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​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[23,24,51,52,53,7,28,30,669,321,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 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定刻画入微。衣褶流转自然，线条柔婉却暗含挺括质感，褶皱层次分明，写实生动。座侧衬饰莲华，更添出尘清雅之态。\n\n整器刀法浑朴老辣，造型浑厚沉稳，形神兼备，尽显清代玉雕写实功力，将尊者内敛超脱的气度诠释得淋漓尽致，是一件极具匠心的玉雕精品。",[2860,225,7,28,223,1869,4060],"玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F431c0c74a69aed6d7015915a97022c06.jpg",[231],{"id":4064,"slug":4065,"title":4066,"dynasty":220,"author":47,"museum":75,"description":4067,"tags":4068,"thumbUrl":4069,"material":152,"size":153,"collection":103,"collections":4070,"showCount":4035,"zanCount":11,"manualWeight":11,"mainColor":124},234506,"jin-gua-wu-men-shen-ma-yi-ming-234506","金瓜武门神码","此幅武将门神面如冠玉，三绺长髯飘逸出庄重威严。身着遍饰宝相花纹的黄金锁子甲，朱红衬袍翻卷张扬，宝冠翎羽凌厉飒爽。他一手高擎鎏金瓜锤，一手挽定雕弓，背负劲箭，胯侧黑旗猎猎。\n设色浓丽饱和，朱砂、石青与泥金交相辉映，既有民间年画的明快热烈，又暗含庙堂重彩的规整大气。线条刚柔并济，将武将护宅安邦的凛凛神威凝练于方寸之内，带着质朴醇厚的民间祈福意趣，尽显旧时匠人对阖家平安的真挚祈愿，是民俗美术中极具代表性的工致之作。",[24,25,53,52,2966,28,1406,796,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aef900541f967bea555c81cfa0a3a1a.jpg",[],{"id":4072,"slug":4073,"title":4074,"dynasty":18,"author":4075,"museum":75,"description":4076,"tags":4077,"thumbUrl":4079,"material":152,"size":153,"collection":434,"collections":4080,"showCount":4035,"zanCount":200,"manualWeight":11,"mainColor":1974},227257,"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan-di-5-juan-yi-jing-227257","紫纸金字金光明最胜王经共10卷第5卷","义净","据传本来是安置在备后国（今广岛县）的国分寺，十卷完整地保存下来，其金字至今依然灿烂发光与紫纸相互辉映，充满着气韵与品格，不愧为天平时代写经的绝品",[190,747,26,7,430,4078,432,1190],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd032e841b50ef732e6315ca3dcc94cc0.jpg",[434],{"id":4082,"slug":4083,"title":1369,"dynasty":18,"author":47,"museum":118,"description":340,"tags":4084,"thumbUrl":4085,"material":152,"size":153,"collection":103,"collections":4086,"showCount":4035,"zanCount":11,"manualWeight":11,"mainColor":68},226203,"ku-yong-dao-bei-bi-yi-ming-226203",[78,371,7,28,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e7236b0a3e1df45295caa078c000c8.jpg",[],{"id":4088,"slug":4089,"title":4090,"dynasty":46,"author":47,"museum":75,"description":4091,"tags":4092,"thumbUrl":4093,"material":103,"size":103,"collection":103,"collections":4094,"showCount":4035,"zanCount":11,"manualWeight":11,"mainColor":68},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,24,25,51,7,52,53,28,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":4096,"slug":4097,"title":4098,"dynasty":914,"author":1378,"museum":649,"description":1379,"tags":4099,"thumbUrl":4101,"material":1383,"size":1384,"collection":103,"collections":4102,"showCount":4035,"zanCount":11,"manualWeight":11,"mainColor":68},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）",[23,96,24,25,51,53,7,28,385,858,1483,1313,1690,1265,57,52,61,4100],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg",[],{"id":4104,"slug":4105,"title":4106,"dynasty":129,"author":4107,"museum":550,"description":4108,"tags":4109,"thumbUrl":4110,"material":195,"size":103,"collection":37,"collections":4111,"showCount":4035,"zanCount":11,"manualWeight":11,"mainColor":124},219540,"tie-guai-li-tu-chen-xian-219540","铁拐李图","陈贤","此画中葫芦船不知可令诸位联想起伏羲女娲神话中载二人渡难的葫芦巨船否？确定的是，可从其中可窥见葫芦文化中神性的部分",[23,24,25,465,28,7,193,133,520,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e3bbb42ae64998ed8e606eeef0c874.jpg",[37,297],{"id":4113,"slug":4114,"title":2371,"dynasty":181,"author":47,"museum":305,"description":4115,"tags":4116,"thumbUrl":4118,"material":63,"size":2194,"collection":37,"collections":4119,"showCount":4035,"zanCount":200,"manualWeight":11,"mainColor":68},216946,"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[24,25,51,7,52,53,28,858,54,4117],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[37],{"id":4121,"slug":4122,"title":4123,"dynasty":73,"author":47,"museum":75,"description":4124,"tags":4125,"thumbUrl":4126,"material":103,"size":103,"collection":103,"collections":4127,"showCount":4128,"zanCount":200,"manualWeight":11,"mainColor":68},232800,"ying-zhen-tu-shi-ba-luo-han-zuo-yi-ming-232800","应真图(十八罗汉 左)","隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了欣赏，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。",[24,25,51,7,53,52,28,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759fd55d66556766afd7f1236ed8d067.jpg",[],36,{"id":4130,"slug":4131,"title":4132,"dynasty":129,"author":47,"museum":75,"description":4133,"tags":4134,"thumbUrl":4135,"material":152,"size":153,"collection":103,"collections":4136,"showCount":4128,"zanCount":11,"manualWeight":11,"mainColor":68},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[23,24,25,7,28,52,53,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":4138,"slug":4139,"title":2680,"dynasty":18,"author":47,"museum":118,"description":340,"tags":4140,"thumbUrl":4141,"material":152,"size":153,"collection":103,"collections":4142,"showCount":4128,"zanCount":11,"manualWeight":11,"mainColor":68},226428,"ku-zhu-shi-nan-bi-yi-ming-226428",[78,7,53,28,342,187,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08777adc12a281b4f272525453b21ba4.jpg",[],{"id":4144,"slug":4145,"title":3968,"dynasty":18,"author":47,"museum":118,"description":340,"tags":4146,"thumbUrl":4148,"material":152,"size":153,"collection":103,"collections":4149,"showCount":4128,"zanCount":200,"manualWeight":11,"mainColor":215},226208,"ku-zhu-shi-dong-bi-yi-ming-226208",[78,7,53,52,28,29,796,3151,2223,4147,101],"群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca7ce3df90bf739387683632798ad93.jpg",[],{"id":4151,"slug":4152,"title":4153,"dynasty":181,"author":47,"museum":305,"description":4154,"tags":4155,"thumbUrl":4156,"material":4157,"size":4158,"collection":103,"collections":4159,"showCount":4128,"zanCount":11,"manualWeight":11,"mainColor":68},223438,"song-ke-si-fo-xiang-zhou-yi-ming-223438","宋缂丝佛像轴","除此之外，又以蕴涵吉祥或神话题材作为祝寿或馈赠的礼品，如〈宋缂丝八仙拱寿〉、〈宋缂丝紫芝仙寿〉等，皆甚受喜爱，数量增多，题材多元丰富。到了南宋时期，佛教、道教宗教题材亦逐渐加入缂丝制作的行列，宋代佛与菩萨造像倾向世俗化，平易近人，塑像既不失庄重，又富人世情感，创造出秀婉典雅的风貌。此幅蓝地设色缂丝佛像即其中精品。圆光中，释迦牟尼佛结跏趺坐在莲花台座上，莲花宝座，共分四层，色泽沉稳。坐佛顶成肉髻相，脸形略圆，五官柔和安祥，神情庄严肃穆。身着袒右肩赭红色袈裟，衣褶流畅，双手仰放于腹前，两拇指的指端相接，称为禅定印，相传释迦牟尼佛在菩提树下，即以此坐式入定悟道。缂丝人物的五官、肌肤最难表现，此件作品粉本精工细致，织工技巧纯熟，如佛像的头部、手、腿，比例写实合宜，线条流畅，纬线之分色细腻自然，散发佛陀庄严神韵，可为宋代缂丝佛像艺术品的代表。",[23,2400,1392,51,7,28,443,98,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a725847eb6a484563d19c478324e895.jpg","緙絲","251X78.5",[],{"id":4161,"slug":4162,"title":4163,"dynasty":129,"author":47,"museum":4164,"description":4165,"tags":4166,"thumbUrl":4167,"material":63,"size":103,"collection":37,"collections":4168,"showCount":4128,"zanCount":11,"manualWeight":11,"mainColor":124},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","费城艺术博物馆","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[24,25,53,52,7,28,186,845,133,149,857,467,29,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[37],{"id":4170,"slug":4171,"title":4172,"dynasty":73,"author":47,"museum":1244,"description":4173,"tags":4174,"thumbUrl":4175,"material":63,"size":103,"collection":37,"collections":4176,"showCount":4128,"zanCount":11,"manualWeight":11,"mainColor":124},218474,"shi-jia-mo-ni-dan-sheng-tu-yi-ming-218474","释迦摩尼诞生图","云气如缕，托着衣袂翩跹的神众于天际凝眸；地面上，朱廊环伺，侍从衣纹细腻如波，簇拥着殿内新生的静谧。中央光晕轻笼，似能触到佛陀诞生的圣洁——青绿与赭红交织的图景里，古绢斑驳晕染出岁月的虔诚。右侧仪仗缓步，衣饰繁复与左侧侍从清雅相映，皆向那神圣核心汇聚。线条流转间，佛教庄严与世俗鲜活融于一帧，每一笔都似低语着千年信仰的温度，让悠远的故事在古画的肌理中静静流淌。",[24,25,7,52,53,857,28,29,30,2227,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761dda8b2dede2e9e29009830b74880b.jpg",[37],{"id":4178,"slug":4179,"title":764,"dynasty":73,"author":47,"museum":75,"description":4180,"tags":4181,"thumbUrl":4182,"material":195,"size":103,"collection":37,"collections":4183,"showCount":4128,"zanCount":11,"manualWeight":11,"mainColor":68},218276,"bu-dai-he-shang-tu-yi-ming-218276","这位布袋和尚被画上了宽大的袖子，脸上挂着微笑，地上放着一根锡杖。只用了几笔，这一幕就把一个态度简单而天真的和尚带入了现实。",[24,465,28,7,193,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be83ceba1bfced12ebb72dc642dd94f.jpg",[37],{"id":4185,"slug":4186,"title":4187,"dynasty":220,"author":3014,"museum":75,"description":4188,"tags":4189,"thumbUrl":4191,"material":152,"size":153,"collection":103,"collections":4192,"showCount":4193,"zanCount":200,"manualWeight":11,"mainColor":41},290452,"shu-fa-li-zhou-qian-long-290452","书法立轴","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,190,51,192,193,7,497,61,4190],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20014fbbbca23c3809a74e13bfaf1bef.jpg",[],35,{"id":4195,"slug":4196,"title":4197,"dynasty":181,"author":47,"museum":75,"description":4198,"tags":4199,"thumbUrl":4200,"material":152,"size":153,"collection":103,"collections":4201,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":68},289445,"tian-wang-tu-yi-ming-289445","天王图","主尊威峙画面中央，兽面怒目，焰发冲霄，身着严整华丽的扎甲，宝饰垂络，一手托举宝珠，一手按剑踏云而立，气势慑人。环绕的部众形貌各异，或狞恶挥刃，或恭谨侍立，动静相生，烘托出森严仪制。\n\n全作用浓墨重彩晕染，矿物颜料历久沉凝，甲胄的金属质感、须发的焰动感皆刻画入微，将护法神祇的威严狞厉尽数铺展，兼具宗教威仪感与写实功力。古拙雄浑的笔墨间，凝住了厚重的宗教美术气韵，仿佛能让观者窥见诸天护法的凛凛神威。",[24,25,28,53,7,147,383,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d363961a01b0f91a311f87016eda7a.jpg",[],{"id":4203,"slug":4204,"title":782,"dynasty":73,"author":2689,"museum":75,"description":4205,"tags":4206,"thumbUrl":4209,"material":152,"size":153,"collection":103,"collections":4210,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":124},287592,"wei-mo-yan-jiao-tu-wang-zhen-peng-287592","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[24,96,25,26,27,28,7,572,4207,754,1869,4208,1139,1164],"维摩诘","天女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40a4d0806de3db1968a0376916c5f4a.jpg",[],{"id":4212,"slug":4213,"title":4214,"dynasty":129,"author":304,"museum":75,"description":2943,"tags":4215,"thumbUrl":4218,"material":152,"size":153,"collection":103,"collections":4219,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":68},287412,"jie-bo-tu-quan-juan-chou-ying-287412","揭钵图全卷",[23,24,96,26,53,28,52,7,572,4216,342,2202,82,4217],"神怪","天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd300e8ce2918da53473256c6f9e1473e.jpg",[],{"id":4221,"slug":4222,"title":4223,"dynasty":220,"author":1133,"museum":75,"description":4224,"tags":4225,"thumbUrl":4226,"material":152,"size":153,"collection":37,"collections":4227,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":124},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","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》。",[24,25,96,52,53,7,28,193,432,101,2191,1032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[37],{"id":4229,"slug":4230,"title":4231,"dynasty":73,"author":4030,"museum":75,"description":4232,"tags":4233,"thumbUrl":4234,"material":432,"size":4235,"collection":103,"collections":4236,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":68},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,25,26,53,52,28,187,1414,209,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":4238,"slug":4239,"title":4240,"dynasty":181,"author":205,"museum":4241,"description":4242,"tags":4243,"thumbUrl":4244,"material":294,"size":4245,"collection":103,"collections":4246,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":68},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","美国弗瑞尔美术馆","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,51,7,52,53,28,186,3208,975,209,1943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":4248,"slug":4249,"title":4250,"dynasty":46,"author":47,"museum":75,"description":4251,"tags":4252,"thumbUrl":4260,"material":152,"size":153,"collection":103,"collections":4261,"showCount":4193,"zanCount":200,"manualWeight":11,"mainColor":68},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","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。",[23,24,53,52,7,28,98,51,1839,736,2647,4253,4254,4255,665,4256,4257,4258,2466,4259],"矿物颜料","细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],{"id":4263,"slug":4264,"title":4265,"dynasty":46,"author":4266,"museum":75,"description":4267,"tags":4268,"thumbUrl":4269,"material":152,"size":153,"collection":103,"collections":4270,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":41},225293,"yue-tian-ben-dong-jing-zhen-hai-225293","月天(本-东京)","珍海","平安时代后期三论大师。画家春日元光的孩子。... 有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[23,24,25,27,7,28,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efdcc6b821bbb1ea0a42c4d0449105.jpg",[],{"id":4272,"slug":4273,"title":3786,"dynasty":181,"author":47,"museum":305,"description":4274,"tags":4275,"thumbUrl":4276,"material":654,"size":4277,"collection":103,"collections":4278,"showCount":4193,"zanCount":11,"manualWeight":11,"mainColor":124},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,96,24,25,51,7,52,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":4280,"slug":4281,"title":4282,"dynasty":129,"author":4283,"museum":395,"description":4284,"tags":4285,"thumbUrl":4286,"material":103,"size":103,"collection":103,"collections":4287,"showCount":4193,"zanCount":200,"manualWeight":11,"mainColor":124},222505,"shen-xian-tu-ce-11-zhang-lu-222505","神仙图册11","张路","张路（1464—1538 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隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,24,25,26,53,52,7,28,858,209,193,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[37,312],{"id":4788,"slug":4789,"title":4790,"dynasty":220,"author":1224,"museum":550,"description":2747,"tags":4791,"thumbUrl":4792,"material":63,"size":2750,"collection":103,"collections":4793,"showCount":4706,"zanCount":11,"manualWeight":11,"mainColor":124},218336,"shen-xian-gu-shi-tu-ce-3-leng-mei-218336","神仙故事图册-3",[23,24,25,464,52,53,28,240,858,385,7,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d868c90b4a5cfb55ce8fe0fb510ec9.jpg",[],{"id":4795,"slug":4796,"title":4797,"dynasty":181,"author":4798,"museum":183,"description":4799,"tags":4800,"thumbUrl":4801,"material":195,"size":4802,"collection":37,"collections":4803,"showCount":4706,"zanCount":200,"manualWeight":11,"mainColor":124},217974,"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,27,7,28,2125,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[37],{"id":4805,"slug":4806,"title":4807,"dynasty":18,"author":1668,"museum":75,"description":4808,"tags":4809,"thumbUrl":4810,"material":152,"size":153,"collection":103,"collections":4811,"showCount":4812,"zanCount":11,"manualWeight":11,"mainColor":124},289891,"da-bei-guan-yin-xiang-tu-fan-qiong-289891","大悲观音像图","范琼（生卒年不详），唐朝唐文宗时期人。唐朝时期著名画家。开成年（八三六至八四o）与陈皓、彭坚同时同艺寓居蜀城（今成都）。",[23,96,24,51,7,28,97,2604,193,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b96b683dc306c1f235e4ff07c0e29b.jpg",[],29,{"id":4814,"slug":4815,"title":4816,"dynasty":73,"author":426,"museum":75,"description":4040,"tags":4817,"thumbUrl":4819,"material":152,"size":153,"collection":103,"collections":4820,"showCount":4812,"zanCount":11,"manualWeight":11,"mainColor":68},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[24,96,25,51,53,28,7,572,4445,4818,466,209],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":4822,"slug":4823,"title":2071,"dynasty":220,"author":47,"museum":75,"description":2072,"tags":4824,"thumbUrl":4825,"material":152,"size":153,"collection":2077,"collections":4826,"showCount":4812,"zanCount":11,"manualWeight":11,"mainColor":215},253567,"de-hua-yao-bai-you-guan-yin-pu-sa-li-xiang-yi-ming-253567",[223,2074,7,28,2075,228,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8acd06cc6adeb6bc208609e5a2489bb3.jpg",[2077],{"id":4828,"slug":4829,"title":4830,"dynasty":220,"author":1133,"museum":75,"description":4831,"tags":4832,"thumbUrl":4833,"material":103,"size":4834,"collection":37,"collections":4835,"showCount":4812,"zanCount":200,"manualWeight":11,"mainColor":124},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,51,53,52,7,28,186,189,133,57,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[37],{"id":4837,"slug":4838,"title":4839,"dynasty":220,"author":47,"museum":75,"description":1100,"tags":4840,"thumbUrl":4841,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怀菩提之心。据《观世音现身种种愿除一切陀罗尼》经中说，供养此观音时应用白净的细布画观世音形像——身着白衣，坐莲座上，一手持莲花，一手提净瓶。据说诵念白衣观音经咒后白衣观音即可出现，而且能随供者所欲求愿悉得。因此，白衣观音也是密宗经常供奉的观音菩萨之一。中国古代许多画家都曾画过白衣观音像，元、明以后这个题材较为流行。在敦煌遗画中，白衣观音像并不多见，此画为国内仅见的早期作品。",[24,25,464,371,7,53,52,28,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4982691c1fa2d46776ddc4943652c6.jpg","纵52厘米，横55.2厘米",[],{"id":5319,"slug":5320,"title":5321,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":5324,"thumbUrl":5325,"material":294,"size":153,"collection":103,"collections":5326,"showCount":5269,"zanCount":11,"manualWeight":11,"mainColor":68},230561,"shi-liu-luo-han-xiang-01-bin-du-luo-ba-luo-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230561","十六罗汉像01宾度罗跋啰惰阇尊者","平安时代 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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[51,1392,2936,61,7,572,97,2604,28,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6f4e9e59c3d3471b2957eae0ac8d4a.jpg",[],"2A56C6",{"id":5829,"slug":5830,"title":5831,"dynasty":2304,"author":47,"museum":75,"description":5832,"tags":5833,"thumbUrl":5834,"material":152,"size":153,"collection":103,"collections":5835,"showCount":5810,"zanCount":200,"manualWeight":11,"mainColor":215},252876,"tong-liu-jin-meng-hui-zhou-zao-shi-jia-duo-bao-fo-xiang-yi-ming-252876","铜鎏金孟回周造释迦多宝佛像","此作为释迦多宝并坐样式，对称排布尽显规制之美。双佛面容圆和沉静，身披通肩袈裟，手印严整，安然端坐于莲瓣背屏之下，两侧胁侍分立屏侧，静穆间漫出禅定安然的气韵。\n\n岁月鎏金斑驳，铜胎青锈裹身，古雅厚重的质感呼之欲出。台座錾刻古朴几何纹样，朴拙凝练承托诸佛法相，将南北朝的对称美学与宗教意涵相融，凝住千年前的虔敬匠心，尽显六朝造像特有的空灵静雅。",[2304,7,1030,1835,225,28,3106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724602a39b86c9c148259b32e50dbb3e.jpg",[],{"id":5837,"slug":5838,"title":5839,"dynasty":220,"author":47,"museum":75,"description":5840,"tags":5841,"thumbUrl":5843,"material":103,"size":103,"collection":231,"collections":5844,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":124},245661,"qian-long-kuan-jin-fu-zuo-yi-ming-245661","乾隆款金佛座","这尊金像宝光内蕴，佛陀结跏趺坐于莲台，双手结说法印，面容沉静慈悲，鎏金厚重匀净，躯体线条柔和饱满。身后背光錾刻缠枝宝相花，似佛辉漫溢，层层环绕烘托出神圣气韵。\n\n莲座层叠饱满，嵌饰彩宝点缀其间，两侧垂挂卷草雕花供耳，婉转灵动，将藏地造像的富丽与中原工艺的精细相融。整体庄严肃穆，既带着宗教造像的神性威仪，又尽显宫廷工艺的极致考究，把虔诚信仰之美与精湛匠造之美合二为一，是金铜造像中的精妙之作。",[223,224,7,674,5842,226,2449,2374],"錾刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809c6a46152ed86d335619e20c4588f6.jpg",[231],{"id":5846,"slug":5847,"title":2026,"dynasty":129,"author":5848,"museum":649,"description":5849,"tags":5850,"thumbUrl":5851,"material":5852,"size":5853,"collection":37,"collections":5854,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":124},237096,"guan-yin-zhou-fang-wei-yi-237096","方维仪","明末清初安徽桐城才女方维仪是一位擅于图绘观音像的闺阁画家。作为富有收藏的大理少卿之女，方维仪自幼便浸淫在浓厚的热爱丹青图绘的家庭气氛中，并终其一生不断绘事。方维仪所绘白描观音大士像，被王士祯称为“妙品”，列闺秀绘画魁首。现藏于故宫博物院的《观音图》是方维仪七十一岁时所作。这种舍弃背景、不施色彩的画风，传承自宋代李公麟遗风。据说方维仪家藏有李公麟白描宗教人物画《过海揭钵图》，而她经过多年的临习，所画之白描观音“几突过龙眠”。\n方维仪多图绘观音与其坎坷的人生际遇有关。方维仪出阁嫁与姚孙棨为妻，但年仅17岁便成为寡妇，之后终身未曾再嫁。丧夫之后，方氏又遭受接二连三的打击：姐夫张秉文在抵抗清兵入济南城之战中牺牲、姐姐方孟式投水自尽、弟媳吴令仪年少早夭、堂妹方维则16岁丧夫而后孀居终生……明清鼎革之际的动乱环境带来不可言说的人生际遇，惟有慈悲为怀的观音大士最能平复失去至亲的痛苦，慰藉其寒灯守夜的孤寂。",[24,25,51,7,28,27,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973321fad6cac359dcd7b1b160fc7a39.jpg","纸本 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”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,25,51,7,52,53,28,189,3504,5883,193],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":5887,"slug":5888,"title":5889,"dynasty":18,"author":47,"museum":75,"description":5890,"tags":5891,"thumbUrl":5892,"material":103,"size":103,"collection":103,"collections":5893,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":215},227123,"fu-shuo-guan-pu-xian-pu-sa-xing-fa-jing-yi-ming-227123","佛说观普贤菩萨行法经","小说主人公是阿难,释迦牟尼,诸菩萨的小说叫做佛说观普贤菩萨行法经，本小说的作者是佚名所编写的近代社会、社科、人文小说，书中主要讲述了：强烈推荐《佛说观普贤菩萨行法经》这本书，本人特别喜欢这本书，从前看的那些连套路都是一样的，甚至有些文章思维紊乱文笔极。",[371,7,747,430,52,1136,186,28,1163,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89ed3aaacbebe9a7950d89b2f968183.jpg",[],{"id":5895,"slug":5896,"title":3968,"dynasty":18,"author":47,"museum":118,"description":340,"tags":5897,"thumbUrl":5898,"material":152,"size":153,"collection":103,"collections":5899,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":68},226297,"ku-zhu-shi-dong-bi-yi-ming-226297",[78,7,53,28,371,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba5adfc36586470eb789431fcd332a4.jpg",[],{"id":5901,"slug":5902,"title":1825,"dynasty":18,"author":47,"museum":118,"description":340,"tags":5903,"thumbUrl":5906,"material":152,"size":153,"collection":103,"collections":5907,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":68},226260,"ku-zhu-shi-xi-bi-yi-ming-226260",[78,7,225,53,28,3151,674,1996,82,5904,5905],"彩绘塑像","石窟壁面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc80158f37563a16a6f8c77e26bbaf3e.jpg",[],{"id":5909,"slug":5910,"title":3968,"dynasty":18,"author":47,"museum":118,"description":340,"tags":5911,"thumbUrl":5912,"material":152,"size":153,"collection":103,"collections":5913,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":68},226253,"ku-zhu-shi-dong-bi-yi-ming-226253",[78,7,53,28,342,725,669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b56fd8bda09b022ef6c25fa3bc3819.jpg",[],{"id":5915,"slug":5916,"title":1057,"dynasty":18,"author":47,"museum":118,"description":340,"tags":5917,"thumbUrl":5918,"material":152,"size":153,"collection":103,"collections":5919,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":68},226193,"ku-zhu-shi-bei-bi-yi-ming-226193",[78,7,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14396041cc2508c176db55ad5b35e06b.jpg",[],{"id":5921,"slug":5922,"title":1619,"dynasty":18,"author":47,"museum":118,"description":340,"tags":5923,"thumbUrl":5924,"material":152,"size":153,"collection":103,"collections":5925,"showCount":5810,"zanCount":200,"manualWeight":11,"mainColor":215},226167,"ku-zhu-shi-nan-pi-yi-ming-226167",[78,7,53,28,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76763207104ac44fe76a534757c148b2.jpg",[],{"id":5927,"slug":5928,"title":5929,"dynasty":914,"author":1378,"museum":649,"description":1379,"tags":5930,"thumbUrl":5932,"material":1383,"size":1384,"collection":103,"collections":5933,"showCount":5810,"zanCount":200,"manualWeight":11,"mainColor":68},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）",[23,24,25,5931,53,52,7,28,29,385],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg",[],{"id":5935,"slug":5936,"title":5937,"dynasty":914,"author":1378,"museum":649,"description":1379,"tags":5938,"thumbUrl":5939,"material":1383,"size":1384,"collection":103,"collections":5940,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":68},221172,"jia-nuo-jia-ba-li-duo-du-zun-zhe-tang-ka-bu-ben-guan-xiu-221172","迦诺迦跋厘堕阇尊者（唐卡布本）",[23,7,28,53,52,61,30,2374,1139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfed2c18dfbdc7beb92a0fd9f22d25f7.jpg",[],{"id":5942,"slug":5943,"title":5944,"dynasty":18,"author":47,"museum":75,"description":5945,"tags":5946,"thumbUrl":5947,"material":103,"size":103,"collection":434,"collections":5948,"showCount":5810,"zanCount":11,"manualWeight":11,"mainColor":68},221116,"fo-jing-fa-hua-jing-yun-mu-zhi-yi-ming-221116","佛经法华经云母纸","此作为典型唐代经生写经小楷，笔法端秀匀净，结体平正工稳，尽显书写者娴熟扎实的抄经功底。起收提按一丝不苟，点画温润舒展，带着初唐写经特有的内敛安然，字里行间浸透着抄经时肃穆沉静的宗教虔诚。\n云母纸历经岁月仍莹润匀净，墨色沉凝饱满，搭配雅致装裱愈显古雅朴拙。它是唐代民间书法与佛教文化融合的遗存，暗合唐人尚法的书风特质，于朴素平淡间流露冲淡平和的审美意趣，兼具宗教文献与书法艺术双重价值。",[23,190,747,7,1190,430,1192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c3a89135a40bb478a52a82317ad2b.jpg",[434],{"id":5950,"slug":5951,"title":5952,"dynasty":73,"author":47,"museum":305,"description":5953,"tags":5954,"thumbUrl":5955,"material":63,"size":5956,"collect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城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,96,25,51,7,6021,918,53,209,187,29,921,193,190],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":6025,"slug":6026,"title":6027,"dynasty":6028,"author":47,"museum":75,"description":6029,"tags":6030,"thumbUrl":6033,"material":152,"size":153,"collection":103,"collections":6034,"showCount":6013,"zanCount":11,"manualWeight":11,"mainColor":215},288150,"yang-da-yan-zao-xiang-ji-ke-ben-yi-ming-288150","杨大眼造像记 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及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 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lection":103,"collections":7165,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":124},234239,"luo-han-juan-li-shi-da-234239","罗汉卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,7,27,465,28,55,858,1451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":7167,"slug":7168,"title":7169,"dynasty":220,"author":1067,"museum":75,"description":7170,"tags":7171,"thumbUrl":7172,"material":103,"size":103,"collection":103,"collections":7173,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":68},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[24,25,464,52,53,28,187,209,7,220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":7175,"slug":7176,"title":7177,"dynasty":181,"author":329,"museum":75,"description":7178,"tags":7179,"thumbUrl":7180,"material":103,"size":103,"collection":103,"collections":7181,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":68},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,24,25,26,2794,7,28,186,29,53,27,193,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":7183,"slug":7184,"title":7185,"dynasty":129,"author":47,"museum":75,"description":7186,"tags":7187,"thumbUrl":7189,"material":152,"size":153,"collection":103,"collections":7190,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":215},228378,"zhun-ti-pu-sa-zhou-yi-ming-228378","准提菩萨轴","准提佛母，Cundi系梵语，汉译有“准胝”、“尊提”，准提佛母又称“准胝观音”、“准提佛母”和“七俱胝佛母”等名。藏音“Bskul－bye－ma”。其以“准提咒”见称，曾为显密佛教徒所知的大菩萨。在禅宗，则称之为‘天人丈夫观音’，以准提为观音部之一尊，深尊崇之，日本东密以准提为六观音之一、摄于莲华部（千手观音、圣观音、马头观音、十一面观音、准提观音、如意轮观音）中。独台密以七俱胝佛母准提经之经名，准提入于佛母中以为佛部之尊。“准提”是清净的意思，表示此菩萨心胜清净，皎洁。",[24,51,7,28,52,27,572,7188,97],"准提佛母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4cf016eee0ae158fe832bbd6e8d8053.jpg",[],{"id":7192,"slug":7193,"title":1211,"dynasty":73,"author":47,"museum":75,"description":2954,"tags":7194,"thumbUrl":7195,"material":152,"size":153,"collection":103,"collections":7196,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":215},228234,"shi-jia-mu-ni-fu-yi-ming-228234",[23,24,25,51,7,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165e041acdac0f305da7edefa17ee14.jpg",[],{"id":7198,"slug":7199,"title":2314,"dynasty":181,"author":2315,"museum":75,"description":7200,"tags":7201,"thumbUrl":7202,"material":103,"size":103,"collection":103,"collections":7203,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":124},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[23,24,25,26,53,52,7,28,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":7205,"slug":7206,"title":7207,"dynasty":181,"author":47,"museum":75,"description":5707,"tags":7208,"thumbUrl":7209,"material":103,"size":103,"collection":103,"collections":7210,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":41},227369,"yu-lin-ku-003-ku-yong-dao-bei-bi-yi-ming-227369","榆林窟003窟甬道北壁",[23,78,181,28,53,7,118,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51da7113ec81f9462529514cfda561f0.jpg",[],{"id":7212,"slug":7213,"title":2680,"dynasty":18,"author":47,"museum":118,"description":340,"tags":7214,"thumbUrl":7215,"material":152,"size":153,"collection":103,"collections":7216,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":68},226362,"ku-zhu-shi-nan-bi-yi-ming-226362",[78,7,53,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfebe700aeb24c3afccab84817dec54.jpg",[],{"id":7218,"slug":7219,"title":3224,"dynasty":18,"author":47,"museum":118,"description":340,"tags":7220,"thumbUrl":7221,"material":152,"size":153,"collection":103,"collections":7222,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":68},226357,"ku-yong-dao-ding-bu-yi-ming-226357",[78,7,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28dd75959bb76b4357ad480a85dbfd65.jpg",[],{"id":7224,"slug":7225,"title":1057,"dynasty":18,"author":47,"museum":118,"description":340,"tags":7226,"thumbUrl":7227,"material":152,"size":153,"collection":103,"collections":7228,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":68},226340,"ku-zhu-shi-bei-bi-yi-ming-226340",[78,118,7,572,443,4569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2fb5509e240cb5fbcbb127fac7a36f.jpg",[],{"id":7230,"slug":7231,"title":7232,"dynasty":46,"author":272,"museum":75,"description":1079,"tags":7233,"thumbUrl":7235,"material":152,"size":153,"collection":283,"collections":7236,"showCount":7057,"zanCount":11,"manualWeight":11,"mainColor":215},225625,"rembrandt-harmensz-van-rijn-034-lun-bo-lang-225625","Rembrandt Harmensz.van Rijn - 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举鲜果盘盏，动态鲜活；右侧童子躬身呈物，姿态恭谨。背景祥云缭绕，飞天隐现于云端，仙袂飘飘，更添缥缈意境。整幅画作工笔精湛，线条婉转流畅，设色明丽温润，细节处见匠心——无论是衣纹的褶皱、花叶的脉络，还是水波的纹理，皆刻画入微。动静相宜的构图，将人物的沉静与周遭的灵动巧妙融合，营造出清寂而又充满生气的氛围，尽显传统工笔重彩的典雅韵致。",[24,52,53,7,28,1869,342,54,7495,7496,2978,30,3747,1718,7497],"精灵","花木","典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3dab5aee7d3ceb67daa4b6ae007ad6d.jpg",[],{"id":7501,"slug":7502,"title":7503,"dynasty":220,"author":47,"museum":581,"description":582,"tags":7504,"thumbUrl":7506,"material":63,"size":585,"collection":103,"collections":7507,"showCount":7343,"zanCount":11,"manualWeight":11,"mainColor":68},214335,"da-bei-shen-zhou-fo-xiang-3-yi-ming-214335","大悲神咒佛像-3",[23,24,25,53,52,7,28,464,443,7505,101,31,98],"神咒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675029d17e74ae020b3464aadad3b83c.jpg",[],{"id":7509,"slug":7510,"title":2371,"dynasty":129,"author":3360,"museum":75,"description":7511,"tags":7512,"thumbUrl":7513,"material":152,"size":3364,"collection":103,"collections":7514,"showCount":7515,"zanCount":11,"manualWeight":11,"mainColor":68},290974,"luo-han-zhou-dai-jin-290974","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 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。李龙眠既李公麟，字伯时，祖籍安徽舒城， 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“宋旭之印”、“石门山人”二印。",[23,24,25,51,53,918,7,28,189,133,57,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":7926,"slug":7927,"title":7928,"dynasty":46,"author":275,"museum":75,"description":7929,"tags":7930,"thumbUrl":7934,"material":152,"size":153,"collection":103,"collections":7935,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},230598,"la-anunciaci-n-you-hua-230598","La-Anunciación","神性的光晕自左上角铺陈而下，鎏金天光里伸出神之手，一道光束破空穿透葱郁林野，将天国的启示引渡向尘世。\n\n林间草木丰茂，柑橘缀满枝头，棕榈舒展阔叶，细腻笔触晕开满溢生机。天使敛翼俯身，神态恭谨低垂，亚当夏娃居于画下，懵懂的神情里藏着未觉的命运波澜。\n\n柔和的色调消解了宗教叙事的厚重，金箔柔光与青翠绿意交融，将天启的肃穆融于伊甸的宁谧静雅，把神圣瞬间定格在静谧林间，静穆中暗涌着命运流转的张力。",[275,53,7,28,2241,134,187,57,7931,2223,7932,7933,5017],"果实","柱子","光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b9e6f3b8816a416fecae111668883b.jpg",[],{"id":7937,"slug":7938,"title":3306,"dynasty":46,"author":47,"museum":75,"description":7939,"tags":7940,"thumbUrl":7946,"material":152,"size":153,"collection":103,"collections":7947,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":215},230512,"fu-nie-pan-tu-yi-ming-230512","整体色调沉穆古旧，晕染出哀戚而庄严的氛围。释迦牟尼右胁安卧，面容恬然平和，尽显圆寂时的超脱自在。环绕的诸天眷属与弟子，或垂首哀哭，或肃穆伫立，悲恸之态与佛陀的安然形成强烈对冲。朦胧错落的林间花枝，将尘世悲绪融于苍茫禅意。岁月斑驳侵蚀了画面，却未掩去画师的精妙笔力，把涅槃之际的神圣氛围与众生哀恸交织一处，观者仿佛踏入这场肃穆法会，在静谧与悲怆的碰撞之间，体悟寂灭背后的永恒禅机。",[24,7,53,28,187,134,52,672,145,1179,7941,7942,7943,7944,7945],"设色人物","树木景观","飞鸟元素","工笔技法","传统国画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8172060eb990fda95c7360f8fb135bca.jpg",[],{"id":7949,"slug":7950,"title":7951,"dynasty":129,"author":2875,"museum":75,"description":7952,"tags":7953,"thumbUrl":7954,"material":152,"size":153,"collection":103,"collections":7955,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":124},228911,"da-shi-xiang-shi-er-ding-yun-peng-228911","大士像（十二）","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,27,7,28,134,6212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8b57923f0d9d9baf6d5b6213e862c.jpg",[],{"id":7957,"slug":7958,"title":3723,"dynasty":129,"author":4107,"museum":75,"description":7959,"tags":7960,"thumbUrl":7962,"material":103,"size":103,"collection":103,"collections":7963,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":124},228366,"shi-liu-luo-han-tu-chen-xian-228366","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[23,24,25,7,28,465,27,193,7961,652],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":7965,"slug":7966,"title":7967,"dynasty":129,"author":5782,"museum":75,"description":7968,"tags":7969,"thumbUrl":7970,"material":152,"size":153,"collection":103,"collections":7971,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":124},228317,"shi-ba-ying-zhen-tu-ce-2-zheng-zhong-228317","十八应真图册-2","郑重，生卒年不详，明末清初人，字千里，号无着，安徽歙县人。流寓金陵（今南京），好楼居，日事香茗。擅写佛像，必斋沐而后提笔。亦为山水小景，摹仿宋元体均精研。",[23,24,96,25,464,53,52,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe379f618c60e75d2a4ae9324288d9f.jpg",[],{"id":7973,"slug":7974,"title":7975,"dynasty":73,"author":47,"museum":75,"description":7976,"tags":7977,"thumbUrl":7979,"material":103,"size":103,"collection":103,"collections":7980,"showCount":7819,"zanCount":200,"manualWeight":11,"mainColor":68},228225,"luo-han-fu-chen-tu-yi-ming-228225","罗汉拂尘图","主尊罗汉面相古拙威严，身覆织锦僧衣，衣纹婉转流畅，朱砂、石青与金彩点缀出华贵质感，敷色厚重沉稳。他手持拂尘静踞石台，头后圆光烘托出沉静禅意。身旁侍童神态恭谨，刻画生动入微。背景以水墨晕染古木虬枝，丹实缀叶，衬出幽寂山林禅境。\n\n画作承宋院体写实余韵，线条精细劲挺，人物造型传神肃穆，兼具宗教造像的庄严感与世俗写实的生动意趣，尽显禅门清寂高古的沉静氛围，是佛画中精妙的写实佳制。",[23,24,53,52,7,28,187,1265,7978,57,101],"拂尘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e886b4f713ab229b96a54aa9d6ebe1f.jpg",[],{"id":7982,"slug":7983,"title":7984,"dynasty":73,"author":2434,"museum":75,"description":7985,"tags":7986,"thumbUrl":7987,"material":103,"size":103,"collection":103,"collections":7988,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":215},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,24,25,51,7,28,186,465,53,975,189,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":7990,"slug":7991,"title":7735,"dynasty":181,"author":182,"museum":75,"description":7992,"tags":7993,"thumbUrl":7994,"material":103,"size":103,"collection":103,"collections":7995,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":124},227608,"fa-hai-ling-shan-tu-li-gong-lin-227608","李公麟（1049年－1106年），北宋畫家。字伯時，號龍眠居士，舒州（今安徽桐城）人。\n\n進士出身，曆南康、長垣尉、泗州錄事參軍，官至朝奉郎。擅畫人物、佛道像，吸取曆代流派之長，自創一格，多用線描，筆法如行雲流水，而不設色，生動地表現了人物的神情意態，人稱“白描”；尤精擅畫鞍馬，常觀察群馬生活，求其變化，下筆形神兼備。注重寫生，畫技博取前人之長，承繼顧恺之、吳道子等人筆法，在新畫中表達新義。\n\n《十八羅漢渡江圖》畫中人物按未渡者、方渡者、已渡者三組依序進場，人物神態，栩栩如生。李公麟畫作時人評價甚高，宋徽宗曾贊他爲當朝最重要畫家。元符三年（1100年）病痹告老，隱居龍眠山，號龍眠居士。\n\n存世作品有《五馬圖》、《臨韋偃牧放圖》等。\n\n另外李公麟也擅長于考古，對于夏、商以來的銅器和印玺頗有研究，“聞一妙品，雖捐千金不惜。”。",[24,25,27,28,210,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdc61f3d01a0a9aa272d333e658adcc.jpg",[],{"id":7997,"slug":7998,"title":7999,"dynasty":181,"author":47,"museum":75,"description":5707,"tags":8000,"thumbUrl":8005,"material":103,"size":103,"collection":103,"collections":8006,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},227365,"yu-lin-ku-003-ku-zhu-shi-bei-bi-yi-ming-227365","榆林窟003窟主室北壁",[23,78,7,53,725,8001,1739,8002,8003,8004,3226],"平涂","曼荼罗图案","宋代风格","敦煌壁画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88fe92d3e5fe184af3166998095e4d2.jpg",[],{"id":8008,"slug":8009,"title":3968,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8010,"thumbUrl":8014,"material":152,"size":153,"collection":103,"collections":8015,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},226371,"ku-zhu-shi-dong-bi-yi-ming-226371",[78,7,53,28,342,2223,725,3151,671,4147,444,1178,571,8011,8012,8013],"神佛形象","天宫楼阁","伎乐天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37b4066fc77d0166c89a0da9e2e1fd.jpg",[],{"id":8017,"slug":8018,"title":1057,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8019,"thumbUrl":8020,"material":152,"size":153,"collection":103,"collections":8021,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},226329,"ku-zhu-shi-bei-bi-yi-ming-226329",[78,7,53,28,342,4569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329523de60e60f46bc3d9b732fc2563f.jpg",[],{"id":8023,"slug":8024,"title":1825,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8025,"thumbUrl":8026,"material":152,"size":153,"collection":103,"collections":8027,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},226273,"ku-zhu-shi-xi-bi-yi-ming-226273",[371,78,53,7,28,1137,1138,82,3106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eccdf351e8636b88336bd4657637ab8.jpg",[],{"id":8029,"slug":8030,"title":8031,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8032,"thumbUrl":8033,"material":152,"size":153,"collection":103,"collections":8034,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},226262,"ku-qian-shi-bei-bi-yi-ming-226262","窟前室北壁",[78,7,53,28,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1419d3ab79f56399ea656a866e3c6d98.jpg",[],{"id":8036,"slug":8037,"title":2680,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8038,"thumbUrl":8039,"material":152,"size":153,"collection":103,"collections":8040,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":68},226246,"ku-zhu-shi-nan-bi-yi-ming-226246",[78,7,857,53,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307a51c5f6b530f7272b87bebe6e8a47.jpg",[],{"id":8042,"slug":8043,"title":8044,"dynasty":46,"author":272,"museum":75,"description":1079,"tags":8045,"thumbUrl":8047,"material":152,"size":153,"collection":283,"collections":8048,"showCount":7819,"zanCount":11,"manualWeight":11,"mainColor":215},225657,"rembrandt-harmensz-van-rijn-067-lun-bo-lang-225657","Rembrandt 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是一部道教神学作品。被后世明代《正统道藏》列为开篇经书。号称群经之首、万法之宗、一切法界之源头。是道教太上洞玄灵宝派的核心经典",[190,637,430,747,7,951,2758,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7145e00f50939d2ed654596e5dd57337.jpg",[],{"id":8273,"slug":8274,"title":8275,"dynasty":220,"author":47,"museum":75,"description":8276,"tags":8277,"thumbUrl":8281,"material":152,"size":153,"collection":103,"collections":8282,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":124},268819,"bai-se-duan-xiu-zhu-pi-qiu-hua-wen-guan-yin-pei-yi-ming-268819","白色缎绣竹皮球花纹观音帔","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[796,2936,8278,8279,8280,7,97,61],"缎绣","竹纹","皮球花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018092adfa269c1af91fc400e2c5113a.jpg",[],{"id":8284,"slug":8285,"title":8286,"dynasty":220,"author":47,"museum":75,"description":8287,"tags":8288,"thumbUrl":8292,"material":152,"size":153,"collection":103,"collections":8293,"showCount":8230,"zanCount":245,"manualWeight":11,"mainColor":68},267432,"huang-se-duan-xiu-cai-yun-fu-he-ri-yue-wen-fa-yi-yi-ming-267432","黄色缎绣彩云蝠鹤日月纹法衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[7,796,61,2936,2383,8289,149,319,8290,8291],"蝙蝠","日月纹","法衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F602cb24738794ae3107147e49c6238e4.jpg",[],{"id":8295,"slug":8296,"title":8297,"dynasty":181,"author":47,"museum":75,"description":8298,"tags":8299,"thumbUrl":8300,"material":152,"size":153,"collection":103,"collections":8301,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":215},255843,"tong-liu-jin-qian-shou-qian-yan-guan-yin-xiang-yi-ming-255843","铜鎏金千手千眼观音像","鎏金虽有斑驳褪散，仍难掩宝相庄严。主尊垂眸含笑，神情悲悯柔慈，主掌合十，尽显恭谨肃穆。身后千手层叠舒展，各执法器，排布错落有致，既有慑服寰宇的威严，又不失普济众生的温和。\n\n躯体比例匀停合度，衣褶垂坠自然流畅，周身纹饰细密精巧。鎏金残损处露出沉实铜胎，凝着岁月的厚重痕迹，尽显写实与神性兼具的造像特质，将观音慈悲圆融的神性诠释得淋漓尽致，是造像工艺与佛教美学相融的精妙之作。",[1030,1835,225,7,28,1175,2400,674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbce962042c0309409eaa879936159f6.jpg",[],{"id":8303,"slug":8304,"title":8305,"dynasty":220,"author":47,"museum":75,"description":3452,"tags":8306,"thumbUrl":8307,"material":152,"size":153,"collection":2077,"collections":8308,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":215},255578,"de-hua-yao-guan-yu-zuo-xiang-yi-ming-255578","德化窑关羽坐像",[220,2074,225,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6db05a8970b6b8915f02910474a507a.jpg",[2077],{"id":8310,"slug":8311,"title":8312,"dynasty":220,"author":47,"museum":75,"description":2072,"tags":8313,"thumbUrl":8314,"material":152,"size":153,"collection":2077,"collections":8315,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":215},253565,"de-hua-yao-da-mo-xiang-yi-ming-253565","德化窑达摩像",[223,7107,2074,7,28,2075,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb2742da0417cbb2b051794fd5f5277.jpg",[2077],{"id":8317,"slug":8318,"title":8319,"dynasty":181,"author":47,"museum":75,"description":7879,"tags":8320,"thumbUrl":8321,"material":152,"size":153,"collection":103,"collections":8322,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":215},252872,"mu-diao-pu-sa-xiang-tou-yi-ming-252872","木雕菩萨像头",[7,225,607,28,8003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91987c42fe75af253990be37ee568f6.jpg",[],{"id":8324,"slug":8325,"title":8326,"dynasty":129,"author":5848,"museum":75,"description":8327,"tags":8328,"thumbUrl":8329,"material":152,"size":153,"collection":103,"collections":8330,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":124},237147,"jiao-shi-luo-han-xiang-zhou-fang-wei-yi-237147","蕉石罗汉像轴","方维仪（1585—1668），字仲贤，安徽桐城人（今桐城市区凤仪里人）。明末著名女诗人、画家，所作有《清芬阁集》， 又辑历代妇女作品为《宫闺诗史》。其绘画师法宋代李公麟，尤擅长绘释道人物。特别是白描《观音大士图》形神兼备，许多人争相收藏。",[24,25,51,27,465,7,28,1381,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd44d435139ab21d8ba948030582f85a3.jpg",[],{"id":8332,"slug":8333,"title":8334,"dynasty":220,"author":47,"museum":75,"description":1100,"tags":8335,"thumbUrl":8336,"material":152,"size":153,"collection":103,"collections":8337,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},234462,"fu-hai-guan-shi-yin-pu-sa-tang-ka-yi-ming-234462","佛海观世音菩萨唐卡",[223,1102,7,53,52,28,497,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec56e1e433f7030b9f6b094f52d6cf9.jpg",[],{"id":8339,"slug":8340,"title":8341,"dynasty":181,"author":329,"museum":305,"description":8342,"tags":8343,"thumbUrl":8345,"material":8346,"size":2099,"collection":103,"collections":8347,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,25,51,2400,52,53,7,28,3478,57,627,8344,101,2374],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画",[],{"id":8349,"slug":8350,"title":8351,"dynasty":46,"author":47,"museum":75,"description":8352,"tags":8353,"thumbUrl":8356,"material":152,"size":153,"collection":103,"collections":8357,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":124},230776,"qing-hua-ba-xian-qing-shou-da-bi-tong-yi-ming-230776","青花八仙庆寿大笔筒","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2074,8354,28,240,7,8355],"青花","庆寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e6b7db99b044aad4d0ac3ec41398b3.jpg",[],{"id":8359,"slug":8360,"title":8361,"dynasty":129,"author":47,"museum":75,"description":8362,"tags":8363,"thumbUrl":8364,"material":152,"size":153,"collection":103,"collections":8365,"showCount":8230,"zanCount":200,"manualWeight":11,"mainColor":68},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,24,25,408,7,52,53,28,149,209,133,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":8367,"slug":8368,"title":8369,"dynasty":129,"author":47,"museum":75,"description":8370,"tags":8371,"thumbUrl":8375,"material":103,"size":103,"collection":103,"collections":8376,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[23,24,25,51,52,53,28,1851,5481,7,2795,408,8372,145,8373,8374],"水墨设色","道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":8378,"slug":8379,"title":506,"dynasty":129,"author":2160,"museum":75,"description":8380,"tags":8381,"thumbUrl":8382,"material":103,"size":103,"collection":103,"collections":8383,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},228355,"luo-han-tu-song-xu-228355","此作用笔清隽沉稳，设色古雅柔和。主尊罗汉安坐岩穴，面含静穆，紫衣禅袍衣褶层叠凝练，抬手垂臂间自有出尘悠然气度。身前小沙弥身披朱红衲衣，俯身低首，以恭谨姿态衬得主尊静定庄严。背景枯木虬枝盘绕，苔点错落晕染出林麓荒寂，浅赭绢色晕染出幽谧山野氛围。画面以简淡笔触晕开禅意，将佛门清寂安然的林下修行之景，铺陈得静谧悠长，尽显平和冲淡的禅画意趣。",[23,24,25,408,7,28,53,189,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb748de064a314fbc717671321fa39.jpg",[],{"id":8385,"slug":8386,"title":8387,"dynasty":181,"author":47,"museum":75,"description":8388,"tags":8389,"thumbUrl":8390,"material":152,"size":153,"collection":103,"collections":8391,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},227558,"tai-shang-lao-jun-chang-qing-jing-jing-yi-ming-227558","太上老君常清静经","《太上老君说常清静经》仅五百九十一字。是道教炼养术重要资料之一。《清静经》正文起首一句就是“大道无形”而定了全经格调。经文不讲有为的修养方法，而是要人从心地下手，以“清静”法门去澄心遣欲，去参悟大道。经中以发挥“清静”两字为主，简明地叙述了道家修心养性的基本原则。",[2400,637,190,747,7,28,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a55a663fccbdbdb292e29b83f5122c.jpg",[],{"id":8393,"slug":8394,"title":1619,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8395,"thumbUrl":8396,"material":152,"size":153,"collection":103,"collections":8397,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},226495,"ku-zhu-shi-nan-pi-yi-ming-226495",[78,7,857,53,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ecd09e5896a3e0f1abe6ae7a73eff9b.jpg",[],{"id":8399,"slug":8400,"title":4895,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8401,"thumbUrl":8404,"material":152,"size":153,"collection":103,"collections":8405,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},226263,"ku-qian-shi-nan-bi-yi-ming-226263",[78,53,7,28,30,2223,342,319,444,3151,725,571,671,8402,8403,672],"洞窟壁画","古建元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081a4c1b3f4f3e1c7f15e941388639d8.jpg",[],{"id":8407,"slug":8408,"title":1825,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8409,"thumbUrl":8410,"material":152,"size":153,"collection":103,"collections":8411,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},226240,"ku-zhu-shi-xi-bi-yi-ming-226240",[78,7,53,28,857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b44f3ccfe854e97e66e883d8f569ec9.jpg",[],{"id":8413,"slug":8414,"title":1057,"dynasty":18,"author":47,"museum":118,"description":340,"tags":8415,"thumbUrl":8416,"material":152,"size":153,"collection":103,"collections":8417,"showCount":8230,"zanCount":11,"manualWeight":11,"mainColor":68},226225,"ku-zhu-shi-bei-bi-yi-ming-226225",[78,7,53,28,29,857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd94ad151ca285a2d772e96990c5656.jpg",[],{"id":8419,"slug":8420,"title":8421,"dynasty":46,"author":4266,"museum":75,"description":4267,"tags":8422,"thumbUrl":8423,"material":152,"size":153,"collection":103,"collections":8424,"showCount":8230,"zanCount":200,"manualWeight":11,"mainColor":68},225296,"mo-tian-ben-dong-jing-zhen-hai-225296","魔天(本-东京)",[23,24,25,51,7,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ecd6bec9b4d5c029e5994c3a74d582.jpg",[],{"id":8426,"slug":8427,"title":842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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[96,24,51,27,465,7,572,28,186,2125,209,193,8562],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207a0ac03e7bdb86e7f0969f3dcd6301.jpg",[],12,{"id":8567,"slug":8568,"title":8569,"dynasty":914,"author":47,"museum":75,"description":8570,"tags":8571,"thumbUrl":8572,"material":152,"size":153,"collection":103,"collections":8573,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},290378,"fu-hu-luo-han-zhou-yi-ming-290378","伏虎罗汉轴","主题与关键字：罗汉（应真、尊者）、枴杖、虎、竹 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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,145,7,572,4445,8586,465,53],"面壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56dc7db29614efa358c88642793f57a9.jpg",[],{"id":8590,"slug":8591,"title":8592,"dynasty":73,"author":47,"museum":305,"description":6596,"tags":8593,"thumbUrl":8595,"material":469,"size":8596,"collection":37,"collections":8597,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},287775,"ying-zhen-can-miao-tu-yi-ming-287775","应真参妙图",[24,25,53,52,28,7,1869,795,8594],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60fd12965aef3312ac1c05bf0eb9ca4.jpg","135.2x74.6",[37],{"id":8599,"slug":8600,"title":8601,"dynasty":73,"author":47,"museum":75,"description":8602,"tags":8603,"thumbUrl":8605,"material":152,"size":153,"collection":103,"collections":8606,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},287378,"fo-xiang-gua-zhou-yi-ming-287378","佛像挂轴","这对挂轴以云气串联起佛国诸相，上部佛陀安坐云端，法相沉静端严，衣褶古拙厚重。中层诸天护法神态各异，怒目金刚威赫凛然，胁侍菩萨慈悲雍容，线条劲挺凝练，朱砂石青晕染出浓郁古艳的宗教氛围感。\n\n下部清供瓶花珍玩，将佛国庄严融于人间烟火意趣，边饰缠枝纹样古雅端庄。画面虽经岁月侵蚀略有残损，却更添沧桑厚重，把元代佛画的肃穆古朴的信仰美学，与工笔设色的精致气韵融为一体。",[23,24,25,51,7,53,28,443,229,1139,8604,497],"供具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bb1738f7677ac605682d0434f35611.jpg",[],{"id":8608,"slug":8609,"title":8610,"dynasty":129,"author":47,"museum":75,"description":8611,"tags":8612,"thumbUrl":8615,"material":152,"size":153,"collection":103,"collections":8616,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},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","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。",[7,572,8613,1030,1835,8614,225,3106],"金刚菩萨","嵌绿松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1f3fa28a167ac69c9e2579f5ddb59.jpg",[],{"id":8618,"slug":8619,"title":4946,"dynasty":2304,"author":47,"museum":75,"description":8620,"tags":8621,"thumbUrl":8622,"material":152,"size":153,"collection":103,"collections":8623,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},253779,"tong-liu-jin-fu-li-xiang-yi-ming-253779","身姿舒展灵动，衣袂翩跹若携魏晋长风而来。温婉浅笑的面庞褪去了早期造像的肃穆疏离，尽显柔和雅致。右手轻抬托举，左臂垂展舒展，宽袍大袖线条流畅写意，将秀骨清像的时代审美藏进衣褶起伏之中。\n\n鎏金虽斑驳脱落，却为周身晕染出岁月沉淀的厚重质感。简约的底座稳稳承托身形，匠师以凝练的工艺，将佛教仪轨与东方气韵相融，让造像既有神性的静穆，亦有人间的温婉。静静伫立间，千年前的禅意雅致跨越时光扑面而来。",[2304,7,28,228,1030,1835,225,3461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27441f673a3a454c863964a895705c4b.jpg",[],{"id":8625,"slug":8626,"title":4946,"dynasty":394,"author":47,"museum":75,"description":8627,"tags":8628,"thumbUrl":8629,"material":103,"size":103,"collection":231,"collections":8630,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":215},253614,"tong-liu-jin-fu-li-xiang-yi-ming-253614","此像身形秀挺，结跏趺坐于高足方座之上，双手合十虔敬肃穆，面容清婉柔和，尽显沉静慈悲的气韵。身后莲瓣状背光錾刻细密纹饰，似佛光缓缓漫溢，衬得造像愈发空灵圣洁。\n\n整体铜色沉敛古雅，虽鎏金随岁月褪去，却更添朴拙厚重的古韵。造像比例匀停，线条洗练流畅，将佛教造像的神性与含蓄温婉的世俗美感相融，简约之中饱含沉静安宁的禅意，尽显隽秀雅致的造像风貌。",[7,1030,225,28,1835,3461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4777d188d4dbc5a5efd9a4c3c750c6.jpg",[231],{"id":8632,"slug":8633,"title":8634,"dynasty":2304,"author":47,"museum":75,"description":8635,"tags":8636,"thumbUrl":8637,"material":152,"size":153,"collection":103,"collections":8638,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":215},252908,"shi-pu-sa-li-xiang-yi-ming-252908","石菩萨立像","此像修长挺秀，莲瓣状背光清简古雅，晕染出菩萨端和沉静的容色。菩萨身姿温婉舒展，右手施无畏印昭示慈悲愿力，垂左手轻握披帛，衣褶垂坠自然流畅，周身纹饰细密精巧，藏着六朝造像“秀骨清像”的遗风。\n\n素朴石质褪去华彩，将温润禅意凝于一身，虽经岁月磨蚀，依然能窥见彼时造像工艺的精湛，尽显清逸典雅的审美意趣，静静伫立间，便自带出尘平和的静谧禅韵。",[2304,7,225,4463,28,229,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8389c2d1e0f0f8dbfd585af1eb51ae9a.jpg",[],{"id":8640,"slug":8641,"title":8642,"dynasty":129,"author":8643,"museum":75,"description":8644,"tags":8645,"thumbUrl":8647,"material":152,"size":153,"collection":103,"collections":8648,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":8649},240867,"wu-kuan-yu-dou-gang-suo-nan-jian-can-chi-heng-zhu-qi-zhen-240867","无款谕都纲锁南坚参勅横","朱祁镇","明英宗朱祁镇（1427年11月29日—1464年2月23日），男，汉族，明朝第六位（1435—1449年）和第八任（1457—1464年）皇帝，明宣宗朱瞻基长子，母为孝恭章皇后孙氏。",[25,190,430,7089,193,8646,7,2329,53,408,6979],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6e12586cc45061661fb6d7b395eb9a.jpg",[],"FF9800",{"id":8651,"slug":8652,"title":8653,"dynasty":18,"author":47,"museum":75,"description":8654,"tags":8655,"thumbUrl":8656,"material":103,"size":103,"collection":434,"collections":8657,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":124},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[23,747,190,26,7,430,1190,193,465,53],"https:\u002F\u002Foss.chuangqi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但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[24,25,51,7,53,28,240,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":8701,"slug":8702,"title":8703,"dynasty":46,"author":47,"museum":75,"description":8704,"tags":8705,"thumbUrl":8709,"material":103,"size":103,"collection":103,"collections":8710,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 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周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,24,25,51,27,465,53,28,795,189,2637,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":8729,"slug":8730,"title":8731,"dynasty":181,"author":47,"museum":305,"description":8732,"tags":8733,"thumbUrl":8734,"material":432,"size":8735,"collection":103,"collections":8736,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":124},231342,"qian-shou-qian-yan-guan-shi-wu-pu-sa-yi-ming-231342","千手千眼观世吾菩萨","千手千眼观世音菩萨，又称千手观音，汉传佛教中常被供奉的观世音菩萨之一，是观世音菩萨的其中一个化现。为六观音之一，六观音即：慈航观音（救拔饿鬼道）、千手观音（救拔地狱道）、马头观音（救拔畜生道）、十一面观音（救拔修罗道）、准提观音（救拔人道）、如意轮观音（救拔天道）。有一千只手，每手心上各有一眼，故称。一般塑像或者绘画上，大都以四十手、三十六手、二十四手、十八手为代表。\n有说法称千手观音与青颈观音、不空羂索观音、消众毒观音等观音化身，同为正观音一时化现，有极密切的关系，相当于同体异名\n菩萨千手千眼形象之来源，于《大悲心陀罗尼经》中记载：“世尊！我念过去无量亿劫，有佛出世，名曰‘千光王静住如来’。彼佛世尊怜念我故，及为一切诸众生故，说此‘广大圆满无碍大悲心陀罗尼’。以金色手摩我顶上作如是言：‘善男子！汝当持此心咒，普为未来恶世一切众生，作大利乐。’我于是时，始住初地，一闻此咒故，超第八地。我时心欢喜故，即发誓言：‘若我当来，堪能利益、安乐一切众生者，令我即时，身生千手、千眼具足。’发是愿已，应时身上，千手千眼，悉皆具足。”[1]此经文可知，菩萨千手千眼之形象，系因菩萨发愿利乐有情之后而具足千手千眼。\n千手千眼观世音菩萨头上有二十八法相，代表二十八天护法，流通于禅宗与净土宗。\n除了《大悲心陀罗尼经》以外，亦有《千手千眼观世音菩萨姥陀罗尼身经》有千手千眼观世音菩萨的记载。",[24,25,51,7,52,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3ef79ac213a6d1e3fd09057b0064f2.jpg","302x103.6",[],{"id":8738,"slug":8739,"title":8740,"dynasty":181,"author":8741,"museum":75,"description":8742,"tags":8743,"thumbUrl":8744,"material":152,"size":153,"collection":103,"collections":8745,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":124},230560,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-230560","金刚般若经开题残卷","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[23,190,747,26,192,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0893179b2d0c67d9aeaabae2404d729.jpg",[],{"id":8747,"slug":8748,"title":8749,"dynasty":46,"author":47,"museum":75,"description":8750,"tags":8751,"thumbUrl":8752,"material":152,"size":153,"collection":103,"collections":8753,"showCount":8565,"zanCount":200,"manualWeight":11,"mainColor":124},230525,"fu-hua-zhen-yan-tu-xiang-man-tu-luo-juan-quan-tu-yi-ming-230525","佛画真言图像曼荼罗卷全图","此卷以素绢为地，朱红、石青、泥金敷色，满铺神佛诸天、护法印相与卷草云纹，经文题识错落点缀其间。构图绵密却秩序分明，将密宗曼荼罗的严整仪轨，融入唐绘绮丽笔致之中。神佛形象饱满灵动，衣袂线条柔婉劲细，设色调和古雅，神圣的宗教氛围与装饰美感相融。繁复造像排布不显拥塞，云气纹串联画面，既有密教仪轨的庄严规整，又不失中古绘画的秀逸古雅，尽显宗教绘画的精致法度与肃穆气韵。",[23,26,7,53,52,28,5189,674,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d244be1b25048fd6371229130cb0f5b.jpg",[],{"id":8755,"slug":8756,"title":8757,"dynasty":129,"author":8758,"museum":75,"description":8759,"tags":8760,"thumbUrl":8761,"material":152,"size":153,"collection":103,"collections":8762,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","陈继儒","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[23,24,25,51,7,53,28,192,193,133,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0240dfce7c73589d32eb17587517aa.jpg",[],{"id":8764,"slug":8765,"title":8766,"dynasty":181,"author":47,"museum":75,"description":8767,"tags":8768,"thumbUrl":8769,"material":103,"size":103,"collection":103,"collections":8770,"showCount":8565,"zanCount":11,"manualWeight":11,"mainColor":68},227351,"bin-du-luo-ba-luo-duo-du-zun-zhe-yi-ming-227351","宾度罗跋啰堕闍尊者","《宾度罗跋啰堕闍尊者》 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Nibbāna；梵语：निर्वाण Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[23,24,96,7,53,52,28,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":9095,"slug":9096,"title":9097,"dynasty":73,"author":47,"museum":4241,"description":9098,"tags":9099,"thumbUrl":9100,"material":432,"size":103,"collection":103,"collections":9101,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},231495,"bai-miao-luo-han-tu-yi-ming-231495","白描罗汉图","此作用淡墨白描写就，古松虬曲苍劲，松针层叠如盖，晕染出幽寂出尘的林下禅境。右侧长眉罗汉安坐松下，神态恬然沉静，身旁侍者恭谨侍立，持器静候。左侧匍匐之人姿态虔诚，似在礼敬罗汉，案上供花素雅清冷，烘托出庄严平和的禅意氛围。\n\n线条清劲凝练，流转婉转，既勾勒出松皮斑驳褶皱、衣袂翩然动感，又细腻刻画出人物神情气度，将禅门安然清寂的意趣尽显。笔墨简淡却意蕴悠长，以素色绘出深邃禅林雅韵，尽显雅致清和的元人白描格调。",[24,25,7,27,465,28,467,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b9e528a641cef044779c88475e161b.jpg",[],{"id":9103,"slug":9104,"title":9105,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":9106,"thumbUrl":9107,"material":294,"size":153,"collection":103,"collections":9108,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者",[23,24,25,51,7,53,28,29,652,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":9110,"slug":9111,"title":9112,"dynasty":220,"author":2170,"museum":75,"description":9113,"tags":9114,"thumbUrl":9115,"material":103,"size":103,"collection":103,"collections":9116,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":124},228993,"bai-kai-luo-han-tu-81-shi-tao-228993","百开罗汉图81","此作以水墨绘就两位罗汉立身奔涌浪涛之中，背景是冷峻苍劲的崖壁。作者以淋漓墨色晕染翻涌水浪，细密线条勾勒罗汉衣袍纹饰，一动一静对比强烈。浪涛汹涌激荡，罗汉却神态静穆安然，于激流中泰然自处，尽显禅心澄澈。干湿浓淡的墨色皴擦出岩壁的厚重质感，工细的衣纹与写意山水形成鲜明反差，烘托出罗汉静定超脱的出世之态，将禅宗于喧嚣中守持本心的意涵融于笔底，笔情墨趣间尽显空灵悠远的禅境。",[24,25,464,465,7,28,209,55,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f980403a2ac64c265f5de8dbb005cb3.jpg",[],{"id":9118,"slug":9119,"title":9120,"dynasty":129,"author":47,"museum":75,"description":9121,"tags":9122,"thumbUrl":9123,"material":152,"size":153,"collection":103,"collections":9124,"showCount":106,"zanCount":200,"manualWeight":11,"mainColor":124},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,24,25,26,53,52,190,7,28,319,796,191,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":9126,"slug":9127,"title":9128,"dynasty":129,"author":47,"museum":75,"description":238,"tags":9129,"thumbUrl":9130,"material":152,"size":153,"collection":103,"collections":9131,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},228406,"di-shi-dong-yi-ming-228406","帝释东",[24,52,53,7,28,240,796,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facffa2febf11f22c318ed51cdf3bd943.jpg",[],{"id":9133,"slug":9134,"title":5969,"dynasty":129,"author":9135,"museum":75,"description":9136,"tags":9137,"thumbUrl":9138,"material":103,"size":103,"collection":103,"collections":9139,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","孙克弘","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,24,25,51,7,52,53,28,193,796,1622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":9141,"slug":9142,"title":7258,"dynasty":73,"author":2689,"museum":75,"description":9143,"tags":9144,"thumbUrl":9145,"material":103,"size":103,"collection":103,"collections":9146,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":124},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[23,96,24,25,26,7,27,28,190,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":9148,"slug":9149,"title":9150,"dynasty":181,"author":9151,"museum":75,"description":9152,"tags":9153,"thumbUrl":9154,"material":103,"size":103,"collection":103,"collections":9155,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,96,25,53,52,7,28,186,209,975,3543,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":9157,"slug":9158,"title":7366,"dynasty":181,"author":47,"museum":75,"description":9159,"tags":9160,"thumbUrl":9161,"material":152,"size":153,"collection":103,"collections":9162,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},227340,"fo-jing-yi-ming-227340","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,96,51,27,52,465,28,7,2125,1414,56,57,54,9241,8086,9242],"尊者","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[1732,297],{"id":9247,"slug":9248,"title":9249,"dynasty":181,"author":182,"museum":75,"description":1867,"tags":9250,"thumbUrl":9251,"material":432,"size":103,"collection":103,"collections":9252,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":124},218075,"bai-miao-luo-han-tu-ce-2-li-gong-lin-218075","白描罗汉图册-2",[23,24,25,96,464,27,465,7,28,541,385,209,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056df98bf4dfde0d8545d5a3d1022dd8.jpg",[],{"id":9254,"slug":9255,"title":9256,"dynasty":181,"author":182,"museum":75,"description":1867,"tags":9257,"thumbUrl":9258,"material":195,"size":103,"collection":103,"collections":9259,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":124},218073,"bai-miao-luo-han-tu-ce-3-li-gong-lin-218073","白描罗汉图册-3",[23,96,24,25,464,27,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c189255fad694d53706badb718b3cd7.jpg",[],{"id":9261,"slug":9262,"title":9263,"dynasty":181,"author":182,"museum":75,"description":1867,"tags":9264,"thumbUrl":9265,"material":195,"size":103,"collection":103,"collections":9266,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":124},218071,"bai-miao-luo-han-tu-ce-5-li-gong-lin-218071","白描罗汉图册-5",[23,96,24,25,464,27,7,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262b2b0f0629608c10091962dc2af4a5.jpg",[],{"id":9268,"slug":9269,"title":9270,"dynasty":18,"author":47,"museum":261,"description":9271,"tags":9272,"thumbUrl":9273,"material":265,"size":103,"collection":103,"collections":9274,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},217279,"jiang-mo-bian-dun-huang-tu-juan-9-yi-ming-217279","降魔变·敦煌图卷-9","泛黄的纸本晕染着时光的痕迹，墨迹古朴如唐风吹过。这里是降魔变的叙事现场：文字与线条交织，将舍利弗与六师斗法的紧张瞬间凝于卷上。质朴的笔触勾勒出鲜活神态——舍利弗沉静智慧，六师诡谲张扬，仿佛能听见当年变文讲唱的喧腾声息。\n\n作为敦煌变相图的缩影，它既是宗教故事的生动载体，也藏着唐代民间艺术的鲜活密码：世俗审美与宗教信仰在此交融，纸页间流淌着古人对善恶对决的朴素认知，更见证着敦煌艺术超越石窟的广阔表达。岁月沉淀下的不仅是墨迹，更是一段鲜活的文化记忆。",[96,24,25,26,7,27,53,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3cebf0ddb56113254c3a2e7b517cfc.jpg",[],{"id":9276,"slug":9277,"title":9278,"dynasty":220,"author":1224,"museum":75,"description":1225,"tags":9279,"thumbUrl":9280,"material":432,"size":103,"collection":103,"collections":9281,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":215},217091,"bai-miao-luo-han-29-leng-mei-217091","白描罗汉-29",[24,25,464,27,7,28,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10064c31ec259d2e552000ad3d19646e.jpg",[],{"id":9283,"slug":9284,"title":9285,"dynasty":129,"author":2875,"museum":75,"description":3575,"tags":9286,"thumbUrl":9287,"material":469,"size":103,"collection":103,"collections":9288,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":124},217045,"bai-miao-ying-zhen-tu-14-ding-yun-peng-217045","白描应真图-14",[24,25,26,7,857,27,28,149,240,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28c29db30895a5c6ff31b7affc79fcf.jpg",[],{"id":9290,"slug":9291,"title":9292,"dynasty":129,"author":2044,"museum":884,"description":2045,"tags":9293,"thumbUrl":9295,"material":432,"size":2049,"collection":103,"collections":9296,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":68},216743,"ri-ben-zu-shi-tu-2-shou-ye-yuan-xin-216743","日本· 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这些造像，大多都有题记。人们在龙门造佛像，有的是为君，有的是为友，有的是为亡妻，有的是为夭女。造好像后，有的人就要刻石记载这一件事，这就是龙门造像题记的来历。许多题记书法都十分精美，尤其是北魏造像题记，是魏碑书法的代表作品，被康有为称为“雄峻伟茂，极意发宕，方笔之极轨也”（《广艺舟双楫·余论》）。\u2028 清代碑学大兴以后，龙门石窟造像题记引起了人们的注意，开始搜求椎拓。开始仅由黄易拓《始平公造像记》一品，后来增至《四品》《十品》《二十品》《五百品》乃至《龙门全山》。其中，以《龙门二十品》最为实用，影响也最大。\u2028 《龙门二十品》是经过许多书家选择的，很具有代表性，所选题记，都是北魏书法中的精品。这二十品是：\u2028\u2028　　《始平公造像记》\u2028\u2028　　《孙秋生造像记》\u2028\u2028　　《尉迟造像记》\u2028\u2028　　《解伯达造像记》\u2028\u2028　　《一弗氏造像记》\u2028\u2028　　《比丘惠感造像记》\u2028\u2028　　《元详造像记》\u2028\u2028　　《魏灵藏造像记》\u2028\u2028　　《杨大眼造像记》\u2028\u2028　　《比丘道匠造像记》\u2028\u2028　　《孙保造像记》\u2028\u2028　　《高树造像记》\u2028\u2028　　《郑长遒造像记》\u2028\u2028　　《贺兰汗造像记》\u2028\u2028　　《马振拜造像记》\u2028\u2028　　《太妃侯为幼孙造像记》\u2028\u2028　　《慈香造像记》\u2028\u2028　　《比丘法生造像记》\u2028\u2028　　《元燮造像记》\u2028\u2028　　《元佑造像记》\n《龙门二十品》，有十九品在古阳洞，仅有一品在老龙洞外慈香窟。从《二十品》中，已经可以大致窥见龙门书风。所书大致出于民间书手，一派天真，有人称之为粗头乱服，天真烂漫，但奇趣天成。康有为在《广艺舟双楫·十六宗》中说：“魏碑无不佳者，虽穷乡儿女造像，而骨血峻宕，拙厚中皆有异态，构字亦紧密非常，岂与晋世皆当书之会耶？何其工也。譬江、汉游女之风诗，汉、魏儿童之谣谚，自能蕴蓄古雅，有后世学士所不能为者，故能择魏世‘造像记’学之，已自能书矣。”\u2028　　龙门造像题记书法对后世的影响非常大，康有为甚至认为有了魏碑，南碑（指南方之碑，如《爨宝子》《爨龙颜》）、齐碑、周碑、隋碑都可以不要了，因为它们所有的风格在魏碑中就已经有了。在这里，我们可以寻到后代许多著名书法家的源头，如赵孟頫、邓石如、赵之谦等。近现代书家，也都把龙门造像题记作为自己学习的极则。",[637,190,430,2308,3846,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5877464a7433cc0eb7c0c93312c26a.jpg",[],{"id":9486,"slug":9487,"title":9488,"dynasty":46,"author":47,"museum":75,"description":9489,"tags":9490,"thumbUrl":9491,"material":103,"size":103,"collection":103,"collections":9492,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 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清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,53,52,857,7,190,430,192,28,29,845,133,713,385,186,188,134,187,2223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":9503,"slug":9504,"title":9505,"dynasty":220,"author":47,"museum":75,"description":9506,"tags":9507,"thumbUrl":9509,"material":152,"size":153,"collection":103,"collections":9510,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},231076,"kong-zi-ji-qi-di-zi-shen-wei-xiang-yi-ming-231076","孔子及其弟子神位像","这幅木刻版画构图严整对称，上方匾额点明主题，两侧楹联烘托出尊崇之意。画面以孔子为中心，众弟子依次拱卫排布，层次分明秩序井然。刻线刚劲细腻，衣褶纹路、冠冕纹饰皆刻画一丝不苟，供桌礼器细节毕现，尽显肃穆的祭祀礼制氛围。整体以黑底衬出线条，古朴厚重的视觉效果尽显庙堂庄重感，具象呈现了尊孔崇儒的文化风貌，承载着传统儒学的精神内核，是民俗与礼教艺术结合的典型之作。",[223,2966,637,51,7,28,9508],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc86bd56a650ae3bc22c656b2538cd08.jpg",[],{"id":9512,"slug":9513,"title":9514,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":9515,"thumbUrl":9520,"material":294,"size":153,"collection":103,"collections":9521,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者",[23,24,25,51,7,53,52,28,172,9516,2226,209,9517,9518,1869,9519,2647],"池塘","供桌","香炉","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":9523,"slug":9524,"title":9525,"dynasty":220,"author":2170,"museum":75,"description":9526,"tags":9527,"thumbUrl":9528,"material":103,"size":103,"collection":103,"collections":9529,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},228992,"bai-kai-luo-han-tu-61-shi-tao-228992","百开罗汉图61","淡墨晕染出翻涌不息的江海惊涛，四位罗汉乘浮叶凌波而行。众人神情各别，或垂眉敛目沉于禅思，或抬眼远眺浪涛，将行旅从容与烟波动荡形成鲜明对照。\n\n衣纹线条简劲灵动，皴染结合晕出僧衣厚重质感，更衬出罗汉静定无扰的禅心。作者以浓淡墨色铺陈水势虚实，留白间尽显江海浩渺空濛，以极简笔墨写尽世外僧人的自在超脱，借渡海意象诠释禅家无往不适的境界，于动静相生间晕染出悠远禅意，尽显笔底禅心与山水意趣的交融。",[24,25,464,27,465,7,28,193,1851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07723a0fddcca8b958cabbdd724ab54f.jpg",[],{"id":9531,"slug":9532,"title":9533,"dynasty":129,"author":47,"museum":75,"description":238,"tags":9534,"thumbUrl":9535,"material":152,"size":153,"collection":103,"collections":9536,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图",[24,53,52,7,28,186,187,2878,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":9538,"slug":9539,"title":7919,"dynasty":181,"author":47,"museum":75,"description":9540,"tags":9541,"thumbUrl":9542,"material":103,"size":103,"collection":103,"collections":9543,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},227928,"da-mo-mian-bi-tu-yi-ming-227928","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,96,24,25,51,465,27,7,28,189,974,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":9545,"slug":9546,"title":9547,"dynasty":18,"author":47,"museum":75,"description":9548,"tags":9549,"thumbUrl":9553,"material":103,"size":103,"collection":103,"collections":9554,"showCount":9313,"zanCount":200,"manualWeight":11,"mainColor":124},227217,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-227217","法华经方便品（竹生岛经）","因本卷曾收藏于琵琶湖上竹生岛之宝严寺，故称为「竹生岛经」。原本应抄录了魏晋南北朝僧人兼翻译家、鸠摩罗什（344－413）所译《法华经》八卷之全文，但目前仅存卷第一中的〈方便品〉一卷，即本件，以及现仍由宝严寺收藏的经摺装〈序品〉一册。\n本卷采用以金、银泥描画蝴蝶、禽鸟、宝相华、花草、祥云等纹样的上等纸张，其上施以金泥行界，每纸二十八行，书写之笔致沉稳而工整，是极为优美的装饰经（指具有装饰性目的之写经，纸张染色并描绘各种纹饰，施加金银粉或细箔）。现存的〈方便品〉及〈序品〉上，都有松花堂昭乘（1584－1639）的题跋，松花堂昭乘与本阿弥光悦、近卫信尹等宽永年间三大名书家，同誉为「宽永三笔」。跋文中虽提及此卷出自源俊房（1035－1121）之笔，但并无确凿有力之证据。",[23,371,747,430,432,7,190,9550,9551,595,9552,9310],"古籍","手写","传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde11b79c9b2a676beb39ef8701b43034.jpg",[],{"id":9556,"slug":9557,"title":9558,"dynasty":18,"author":9559,"museum":75,"description":9560,"tags":9561,"thumbUrl":9562,"material":103,"size":103,"collection":103,"collections":9563,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[23,190,747,26,430,7,1190,1192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e5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preacher Eleazar Swalmius",[275,28,7,2222,6710,281,277,6711,9620,6712,9621,9622,2190,8046,9623,9624,9625],"老者","黑色服饰","白色衣领","写实主义","光影技法","明暗处理","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0bd190dd3485c4835e681e5ac2c61a.jpg",[283],{"id":9629,"slug":9630,"title":9631,"dynasty":46,"author":4266,"museum":75,"description":4267,"tags":9632,"thumbUrl":9633,"material":152,"size":153,"collection":103,"collections":9634,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},225297,"feng-tian-ben-dong-jing-zhen-hai-225297","风天(本-东京)",[23,24,25,51,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6d9b2e3fc423f8375b1380dcac095.jpg",[],{"id":9636,"slug":9637,"title":9638,"dynasty":220,"author":47,"museum":75,"description":9639,"tags":9640,"thumbUrl":9641,"material":152,"size":153,"collection":103,"collections":9642,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":41},223984,"cui-yu-fo-tou-yi-ming-223984","翠玉佛头","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[2860,225,7,223,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a6d592590213737f79daa4a52bf3db.jpg",[],{"id":9644,"slug":9645,"title":9646,"dynasty":181,"author":47,"museum":75,"description":9647,"tags":9648,"thumbUrl":9649,"material":103,"size":103,"collection":103,"collections":9650,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":41},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,26,27,465,918,7,28,186,1414,2125,1265,975,4576,845,133,713,134,193,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":9652,"slug":9653,"title":9654,"dynasty":181,"author":47,"museum":1448,"description":9655,"tags":9656,"thumbUrl":9657,"material":294,"size":9658,"collection":103,"collections":9659,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,24,25,26,7,28,52,53,193,190,747,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":9661,"slug":9662,"title":9663,"dynasty":220,"author":47,"museum":305,"description":9664,"tags":9665,"thumbUrl":9669,"material":103,"size":103,"collection":103,"collections":9670,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},223416,"ma-zu-qi-ji-g-yi-ming-223416","妈祖奇迹G","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,53,52,7,28,9666,5492,1851,9667,9668,4147],"船","帆船","海面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594511b7c858a89a3117cd1ae3d4285a.jpg",[],{"id":9672,"slug":9673,"title":9674,"dynasty":220,"author":47,"museum":75,"description":9675,"tags":9676,"thumbUrl":9678,"material":103,"size":9679,"collection":1732,"collections":9680,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":68},223344,"wu-tai-shan-sheng-jing-quan-tu-1-yi-ming-223344","五台山圣境全图1","是五台山慈福寺喇嘛桑格阿麻格于1846年(道光二十六年)，亲手刻就的图版。在《五台山圣境全图》中，刻画了五台山清代时的大小寺庙、丛林静室60余处，帝王行宫3处，佛塔灵迹30余处。同时还展现了当时的村庄，绘制了康熙皇帝朝台的盛况，并穿插了康熙寻父的民间传说。内容有人有物，有情有景，有动有静，真实地反映了五台山佛教圣地僧俗人等的生活情景，是一件珍贵的艺术品。图版以极简练的手法，雕刻出五台山佛教圣地的概貌。表现了高超的雕刻技巧和丰富的想像力。",[24,7,186,857,27,465,1621,921,29,210,9677,187],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c3cebd21bb757879e6aa24b7b34c3c.jpg","该图长162厘米，宽118厘米",[1732],{"id":9682,"slug":9683,"title":9684,"dynasty":220,"author":1133,"museum":8062,"description":8438,"tags":9685,"thumbUrl":9686,"material":1071,"size":8441,"collection":103,"collections":9687,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},223315,"fa-jie-yuan-liu-tu-juan-9-ding-guan-peng-223315","法界源流图卷-9",[23,26,24,52,53,7,28,1869,229,1137,186,858,1451,134,1313,2374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbcbc20c8caa936bf7c1992dcad6c5.jpg",[],{"id":9689,"slug":9690,"title":9691,"dynasty":220,"author":1133,"museum":8062,"description":8438,"tags":9692,"thumbUrl":9693,"material":1071,"size":8441,"collection":103,"collections":9694,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},223311,"fa-jie-yuan-liu-tu-juan-5-ding-guan-peng-223311","法界源流图卷-5",[23,52,53,26,7,27,28,98,30,187,133,1692,5653,229,1869,383,4576,321,9310,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1ab9da00eefabea7e3c33830c3033f.jpg",[],{"id":9696,"slug":9697,"title":506,"dynasty":220,"author":9698,"museum":649,"description":9699,"tags":9700,"thumbUrl":9701,"material":1071,"size":9702,"collection":103,"collections":9703,"showCount":9313,"zanCount":11,"manualWeight":11,"mainColor":124},222703,"luo-han-tu-jin-ting-biao-222703","金廷标","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,24,25,53,52,7,28,209,133,193,2225,321,54,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a122d614244b360fb3f53afe93099a.jpg","纵99.5厘米，横53.2厘米",[],{"id":9705,"slug":9706,"title":9707,"dynasty":129,"author":4283,"museum":395,"description":4284,"tags":9708,"thumbUrl":9709,"material":103,"size":103,"collection":103,"collections"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r":124},236102,"hua-luo-han-ce-leng-mei-236102","左文右图，书画合璧。右侧工笔人物刻画精微，安坐者神态澄和淡然，须发勾勒丝丝入微，衣纹晕染雅致华贵，尽显静穆端方的气韵。环绕的仕女身姿柔婉恭谨，器物装饰细节精工繁复，衬得场面愈发庄重清远。\n\n左侧小楷秀雅隽美，笔致匀停舒展，墨色清和，与画意禅韵相得益彰。整幅作品工细雅致，将工笔的精妙与禅意的清远融于一处，兼具笔墨文趣与静谧庄严的庙堂之气，意蕴悠长。",[24,25,96,52,53,27,7,28,5306,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302ba81d92cf1ef2749dffee1845166.jpg",[],{"id":9942,"slug":9943,"title":9944,"dynasty":220,"author":47,"museum":75,"description":1100,"tags":9945,"thumbUrl":9946,"material":152,"size":153,"collection":103,"collections":9947,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},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",[1102,7,53,667,28,229,98,520,30,321,736,4253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4439643b6415ddf95186388108fce184.jpg",[],{"id":9949,"slug":9950,"title":9951,"dynasty":220,"author":47,"museum":75,"description":9952,"tags":9953,"thumbUrl":9954,"material":152,"size":153,"collection":103,"collections":9955,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},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。",[96,24,25,51,7,53,52,28,2295,30,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ce941e1e260cdb1a2a914e885c88de.jpg",[],{"id":9957,"slug":9958,"title":9959,"dynasty":220,"author":47,"museum":75,"description":1100,"tags":9960,"thumbUrl":9961,"material":152,"size":153,"collection":103,"collections":9962,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},234438,"zhu-tu-ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234438","注荼半托迦尊者唐卡",[1102,223,7,53,52,28,29,133,187,846,30,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25c49ce35e22f869389b92aec6bb4aa.jpg",[],{"id":9964,"slug":9965,"title":9966,"dynasty":18,"author":8677,"museum":649,"description":8678,"tags":9967,"thumbUrl":9968,"material":4968,"size":8681,"collection":103,"collections":9969,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},232982,"hua-liu-zun-zhe-xiang-ce-di-shi-yi-zu-cha-ba-na-ta-ga-zun-lu-leng-jia-232982","画六尊者像册-第十一租查巴纳塔嘎尊",[24,25,464,53,28,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb83bb90caf43affb95f664f5386dde.jpg",[],{"id":9971,"slug":9972,"title":9973,"dynasty":18,"author":47,"museum":75,"description":340,"tags":9974,"thumbUrl":9975,"material":152,"size":153,"collection":103,"collections":9976,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},230945,"yu-lin-ku-025-ku-yong-dao-ding-bu-yi-ming-230945","榆林窟025窟甬道顶部",[78,118,371,7,53,28,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8a49faa924b9c957ab99c96c8e8dc3.jpg",[],{"id":9978,"slug":9979,"title":9980,"dynasty":46,"author":47,"museum":75,"description":9981,"tags":9982,"thumbUrl":9983,"material":152,"size":153,"collection":103,"collections":9984,"showCount":9817,"zanCount":200,"manualWeight":11,"mainColor":68},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[23,7,857,53,571,29,2223,2967,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":9986,"slug":9987,"title":2611,"dynasty":46,"author":47,"museum":75,"description":9988,"tags":9989,"thumbUrl":9990,"material":152,"size":153,"collection":103,"collections":9991,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},230791,"cai-hui-wu-dai-juan-hua-gong-yang-tu-yi-ming-230791","上方诸佛安坐云间，衣袂舒展、法相端和，卷云纹晕染出缥缈佛境。下方供养人长跪奉器，乌纱广袖，神色恭谨沉肃。\n设色古艳依旧，朱砂石青历经岁月仍见鲜亮，铁线描勾勒衣纹与云气，凝练舒展。残损绢面载着时光痕迹，将信仰的庄严与世俗的虔敬相融，古拙肃穆的氛围里，尽显彼时宗教仪轨与审美意趣的交织。",[23,571,53,28,7,61,652,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8e12d3de65e3d6507e98b744814fa8.jpg",[],{"id":9993,"slug":9994,"title":9995,"dynasty":220,"author":2170,"museum":75,"description":9996,"tags":9997,"thumbUrl":9998,"material":103,"size":103,"collection":103,"collections":9999,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[24,25,464,465,27,7,28,467,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":10001,"slug":10002,"title":10003,"dynasty":129,"author":10004,"museum":75,"description":10005,"tags":10006,"thumbUrl":10010,"material":152,"size":153,"collection":103,"collections":10011,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[23,24,25,51,53,52,28,7,101,10007,319,10008,10009],"葫芦","水纹","赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],{"id":10013,"slug":10014,"title":10015,"dynasty":129,"author":47,"museum":75,"description":10016,"tags":10017,"thumbUrl":10018,"material":152,"size":153,"collection":103,"collections":10019,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,24,25,408,52,53,7,28,1869,150,30,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":10021,"slug":10022,"title":10023,"dynasty":181,"author":47,"museum":305,"description":10024,"tags":10025,"thumbUrl":10026,"material":987,"size":103,"collection":103,"collections":10027,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,25,26,7,857,53,28,29,845,134,149,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":10029,"slug":10030,"title":10031,"dynasty":181,"author":1340,"museum":75,"description":10032,"tags":10033,"thumbUrl":10034,"material":103,"size":103,"collection":103,"collections":10035,"showCount":9817,"zanCount":200,"manualWeight":11,"mainColor":124},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[23,24,25,26,52,53,28,7,192,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":10037,"slug":10038,"title":10039,"dynasty":18,"author":47,"museum":75,"description":10040,"tags":10041,"thumbUrl":10042,"material":152,"size":153,"collection":103,"collections":10043,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},227128,"ding-hui-chan-shi-bei-yi-ming-227128","定慧禅师碑","诚悬书碑皆建初刻字，是碑亦建初所刻，故予前跋谓不得以柳书邵刻拟之。意实云柳书虽多出邵刻，然不得因此碑为邵刻，且似柳书，遂以为柳书也。语意稍晦，恐滋后人之疑，特再释之。集王金刚经亦邵建初所刻，传本极少，人鲜知者，附识于此。",[190,637,430,7,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177d501d10c36509867540aaf8e9219b.jpg",[],{"id":10045,"slug":10046,"title":10047,"dynasty":18,"author":47,"museum":75,"description":10048,"tags":10049,"thumbUrl":10050,"material":152,"size":153,"collection":103,"collections":10051,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},227097,"fu-zi-jing-yi-ming-227097","佛字镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[18,3461,7,1030,225,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf351bc9b9a3108c0d42f4efebc53665.jpg",[],{"id":10053,"slug":10054,"title":8814,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10055,"thumbUrl":10056,"material":152,"size":153,"collection":103,"collections":10057,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":41},226434,"ku-yong-dao-bei-pi-yi-ming-226434",[78,7,53,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b4a799361c272e78eec783bada6b7.jpg",[],{"id":10059,"slug":10060,"title":1825,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10061,"thumbUrl":10062,"material":152,"size":153,"collection":103,"collections":10063,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},226431,"ku-zhu-shi-xi-bi-yi-ming-226431",[78,7,28,53,27,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14bd240c8b561e487ae57c834cf5848a.jpg",[],{"id":10065,"slug":10066,"title":3224,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10067,"thumbUrl":10068,"material":152,"size":153,"collection":103,"collections":10069,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},226370,"ku-yong-dao-ding-bu-yi-ming-226370",[78,7,53,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa270ef871a5b4bf127ef3c4c645ba027.jpg",[],{"id":10071,"slug":10072,"title":10073,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10074,"thumbUrl":10075,"material":152,"size":153,"collection":103,"collections":10076,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},226335,"ku-zhu-shi-zhong-xin-zhu-dong-xiang-mian-yi-ming-226335","窟主室中心柱东向面",[78,7,53,28,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82390c2111bdf26195bec7b6e8876d13.jpg",[],{"id":10078,"slug":10079,"title":10080,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10081,"thumbUrl":10082,"material":152,"size":153,"collection":103,"collections":10083,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":215},226331,"ku-zhu-shi-ping-qi-ding-ping-qi-ding-yi-ming-226331","窟主室平棋顶平棋顶",[78,53,225,444,445,7,2467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff5c0b66220f1f068679cad4da69f58.jpg",[],{"id":10085,"slug":10086,"title":1904,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10087,"thumbUrl":10088,"material":152,"size":153,"collection":103,"collections":10089,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},226295,"ku-yong-dao-nan-pi-yi-ming-226295",[78,53,52,28,7,445,1304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf65d8732a35f51cd8addee44a52407d.jpg",[],{"id":10091,"slug":10092,"title":3005,"dynasty":18,"author":47,"museum":118,"description":340,"tags":10093,"thumbUrl":10094,"material":152,"size":153,"collection":103,"collections":10095,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},226279,"ku-yong-dao-nan-bi-yi-ming-226279",[78,53,7,2467,319,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78894b3319599bdfb14befbd491ed155.jpg",[],{"id":10097,"slug":10098,"title":2680,"dynasty":18,"author":47,"museum":118,"descri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Harmensz.van Rijn - 054",[96,275,145,7,10113,10114],"老年男性","忧郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86aa93621d272764269810612bdbfac.jpg",[283],{"id":10118,"slug":10119,"title":10120,"dynasty":220,"author":1565,"museum":75,"description":10121,"tags":10122,"thumbUrl":10123,"material":152,"size":153,"collection":103,"collections":10124,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":41},224360,"qing-yong-xing-fu-shuo-ba-ji-xiang-jing-ce-ai-xin-jue-luo-yong-xing-224360","清永瑆佛说八吉祥经册","《佛说八吉祥经》乃佛教经典，内容述说东方八佛之名号（即“八吉祥”），以及持诵此诸佛名号和此经之功德利益。",[23,25,7,464,190,747,430,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700314aef392bbe1b78d5ae30d511efc.jpg",[],{"id":10126,"slug":10127,"title":10128,"dynasty":73,"author":47,"museum":305,"description":10129,"tags":10130,"thumbUrl":10131,"material":63,"size":10132,"collection":37,"collections":10133,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,24,25,51,7,53,52,28,6931,1190,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 100.4公分",[37],{"id":10135,"slug":10136,"title":10137,"dynasty":220,"author":1133,"museum":305,"description":10138,"tags":10139,"thumbUrl":10140,"material":53,"size":6924,"collection":103,"collections":10141,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},223324,"zhang-xing-shen-ding-guan-peng-223324","张星神","丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\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》。",[23,24,25,26,52,53,7,28,385,190,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg",[],{"id":10143,"slug":10144,"title":10145,"dynasty":220,"author":1133,"museum":8062,"description":8063,"tags":10146,"thumbUrl":10147,"material":1071,"size":8066,"collection":103,"collections":10148,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},223318,"fa-jie-yuan-liu-tu-jing-pian-1-ding-guan-peng-223318","法界源流图镜片-1",[23,24,7,52,53,27,28,385,30,101,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2206b1370f2abc417507fe6904e131fd.jpg",[],{"id":10150,"slug":10151,"title":10152,"dynasty":220,"author":1133,"museum":8062,"description":8438,"tags":10153,"thumbUrl":10155,"material":1071,"size":8441,"collection":103,"collections":10156,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},223307,"fa-jie-yuan-liu-tu-juan-12-ding-guan-peng-223307","法界源流图卷-12",[23,24,26,53,52,7,28,30,193,190,321,10154,796,319],"宝幢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83a4c1cdf24d4bae36e8d4954c5d790.jpg",[],{"id":10158,"slug":10159,"title":10160,"dynasty":129,"author":648,"museum":649,"description":10161,"tags":10162,"thumbUrl":10163,"material":10164,"size":10165,"collection":103,"collections":10166,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},221890,"za-hua-tu-ce-wu-fa-ke-shuo-chen-hong-shou-221890","杂画图册-无法可说","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,25,464,53,28,189,193,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76004253cea302ae8e7a3a78577e9718.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":10168,"slug":10169,"title":10170,"dynasty":73,"author":47,"museum":305,"description":10171,"tags":10172,"thumbUrl":10174,"material":1093,"size":10175,"collection":103,"collections":10176,"showCount":9817,"zanCount":200,"manualWeight":11,"mainColor":68},221776,"han-shan-shi-de-xiang-zhou-yi-ming-221776","寒山拾得像轴","这帧古画以淡墨粗笔勾勒出寒山与拾得的野逸风神。二人相携而立，眉眼弯弯堆着憨态笑意，亲昵无间，将禅门隐者的乐天自在尽数铺陈。\n\n右侧仙人捻着素白佛珠，衣袍褶皱朴拙自然，暗合禅意的沉静；左侧仙人执帚斜倚，蓬松卷发带着山野疏狂之气。整作设色暗沉古雅，晕着岁月浸漫的旧意，线条不求工细却形神兼备，把两位高士随性放旷的林下之姿描摹入微。无繁复布景，仅以人物本身传递禅宗“无拘无碍”的真趣，笔底藏着冲淡平和的禅味，见之便觉尘心渐息。",[23,24,25,51,53,28,27,7,59,796,10173],"工具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08381b149091acc74af3823f6b027058.jpg","104.6x54.1",[],{"id":10178,"slug":10179,"title":10180,"dynasty":914,"author":1378,"museum":649,"description":1379,"tags":10181,"thumbUrl":10182,"material":1383,"size":1384,"collection":103,"collections":10183,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},221169,"shi-liu-luo-han-xiang-bo-tuo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221169","十六罗汉像-跛陀罗尊者（唐卡布本）",[23,24,25,7,28,53,61,541,385,241,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e87a35090383287dc1fb271d13fa681.jpg",[],{"id":10185,"slug":10186,"title":10187,"dynasty":914,"author":1378,"museum":649,"description":1379,"tags":10188,"thumbUrl":10189,"material":1383,"size":1384,"collection":103,"collections":10190,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},221163,"shi-liu-luo-han-xiang-ban-tuo-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221163","十六罗汉像-半託迦尊者（唐卡布本）",[23,96,24,25,7,52,53,28,796,652,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91fa7c1031de0d9b5db72753bccf110b.jpg",[],{"id":10192,"slug":10193,"title":10194,"dynasty":181,"author":2325,"museum":486,"description":2326,"tags":10195,"thumbUrl":10196,"material":63,"size":2331,"collection":103,"collections":10197,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},219023,"shi-wang-tu-4-lu-xin-zhong-219023","十王图-4",[23,24,7,52,53,28,148,101,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2f2ed25adb1b578f2a06354ac31147.jpg",[],{"id":10199,"slug":10200,"title":10201,"dynasty":18,"author":2362,"museum":649,"description":2363,"tags":10202,"thumbUrl":10203,"material":63,"size":2366,"collection":103,"collections":10204,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":68},218140,"liu-zun-zhe-xiang-tu-ce-4-lu-leng-qie-218140","六尊者像图册-4",[23,96,24,25,464,28,7,53,190,193,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3385b96f5ebf4527346e42d7c192c8c3.jpg",[],{"id":10206,"slug":10207,"title":10208,"dynasty":181,"author":182,"museum":75,"description":1867,"tags":10209,"thumbUrl":10210,"material":432,"size":103,"collection":103,"collections":10211,"showCount":9817,"zanCount":11,"manualWeight":11,"mainColor":124},218072,"bai-miao-luo-han-tu-ce-4-li-gong-lin-218072","白描罗汉图册-4",[23,96,24,25,464,27,7,28,186,1265,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77e54d38431a1007eecbb246f743a91.jpg",[],{"id":10213,"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Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[275,117,7,28,53,10680,187],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7515efc8d962339eba3e61f4d476f0a.jpg",[283],{"id":10684,"slug":10685,"title":10686,"dynasty":220,"author":1102,"museum":75,"description":1100,"tags":10687,"thumbUrl":10691,"material":152,"size":153,"collection":103,"collections":10692,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":215},224128,"pantaka-tang-ka-224128","Pantaka",[7,53,52,28,385,186,858,1451,10688,1165,6959,10689,10690],"台案","猴子","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],{"id":10694,"slug":10695,"title":10696,"dynasty":220,"author":47,"museum":305,"description":9664,"tags":10697,"thumbUrl":10700,"material":103,"size":103,"collection":103,"collections":10701,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},223411,"ma-zu-qi-ji-b-yi-ming-223411","妈祖奇迹B",[23,96,24,53,28,29,7,10698,10699,857],"妈祖","救难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df40c01e106f6e5b85e46f2f301cd13.jpg",[],{"id":10703,"slug":10704,"title":10705,"dynasty":220,"author":1133,"museum":8062,"description":8063,"tags":10706,"thumbUrl":10707,"material":1071,"size":8066,"collection":103,"collections":10708,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":124},223319,"fa-jie-yuan-liu-tu-jing-pian-2-ding-guan-peng-223319","法界源流图镜片-2",[23,24,96,25,26,53,52,7,572,28,887,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5310045c3d9528f01b0ec6d6d1291e6.jpg",[],{"id":10710,"slug":10711,"title":10712,"dynasty":220,"author":1133,"museum":8062,"description":8438,"tags":10713,"thumbUrl":10716,"material":1071,"size":8441,"collection":103,"collections":10717,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":124},223308,"fa-jie-yuan-liu-tu-juan-2-ding-guan-peng-223308","法界源流图卷-2",[23,24,25,26,52,53,7,28,149,30,321,10714,669,1139,10715,5492,1406,520],"异兽","宝幡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dd816747b646199e5026a31a8f45bc.jpg",[],{"id":10719,"slug":10720,"title":10721,"dynasty":220,"author":380,"museum":305,"description":3158,"tags":10722,"thumbUrl":10724,"material":3162,"size":3163,"collection":103,"collections":10725,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":124},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴",[23,24,53,52,7,51,28,187,497,209,133,1622,10723,193],"果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg",[],{"id":10727,"slug":10728,"title":97,"dynasty":129,"author":2875,"museum":75,"description":7240,"tags":10729,"thumbUrl":10730,"material":1093,"size":7243,"collection":103,"collections":10731,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":124},222383,"guan-yin-ding-yun-peng-222383",[23,96,24,51,7,53,28,189,52,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb88cf4d1b0a76ac7117cd039ba56472.jpg",[],{"id":10733,"slug":10734,"title":3315,"dynasty":73,"author":47,"museum":305,"description":10735,"tags":10736,"thumbUrl":10737,"material":4005,"size":10738,"collection":103,"collections":10739,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},221775,"ying-zhen-xiang-zhou-yi-ming-221775","画中的十八尊罗汉手中分持经卷、麈扇、念珠、莲花、香炉等，形貌各异，或老或少；又或作天竺罗汉，深目大鼻，肤色深褐，或为汉族比丘，修眉细目，肤色白皙。除此之外，画家更传神地描写了这些人物的精神状态，例如，右幅上方的降龙罗汉，抬头蹙眉，瞪望空中的腾龙，眼露凶忿。左幅下方手持贝叶经的罗汉，眉开眼笑，满脸欢愉。全作的衣纹线条以凝炼的中锋完成，时而均匀萦回，流利畅达；又时而顿挫转折，挺劲有力，不但变化多端，而且准确地掌握人物衣下的身躯结构。人物的五官和髭须都以细笔钩画，而衣上的图案也描绘得一丝不苟。全作绘制精谨，设色妍丽而不明艳，清雅出尘，诚为元代（1279－1368）宗教画的代表作。",[23,24,25,51,7,53,52,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd6fed6d728c57d9af83dbbbc69ff72.jpg","全幅82.1公分",[],{"id":10741,"slug":10742,"title":10743,"dynasty":181,"author":182,"museum":75,"description":1575,"tags":10744,"thumbUrl":10745,"material":432,"size":1578,"collection":103,"collections":10746,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":124},221402,"fa-hai-ling-shan-tu-4-li-gong-lin-221402","法海灵山图4",[23,2794,24,25,27,465,7,28,713,385,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dc8ae31066e200f62d122a2dd929a5.jpg",[],{"id":10748,"slug":10749,"title":7774,"dynasty":220,"author":380,"museum":305,"description":10750,"tags":10751,"thumbUrl":10752,"material":309,"size":103,"collection":103,"collections":10753,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":124},218037,"tian-wang-xiang-6-yao-wen-han-218037","蓝面金冠的护法天王立于画面中央，火焰纹如炽烈云霞环绕身侧，宝饰琳琅间透出赫赫威严。他手持长剑，姿态雄健挺拔，衣袂飘带似流云翻卷，动感十足。下方护法身形灵动，与主尊沉稳形成呼应。背景中山石苍劲，林木葱郁，祥云缭绕间隐现的人物更添层次。整幅画工笔细腻，线条精准如铁线，设色浓艳却不失雅致，金蓝红交织出富丽氛围。既展现护法神祇震慑邪魔的神圣力量，又以精致细节与生动气韵，彰显清代佛画融合宫廷精致与宗教庄严的独特风貌，每处笔触藏匠心，每抹色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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。",[18,2074,11737,7,225,28],"俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe3ae1beddb3aa71fd12a10d306162d1.jpg",[],{"id":11741,"slug":11742,"title":7128,"dynasty":181,"author":47,"museum":75,"description":569,"tags":11743,"thumbUrl":11744,"material":152,"size":153,"collection":103,"collections":11745,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":215},253666,"tong-liu-jin-fu-zuo-xiang-yi-ming-253666",[2400,1030,1835,225,7,28,1032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad785e3f5f4c999ef8f27777bbd6f59.jpg",[],{"id":11747,"slug":11748,"title":6614,"dynasty":2304,"author":47,"museum":75,"description":569,"tags":11749,"thumbUrl":11750,"material":152,"size":153,"collection":103,"collections":11751,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},253606,"tong-chan-ding-fu-zuo-xiang-yi-ming-253606",[2304,3461,1030,225,7,28,1987,3106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55746933a041ec7ca97d42325a0267e5.jpg",[],{"id":11753,"slug":11754,"title":11755,"dynasty":2304,"author":47,"museum":75,"description":11756,"tags":11757,"thumbUrl":11758,"material":152,"size":153,"collection":103,"collections":11759,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},253572,"seng-cheng-zao-tong-mi-le-xiang-yi-ming-253572","僧成造铜弥勒像","这尊造像肃穆沉静，主尊身着通肩僧衣，层叠垂坠的衣纹线条古朴凝练，双手于胸前结印，面容慈悲淡然，尽显超脱气韵。背屏浅浮雕火焰卷云纹，环护主尊，烘托出神圣庄严的氛围。两侧胁侍弟子敛袖恭立，与主尊呼应，章法和谐。莲座饱满圆润，瓣棱分明，承托造像主体，下接覆钵底座沉稳厚重。整体承袭南北朝造像典型风格，朴拙中暗藏精巧，将佛教造像沉静庄严之感诠释尽致。虽历经岁月包浆厚重，却依旧可见当时造像工艺精湛，尽显中古佛教造像独特的美学意蕴。",[1030,225,7,28,98,677,3461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e7fd64475d3b7ee98cc44789120cea.jpg",[],{"id":11761,"slug":11762,"title":1832,"dynasty":394,"author":47,"museum":75,"description":11763,"tags":11764,"thumbUrl":11766,"material":152,"size":153,"collection":103,"collections":11767,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},253515,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253515","此尊造像身姿修长婉约，宝冠覆顶，面容沉静悲悯，自带渡世的柔和气场。璎珞垂缀周身，衣袂线条舒展柔和，勾勒出菩萨清隽端雅的身形。手持杨柳净瓶，将观音救度众生的经典意象具象呈现。\n\n历经岁月，鎏金虽斑驳脱落，却晕开古拙厚重的质感，背光火焰纹饰依稀可见，悄然烘托出神圣庄严的氛围。整体工艺精简传神，将菩萨慈悲端宁的气韵尽数诠释，古造像含蓄隽永的审美意趣凝缩于此，残损鎏金是时光镌刻的印记，静静诉说着过往的信仰温度。",[3847,11765,1030,7,28,225,229,228],"铜鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef168849385ee7c31ad006ec465c961.jpg",[],{"id":11769,"slug":11770,"title":1832,"dynasty":394,"author":47,"museum":75,"description":11771,"tags":11772,"thumbUrl":11773,"material":152,"size":153,"collection":103,"collections":11774,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":215},253500,"tong-liu-jin-yang-liu-zhi-guan-yin-pu-sa-li-xiang-yi-ming-253500","此像古雅朴拙，桃形背光带着早期造像典型规制，鎏金虽已斑驳脱落，却更添岁月厚重质感。菩萨仪容端严沉静，右手持杨柳枝，衣饰线条简练劲挺，尽显端庄凝练的气韵。板凳式底座小巧稳固，整体形制精巧雅致，细节间可见当时冶铸鎏金的不俗工艺，沉静肃穆间，缓缓晕开佛家造像特有的静谧庄严，携着古拙虔诚的宗教意趣，尽显早期造像的质朴美感。",[1030,1835,225,7,28,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcb45e049ca1ede9bd3a3354c8058c7.jpg",[],{"id":11776,"slug":11777,"title":11002,"dynasty":18,"author":47,"museum":75,"des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横16.0厘米",[],{"id":11913,"slug":11914,"title":11915,"dynasty":220,"author":47,"museum":75,"description":11916,"tags":11917,"thumbUrl":11919,"material":152,"size":153,"collection":103,"collections":11920,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},234443,"qing-ren-shi-lun-wang-fo-xiang-zhou-yi-ming-234443","清人时轮王佛像轴","主尊为时轮金刚双身像，蓝调本尊配黄身明妃，多臂分持诸般法器，展立姿相拥，身背烈焰宝环，尽显忿怒威严的密教本尊仪轨相。背景以青绿重彩绘就雪域山川，浮空祥云端坐散尊，下方安奉胁侍护法，构图饱满严整。以朱砂、石青、石黄等矿物颜料设色，晕染浓艳厚重且鲜亮沉稳，线条细密流畅，将密教无上瑜珈部的神性威仪与藏地佛画的装饰审美相融，兼具极强宗教价值与艺术价值。",[24,51,53,7,28,30,186,52,11673,11918,9457],"多臂神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c5978e9c646e345ad0873ac488803c.jpg",[],{"id":11922,"slug":11923,"title":3122,"dynasty":220,"author":47,"museum":75,"description":1660,"tags":11924,"thumbUrl":11925,"material":152,"size":153,"collection":103,"collections":11926,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},234431,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234431",[1102,7,572,754,53,145,3504,3748,30,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e06949b251abea9d27b16a30643646.jpg",[],{"id":11928,"slug":11929,"title":3122,"dynasty":220,"author":47,"museum":75,"description":1660,"tags":11930,"thumbUrl":11931,"material":152,"size":153,"collection":103,"collections":11932,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},234429,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234429",[24,51,7,53,52,28,29,187,497,30,1621,2647,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34959effcbc2ab2bf732eecdca4a0cbc.jpg",[],{"id":11934,"slug":11935,"title":7984,"dynasty":73,"author":2434,"museum":649,"description":11936,"tags":11937,"thumbUrl":11938,"material":11939,"size":11940,"collection":103,"collections":11941,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":215},233965,"li-xian-xiang-zhou-yan-hui-233965","李仙即李铁拐，是“八仙”之一，八仙的故事在民间流传甚广。据明彭大翼《山堂肆考》云：“拐仙姓李，有足疾，西王母点化升仙，封东华教主，授以铁杖一根。”另《古今图书集成·神异典》中云：“李铁拐或云隋时峡人，名洪水，小字拐儿，又名铁拐，常行丐于市，人皆贱之。后以铁杖掷空，化为龙，乘龙而去。”铁拐李尽管外貌丑陋，却法力高超，富有人情味，深得人们的钟爱，是元明清画家们喜画的题材。\n图中的李仙盘腿拄杖，坐于大石上。他披发浓须，袒胸赤足，蹙眉斜目。其身后山崖竞秀，瀑布高悬，云雾缥缈，崖下藤枝盘绕。画中人物神情不同凡俗，背景的描绘更衬托出了铁拐李的仙人之气。",[24,51,28,7,465,53,975,209,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91220011e41ccdfe64584e22b2472e31.jpg","绢本，水墨","纵146.5厘米，横72.5厘米",[],{"id":11943,"slug":11944,"title":11945,"dynasty":18,"author":8677,"museum":649,"description":8678,"tags":11946,"thumbUrl":11947,"material":4968,"size":8681,"collection":103,"collections":11948,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},232983,"hua-liu-zun-zhe-xiang-ce-di-shi-wu-guo-ba-ga-zun-zhe-lu-leng-jia-232983","画六尊者像册-第十五锅巴嘎尊者",[96,24,25,464,52,53,7,28,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1668b5336b9505a8e805cf953869d8bb.jpg",[],{"id":11950,"slug":11951,"title":11952,"dynasty":73,"author":47,"museum":662,"description":11953,"tags":11954,"thumbUrl":11955,"material":432,"size":11956,"collection":103,"collections":11957,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[23,24,51,7,28,27,465,192,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":11959,"slug":11960,"title":11961,"dynasty":46,"author":9497,"museum":75,"description":9498,"tags":11962,"thumbUrl":11963,"material":152,"size":153,"collection":103,"collections":11964,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},231628,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-zhong-tu-zuo-guang-xin-231628","室町时代 清水寺缘起画卷(中)",[53,52,26,857,190,7,28,29,845,133,187,1807,712,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":11966,"slug":11967,"title":1619,"dynasty":18,"author":47,"museum":75,"description":340,"tags":11968,"thumbUrl":11969,"material":152,"size":153,"collection":103,"collections":11970,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},230942,"ku-zhu-shi-nan-pi-yi-ming-230942",[371,78,118,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4419aaf351b5ec6182b885c06aadeea.jpg",[],{"id":11972,"slug":11973,"title":3224,"dynasty":18,"author":47,"museum":75,"description":340,"tags":11974,"thumbUrl":11975,"material":152,"size":153,"collection":103,"collections":11976,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":215},230940,"ku-yong-dao-ding-bu-yi-ming-230940",[78,53,7,28,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5267db410ca69553cfbc19308962be6.jpg",[],{"id":11978,"slug":11979,"title":11980,"dynasty":46,"author":47,"museum":75,"description":11981,"tags":11982,"thumbUrl":11983,"material":152,"size":153,"collection":103,"collections":11984,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":215},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,24,25,51,7,27,28,3726,1451,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":11986,"slug":11987,"title":6260,"dynasty":220,"author":47,"museum":75,"description":11988,"tags":11989,"thumbUrl":11990,"material":103,"size":103,"collection":103,"collections":11991,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},230333,"bai-miao-luo-han-tu-ce-yi-ming-230333","此作用墨笔白描辅以淡墨晕染，布袋和尚袒胸踞坐崖间石台，手持拂尘，笑眼弯弯神态安恬，尽显自在禅意。下方侍者温驯抚鹿，麋鹿灵动温顺，衬出画面平和宁寂。背景以枯淡墨线勾勒奇崛山石，间缀荒草野木，皴擦简练却将岩穴幽深荒寂尽显。\n\n整幅线条清劲秀雅，构图虚实相生，将禅林幽寂氛围与悠然禅意融为一体，工细刻画中带着写意的萧散简远，尽显雅致出尘的禅林清趣。",[96,24,25,464,27,7,28,385,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac3702465bd235f35148b38f8343fb6.jpg",[],{"id":11993,"slug":11994,"title":11995,"dynasty":220,"author":1133,"museum":75,"description":11996,"tags":11997,"thumbUrl":11998,"material":152,"size":153,"collection":103,"collections":11999,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},230213,"fa-jie-yuan-liu-tu-jing-pian-ding-guan-peng-230213","法界源流图镜片","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。",[96,24,25,52,53,667,7,28,520,30,321,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8a2186ce4c371acf7e6f57ed4bc51b.jpg",[],{"id":12001,"slug":12002,"title":12003,"dynasty":220,"author":47,"museum":75,"description":12004,"tags":12005,"thumbUrl":12006,"material":152,"size":153,"collection":103,"collections":12007,"showCount":502,"zanCount":200,"manualWeight":11,"mainColor":124},229256,"ka-zhang-ga-tian-zhang-yi-ming-229256","喀章嘎(天杖)","通体鎏金熠熠生辉，顶部层叠怒面明王，宝相威严慑人，松石与珊瑚错落嵌饰，古艳夺目。十字金刚杵承接修长杖身，锋刃棱线凌厉规整，刚劲挺拔。它以冷峻金铁承载密法降魔之威，又以柔润珠玉晕开雪域审美之华，金工卓绝，将忿怒尊的威慑与珠宝的华美相融，冷金暖石相映成趣，是灵韵与工技合一的精妙法器，尽显藏地造艺的匠心巧思。",[223,7,224,225,9508,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da9985c55cc6c58ca5ca39588adbfba.jpg",[],{"id":12009,"slug":12010,"title":12011,"dynasty":129,"author":47,"museum":75,"description":12012,"tags":12013,"thumbUrl":12014,"material":152,"size":153,"collection":103,"collections":12015,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":124},228821,"gu-xiu-shi-liu-ying-zhen-tu-yi-ming-228821","顾绣十六应真图","明嘉靖年间,露香园主顾名世之妾缪氏擅绣人物、佛像,又有顾媳韩氏仿宋元画入绣。因绣品气韵生动,于是名噪一时。",[23,2936,27,53,7,28,858,209,134,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2601ee105f36fa640e1cc4bf14f7dc.jpg",[],{"id":12017,"slug":12018,"title":12019,"dynasty":129,"author":47,"museum":75,"description":12020,"tags":12021,"thumbUrl":12023,"material":152,"size":153,"collection":103,"collections":12024,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},228787,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-228787","天龙八部罗叉女众","这幅画本是明代宫廷佛像画作，工笔重彩，人物造型精准，表情生动，堪称明代佛画中的顶级作品。从其左下方“御用监太监尚义王勤等奉命提督监造”的字样可知。尚王二人，皆为负责宫廷佛事的御用监太监，其地位甚至要高于同时期的郑和。",[23,24,25,408,7,52,53,28,30,12022,2647],"护法形象","https:\u002F\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Gate","这幅作品以明暗烘托出神圣肃穆的氛围，画家以娴熟的素描技巧定格神迹发生的瞬间。中心使徒衣褶厚重舒展，抬手间带着神性力量，垂首望向阶前瘫坐的残者。后者枯槁的面容满是恳切与敬畏，前伸的手带着对治愈的渴盼，身侧斜倚的长杖衬出他的孱弱无助。\n\n背景古典建筑精简勾勒，牢牢将视觉焦点锁定在二人身上。棕褐晕染出岁月质感，排线与擦笔的层次让衣物质感与光影层次分明，将神迹的庄重与凡人的祈愿揉合在方寸之间，带着沉静的感染力。",[7,145,6651,14575,14576,14577],"古典建筑","神迹","西洋绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71908ffe3c1ef8cf2aede006c20494ed.jpg",[],{"id":14581,"slug":14582,"title":14583,"dynasty":46,"author":47,"museum":75,"description":14584,"tags":14585,"thumbUrl":14587,"material":152,"size":153,"collection":103,"collections":14588,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":68},288750,"school-of-michelangelo-buonarroti-the-last-judgment-yi-ming-288750","School of Michelangelo Buonarroti--The Last 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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[181,2074,2075,14816,7,28,541,385],"黑赭彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F390b2e9a89fefda2dd5a6c50cd5bce0b.jpg",[],{"id":14820,"slug":14821,"title":14822,"dynasty":181,"author":47,"museum":75,"description":7879,"tags":14823,"thumbUrl":14824,"material":152,"size":153,"collection":103,"collections":14825,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},255614,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255614","木雕彩绘菩萨立像",[2400,607,225,571,53,7,28,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadf8fab955abd08a1b6a292c9ee81bf.jpg",[],{"id":14827,"slug":14828,"title":14822,"dynasty":181,"author":47,"museum":75,"description":7879,"tags":14829,"thumbUrl":14830,"material":152,"size":153,"collection":103,"collections":14831,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},255612,"mu-diao-cai-hui-pu-sa-li-xiang-yi-ming-255612",[2400,607,225,571,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f19d37fd140b8feea1aa2596143c82.jpg",[],{"id":14833,"slug":14834,"title":14835,"dynasty":111,"author":47,"museum":75,"description":10418,"tags":14836,"thumbUrl":14838,"material":152,"size":153,"collection":2077,"collections":14839,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},255115,"shi-wan-yao-hong-you-chi-xie-luo-han-li-xiang-yi-ming-255115","石湾窑红釉持鞋罗汉立像",[111,12680,2074,14837,7,28,1869,228,225],"红釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf10f89e1cc9973c987bc57b7eed27c.jpg",[2077],{"id":14841,"slug":14842,"title":14843,"dynasty":2304,"author":47,"museum":75,"description":14844,"tags":14845,"thumbUrl":14846,"material":152,"size":153,"collection":103,"collections":14847,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},255032,"shi-gong-yang-ren-xiang-tou-yi-ming-255032","石供养人像头","双丫发髻古朴灵动，柔和撑起上部轮廓。面庞线条舒展温润，眉眼弯阖似带着静谧笑意，鼻唇饱满圆融，晕开平和安然的神态。砂石质地带着时光摩挲的痕迹，褪去繁饰，仅以素朴肌理留存下千年前的气韵。沉静的面容仿佛仍带着供养人虔诚的祈愿，将清隽温婉的气质静静定格，让观者触摸到那个时代的审美脉搏，感知信仰浸润下的柔和温度。",[2304,3846,225,28,2996,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f665ab89ea1e5b56550def6aa12d50b.jpg",[],{"id":14849,"slug":14850,"title":14851,"dynasty":129,"author":47,"museum":75,"description":569,"tags":14852,"thumbUrl":14853,"material":152,"size":153,"collection":103,"collections":14854,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},254999,"tie-li-da-huang-zao-pu-xian-pu-sa-zuo-xiang-yi-ming-254999","铁栗大凰造普贤菩萨坐像",[408,7,11034,225,28,385,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7011e4e6e0c8b1688df5d5109ff6d943.jpg",[],{"id":14856,"slug":14857,"title":14858,"dynasty":220,"author":47,"museum":75,"description":7879,"tags":14859,"thumbUrl":14860,"material":152,"size":153,"collection":103,"collections":14861,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},254968,"mu-diao-jin-qi-jiu-xian-niang-niang-xiang-yi-ming-254968","木雕金漆九仙娘娘像",[223,607,225,9039,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e62b04ffc3e935ab163a67b8c62a9f1.jpg",[],{"id":14863,"slug":14864,"title":14865,"dynasty":220,"author":47,"museum":75,"description":14866,"tags":14867,"thumbUrl":14868,"material":152,"size":153,"collection":103,"collections":14869,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},254959,"tong-liu-jin-jin-gang-sa-duo-xiang-yi-ming-254959","铜鎏金金刚萨埵像","此造像宝冠繁复华丽，嵌饰的宝石凝敛光华，面相圆润慈悲，双目垂敛，沉静肃穆尽显清净法相。双手当胸结印，莲茎自掌心蜿蜒舒展，顶端托举金刚杵，昭示持守清净誓愿的本尊特质。躯体比例合度匀称，衣纹流畅贴体，周身璎珞錾刻精巧细腻，华贵庄严尽显。结跏趺坐于仰覆莲台之上，莲瓣饱满规整，鎏金厚重匀净，宝光内敛沉凝。整尊造像融神性静穆与工艺精妙于一体，观之令人心生敬畏安定，尽显藏传造像的独特魅力。",[223,7,28,1030,224,652,11765,225,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b08c0f05baf3ca18c7eb2c4cfa9f6bd.jpg",[],{"id":14871,"slug":14872,"title":14873,"dynasty":220,"author":47,"museum":75,"description":569,"tags":14874,"thumbUrl":14875,"material":152,"size":153,"collection":103,"collections":14876,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":68},254941,"shi-pu-sa-zuo-xiang-yi-ming-254941","石菩萨坐像",[223,7,28,225,2860,1030,1835,226,4729,1032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5988ed0c6442219bdd57ecdd19b84538.jpg",[],{"id":14878,"slug":14879,"title":14880,"dynasty":220,"author":47,"museum":75,"description":14881,"tags":14882,"thumbUrl":14883,"material":152,"size":153,"collection":103,"collections":14884,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},254930,"tong-liu-jin-duo-wen-tian-wang-xiang-yi-ming-254930","铜鎏金多闻天王像","此造像威容赫赫，天王瞋目圆睁，虬髯贲张，锁子甲纹饰细密入微，尽显精工。左手托举吐宝鼠，右手高擎宝幢，坐于昂首咆哮的瑞狮之上，将护法神祇的勇武刚猛尽显无余。\n\n通体鎏金厚重莹润，宝光内敛。莲座瓣尖饱满圆润，底座款识錾刻规整。它融合藏地造像的狞厉神性与中原錾刻的细腻工致，法度庄严又不失工巧细腻，是汉藏佛造像技艺合璧的精品，沉稳间尽显护法天王的慑人气度。",[220,1030,1835,225,7,28,385,9508,11673],"https:\u002F\u002Foss.chuangqi.store\u002F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首领。\n作者为了烘染画面吉庆安祥的气氛，画面的三分之一处，绘制了正乘祥云而来的佛国使者，他们正在为此次重大的法事祝福。\n全图以鲜艳的朱红、闪亮的金黄、明快的翠绿等亮丽的色彩为主色调，其丰富多彩并具有装饰性的设色，令庄严静穆的场景增添了几分皇家富贵之气。\n土尔扈特部是厄鲁特蒙古四部之一。\n他们主营牧业兼及农业，原居住塔尔巴哈台及额尔齐斯河中游以西，17世纪年代，西迁至额济勒河（今俄罗斯伏尔加河）下游居住。\n乾隆三十六年（1771年），土尔扈特人不堪沙皇俄国压迫，在汗王渥巴锡率领下举族东返，归附清廷。\n对于土尔扈特部的回归，清政府十分重视，时年61岁的乾隆皇帝对他们热情款待，特地安排他们与自己在新建的万法归一殿内听高僧讲佛法。\n万法归一殿是河北承德普陀宗乘庙内的重要建筑物，乾隆皇帝希望在所统辖的辽阔疆域内，各个民族都因拥有共同的信念而团结一致，万法归一。",[96,24,53,52,857,7,28,29,186,14180,1059,4147,2223,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56821dbb3af0bd580b897c1be4ec502f.jpg","长163.8cm，宽110.8cm",[],{"id":15280,"slug":15281,"title":15282,"dynasty":46,"author":15283,"museum":75,"description":15284,"tags":15285,"thumbUrl":15292,"material":152,"size":153,"collection":103,"collections":15293,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":215},232559,"mi-lai-si-103-yue-han-ai-fu-li-te-mi-lai-si-232559","米莱斯103","约翰·埃弗里特米莱斯","John Everett 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manualWeight":11,"mainColor":124},290650,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-290650","妙法莲华经卷第六手稿","纸色泛黄斑驳，残损处带着时光剥蚀的痕迹，却难掩笔墨的沉静力量。书写端严匀净，是典型的写经体风貌，笔致舒展凝练，既有恪守楷则的规整，又带着抄经时自然流露的温润意趣。整卷文字排布齐整如林，字里行间藏着抄写者的恭敬之心，墨迹沉实，带着古卷特有的沉静书卷气，将过往的虔敬与笔墨温度留存至今，沧桑间尽显古雅肃穆的质感。",[747,190,26,7,572,1190,430,595,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17e5e69ff817c81eac9252a1e6d66c47.jpg",[],{"id":16203,"slug":16204,"title":16205,"dynasty":46,"author":47,"museum":75,"description":16206,"tags":16207,"thumbUrl":16208,"material":152,"size":153,"collection":103,"collections":16209,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},290645,"miao-fa-lian-hua-jing-juan-di-yi-shou-gao-yi-ming-290645","妙法莲华经卷第一手稿","此长卷素纸淡墨，千言笔致朴拙却工整匀净，文字绵密排布一气呵成，不见半分怠惰，尽显书写时静定心力。古纸泛黄晕着斑驳旧痕，墨色随岁月浅淡晕染，笔墨与信仰相融，每一道笔痕都藏着书写者的虔诚。通篇浸着沉静古雅的书卷气，带着素朴禅意，是时光留存下的笔墨修行遗存。",[26,190,747,572,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f20c3c1d33e167ac2898b0e6c91ef7.jpg",[],{"id":16211,"slug":16212,"title":16213,"dynasty":46,"author":47,"museum":75,"description":16214,"tags":16215,"thumbUrl":16216,"material":152,"size":153,"collection":103,"collections":16217,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},290641,"miao-fa-lian-hua-jing-sui-xi-gong-de-pin-shou-gao-yi-ming-290641","妙法莲华经随喜功德品手稿","古纸泛黄如沉年琥珀，晕染开深浅不一的水痕，虫蛀的孔洞与残缺的边角，是时光刻下的细密注脚。虽不见经文笔墨，残页却依旧裹着虔诚的余温，仿佛还能窥见昔年抄经人伏案的剪影，青灯映着素纸，指尖摩挲过纸面留下的沉静与期许，都封存在纤维纹路之中。褪去文字的光华，它以残缺之态，沉淀出跨越岁月的肃穆与温柔，将信仰的悠长意蕴藏在斑驳褶皱里，成了一段无声却厚重的时光证言。",[747,190,1190,3354,572,7,4766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0137521cdc3bab86dbc58f1fd2160e38.jpg",[],{"id":16219,"slug":16220,"title":16221,"dynasty":46,"author":47,"museum":75,"description":16222,"tags":16223,"thumbUrl":16224,"material":152,"size":153,"collection":103,"collections":16225,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},290628,"da-fang-bian-fu-bao-en-jing-juan-di-wu-shou-gao-yi-ming-290628","大方便佛报恩经卷第五手稿","此卷以泛黄旧纸为载，墨色沉凝匀净，是工整端秀的写经书法。起收笔皆循法度，点画舒展从容，通篇行气贯通，字字安稳雅致，将宗教文本的肃穆气质与笔墨意趣相融，可见抄经人落笔时的恭谨虔诚。纸面晕开几处浅淡渍痕，是岁月留下的斑驳印记，为手卷晕染出厚重的时光质感。每一笔都带着沉静的心力，经文在笔墨间缓缓铺展，让信仰与书法合二为一，静静留存下旧时光里抄经岁月的平和与敬畏。",[190,747,26,7,572,430,1190,3354,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261d10538eea8b5834939ee8184b723f.jpg",[],{"id":16227,"slug":16228,"title":16229,"dynasty":46,"author":47,"museum":75,"description":16230,"tags":16231,"thumbUrl":16233,"material":152,"size":153,"collection":103,"collections":16234,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},290042,"fo-tuo-luo-yi-da-zang-jing-da-fang-guang-fu-hua-yan-jing-ru-fa-jie-pin-zhi-shi-liu-yi-ming-290042","佛陀羅譯 大藏經 大方廣佛華嚴經 入法界品之十六","此卷写经书法为典型写经体风貌，笔法清劲舒展，结体匀整端秀，起收暗含法度，通篇排布疏密合宜，墨色沉凝古雅。岁月侵蚀留下的缺损虫蛀，晕开了沧桑古韵。抄写者以虔诚心境落墨，将宗教的庄严融于笔墨之间，既恪守写经的工整肃穆，又在笔锋流转里流露温润意趣，是佛教写本与书法艺术相融的典范，静静诉说着昔日抄经的郑重与信仰的温度。",[26,190,430,747,572,595,1190,16232,7367,7],"大藏经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803bbe975bf88ddb6dc305daf1b8ef0f.jpg",[],{"id":16236,"slug":16237,"title":16238,"dynasty":46,"author":47,"museum":75,"description":16239,"tags":16240,"thumbUrl":16243,"material":152,"size":153,"collection":103,"collections":16244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},290032,"xiong-ye-gong-man-tuo-luo-tu-yi-ming-290032","熊野宫曼陀罗图","采用层叠式全景构图，以青绿晕染出山岳水泽的幽谧底色，铺陈开神域胜景。朱红屋瓦配深褐廊墙，几处院落规整排布，尽显神社建筑的庄重雅致。画面点缀的圣像宝珠暗合宗教属性，细碎的人物身影穿梭其间，为静穆的景致添上鲜活意趣。作品兼具纪实性与神圣感，将山林神域的清寂庄严和烟火日常融于一体，晕开平和悠远的古雅氛围，尽显日式宗教绘卷特有的沉静禅意。",[23,24,25,51,7,857,53,29,186,16241,16242,2878],"庙宇","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0a09d043adff6c9eb4dd0330739463.jpg",[],{"id":16246,"slug":16247,"title":16248,"dynasty":46,"author":47,"museum":75,"description":340,"tags":16249,"thumbUrl":16250,"material":152,"size":153,"collection":103,"collections":16251,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},289719,"dun-huang-yi-shu-355-yi-ming-289719","敦煌遗书355",[118,26,190,747,430,7,1190,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee06a00c2f1bb095966570801fe4080.jpg",[],{"id":16253,"slug":16254,"title":16255,"dynasty":181,"author":47,"museum":75,"description":16256,"tags":16257,"thumbUrl":16258,"material":152,"size":153,"collection":103,"collections":16259,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},289565,"fang-zhong-li-fang-dao-tu-yi-ming-289565","仿钟离访道图","画面以寻仙问道为引，人物情态描摹入微，访道者萧散出尘，隐于幽寂林泉间，清冷出世的意境扑面而来。搭配数段题跋，笔墨清隽雅致，与画作意趣相融，古雅装裱晕开岁月沉淀的厚重质感，将隐逸之思藏于尺幅间。尽显清雅的审美意趣，牵引观者踏入幽远寻仙之境，静赏古人寄情林泉、追寻大道的精神世界，水墨与心绪交织，晕染出跨越时空的出世清逸。",[23,24,28,7,117,190,193,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71412551d5e995fc9721557d81b1d420.jpg",[],{"id":16261,"slug":16262,"title":16263,"dynasty":46,"author":47,"museum":75,"description":16264,"tags":16265,"thumbUrl":16267,"material":152,"size":153,"collection":103,"collections":16268,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},289540,"attributed-to-sahib-ram-head-of-krishna-cartoon-for-a-mural-of-the-raslila-yi-ming-289540","Attributed to Sahib Ram--Head of Krishna cartoon for a mural of the Raslila","###（不对，不能用###）重新写：\n这幅肖像以细腻笔触铺陈神性柔美，浅淡底色之上，暖金色的头饰层叠繁复，珠翠宝石用晕染与勾线区分色泽，流光婉转间尽显华贵庄重。\n\n侧脸轮廓柔和舒展，墨色长发卷曲垂落，鼻饰、耳间花形镶钻饰物精巧点缀，将神祇俊朗温润的气质晕染开来。未完成的底稿线条隐约可见，仿佛留存着创作时的构思轨迹，让静美的肖像多了几分灵动的创作温度，细密画的精致质感糅合宗教肖像的肃穆，将神祇的温柔神性娓娓道来。",[7,28,53,78,79,16266,52],"奎师那","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fb54a3856cf5e873c0734145d2cc8d.jpg",[],{"id":16270,"slug":16271,"title":16272,"dynasty":46,"author":47,"museum":75,"description":16273,"tags":16274,"thumbUrl":16277,"material":152,"size":153,"collection":103,"collections":16278,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},289495,"bernardino-india-design-for-a-wall-decoration-over-an-arched-doorway-yi-ming-289495","Bernardino India--Design for a Wall Decoration over an Arched Doorway","整体采用对称构图，以中央纹章锚定视觉重心，涡卷茛苕纹与兽面雕饰缠绕勾勒框架，华丽繁复尽显巴洛克装饰意趣。左右画框内的女性喻像一威一静，左者持杖端坐气场威仪，右者倚柱安坐气质柔静，中央立像英挺矫健，借古典人形体颂权力与德行。\n画师以利落明暗晕染铺陈体积感，刚柔并济的线条刻画出拟石的厚重肌理，将古典人文的典雅与巴洛克的华丽动感相融，适配拱门上楣的装饰形制，让庄重气场与灵动韵律共生，尽显古典装饰设计的精妙巧思。",[6651,5001,78,28,1164,2905,7,16275,2467,13451,16276],"古典风格","设计稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448e1fb7daa0c7d469160298c7b0794.jpg",[],{"id":16280,"slug":16281,"title":16282,"dynasty":46,"author":47,"museum":75,"description":16283,"tags":16284,"thumbUrl":16286,"material":152,"size":153,"collection":103,"collections":16287,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},289492,"bernardino-poccetti-the-death-of-saint-alexis-falconieri-at-monte-senario-yi-ming-289492","Bernardino Poccetti--The death of Saint Alexis Falconieri at Monte Senario","这帧红棕素描以半圆构图铺展肃穆场景。濒死的圣徒静卧左侧，周遭修士神情各呈悲戚与虔敬：有人垂首祈祷，有人抬手吟念祷词，有人难掩哀恸垂身低眉。\n线条随性却极具张力，以排线晕染明暗，勾勒出修道院昏暗沉郁的室内空间，精准烘托出临终时刻的神圣悲怆。群像神态动作刻画入微，将信仰裹挟下的哀伤与肃穆交织尽显，虽为草稿，却将这场神圣告别中的细腻情绪全然铺陈开来。",[7,28,6651,725,16285],"临终场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b8d2b10ce6513ad37ea0d73cb3856f0.jpg",[],{"id":16289,"slug":16290,"title":16291,"dynasty":46,"author":47,"museum":75,"description":16292,"tags":16293,"thumbUrl":16298,"material":152,"size":153,"collection":103,"collections":16299,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},289489,"bernardo-castello-modello-for-ceiling-fresco-with-papal-coat-of-arms-yi-ming-289489","Bernardo Castello--Modello for Ceiling Fresco with Papal Coat of Arms","浅棕调素描晕染出巴洛克式华丽构图，盾形纹章为视觉核心，涡卷雕花勾勒柔美元边框。上方丘比特簇拥十字宝球与三重冠，灵动小天使环绕绶带，托举细节。两侧拟人女神烘托威仪，下方勇武军士承托整体，层级分明。细腻排线区分明暗，将宗教纹样的庄肃，揉入古典装饰的柔美灵动，尽显文艺复兴晚期宫廷宗教装饰的典雅仪式感，兼具布局巧思与美学张力。",[7,6651,16294,16295,16296,2241,16297,725,5001],"湿壁画稿","西洋画","教皇纹章","古典人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3494a24301bd7f770085b63e81f4d3f.jpg",[],{"id":16301,"slug":16302,"title":16303,"dynasty":46,"author":47,"museum":75,"description":16304,"tags":16305,"thumbUrl":16309,"material":152,"size":153,"collection":103,"collections":16310,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},289472,"carlo-alberto-baratta-study-for-the-decoration-of-a-vault-yi-ming-289472","Carlo Alberto Baratta--Study for the Decoration of a Vault","这幅天顶装饰手稿以透视营造出穹顶纵深感，中心云雾翻涌，天使们舒展羽翼簇拥圣像，携着天国的灵动感破壁而出，将神圣升腾的瞬间定格。左右三角饰板里的小爱神姿态俏皮柔媚，与边角沉肃端坐的圣贤形成动静对冲，平衡了画面节奏。\n\n以灰调铺就底色，明暗晕染柔和通透，将布面化作穹顶壁面，人物如同浮雕般浮现，完美复刻巴洛克宗教装饰的华丽张力，让天国的恢宏与灵动跃然纸上，兼具宗教的庄严与艺术的浪漫表现力。",[7,2241,16306,16307,16308,145,14745],"穹顶装饰","素描稿","壁画稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac0fb073e4848e63bfc7ab32418098.jpg",[],{"id":16312,"slug":16313,"title":16314,"dynasty":46,"author":47,"museum":75,"description":16315,"tags":16316,"thumbUrl":16321,"material":152,"size":153,"collection":103,"collections":16322,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},289070,"jules-bastien-lepage-the-little-communicant-yi-ming-289070","Jules Bastien-Lepage--The Little Communicant","画面晕着沉静的复古灰调，少女神色澄澈却带着孩童少见的端庄凝重，双手轻叠于膝头，恭谨克制的姿态盛满初临圣事的虔诚懵懂。蕾丝头纱垂落如薄雾，柔化了仪式的肃穆，明暗晕染细腻勾勒出白纱的蓬松褶皱，将少女衬得如月色里舒展的白铃兰。写实笔触揉着诗意温柔，没有浓烈情绪，只有静水流深的仪式感，仿佛一首轻声祷歌，将信仰的庄重与少女的青涩柔和相融，把这份洁净郑重的瞬间永远定格，引人沉湎于这纯粹又静谧的虔诚时刻。",[7,145,16317,16318,13916,16319,16320],"少女","黑白版画","头纱","白衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac88fa1bd2677bdc29d27f53f82e653.jpg",[],{"id":16324,"slug":16325,"title":16326,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":16328,"thumbUrl":16331,"material":152,"size":153,"collection":103,"collections":16332,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288875,"giovanni-battista-tiepolo-illustration-for-a-book-two-monks-kneeling-yi-ming-288875","Giovanni Battista Tiepolo--Illustration for a Book Two Monks Kneeling","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[7,28,6651,1558,16329,16330,1059],"跪拜","西方绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71c43e3964a7a0c1b80ce0af740a879.jpg",[],{"id":16334,"slug":16335,"title":16336,"dynasty":46,"author":47,"museum":75,"description":16337,"tags":16338,"thumbUrl":16341,"material":152,"size":153,"collection":103,"collections":16342,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288741,"sebald-beham-the-circumcision-of-christ-yi-ming-288741","Sebald Beham--The Circumcision of Christ","这幅素描以圆形构图框定这场神圣时刻，细密排线与淡墨晕染交织铺陈氛围。手托圣婴的老者面容悲悯，缓缓铺开仪式的庄重感。围绕的众人神态各异，或垂眸致意，或低语慨叹，右侧侍从静立旁观，沉静的姿态平衡了画面重心。\n劲挺利落的衣褶线条勾勒出人物身份差异，浅淡明暗衬出逼仄小屋的空间纵深感。整作以克制写实的笔调，将这场圣典仪式的肃穆与温情定格，带着早期素描质朴的表现力，让宗教叙事的神圣感顺着笔尖漫溢开来，尽显内敛沉静的古典宗教绘画面貌。",[7,145,27,16339,16340,6711,6959,5013],"基督受割礼","宗教仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55bd63aba6418745280fe5b65b91168.jpg",[],{"id":16344,"slug":16345,"title":16346,"dynasty":46,"author":47,"museum":75,"description":16347,"tags":16348,"thumbUrl":16351,"material":152,"size":153,"collection":103,"collections":16352,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288710,"william-blake-angel-of-the-revelation-yi-ming-288710","William Blake--Angel of the Revelation","挺拔的天使周身漫溢暖金神光，抬手昭告天启降临，另一手紧攥载满圣谕的经卷。他赤足立于惊涛之上的岩礁，熔火光焰缠绕踝间，躯体的线条凝练而充满力量感，将神性威严与精神伟力具象化。\n\n云霭间簇拥的众灵神态各异，或敬畏凝视，或惶惑低语，以凡俗的渺小反衬出天使的崇高孤绝。淡彩晕染出朦胧又磅礴的神光明暗，柔和笔触勾勒的神圣辉光，将天启时刻的庄严肃穆铺展开来，让观者仿若亲历神谕降下的瞬间，灵魂随这束神光震颤，沉浸在神圣降临的震撼之中。",[7,145,53,2241,13915,16349,210,1851,16350],"光芒","圣经题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2042e8386e1bfa58d6347b9ebb4fb5c1.jpg",[],{"id":16354,"slug":16355,"title":16356,"dynasty":46,"author":47,"museum":75,"description":16357,"tags":16358,"thumbUrl":16360,"material":152,"size":153,"collection":103,"collections":16361,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288601,"attributed-to-francesco-allegrini-job-and-his-comforters-yi-ming-288601","attributed to Francesco Allegrini--Job and His Comforters","这幅蚀刻速写以奔放粗犷的笔触铺陈画面，交叉排线勾勒出墙面粗糙的肌理，烘托出逼仄压抑的空间氛围。人群攒动，肢体姿态夸张且充满张力，有人抬手激辩，有人垂头颓丧，将情绪的拉扯刻画得淋漓尽致。明暗全凭线条疏密区分，没有细腻晕染，却让每一处身姿都裹挟着戏剧张力，仿佛能听见场间的争执与嗟叹。画作以极具表现力的速写语言定格这场情绪碰撞的会面，粗粝之中带着直击人心的叙事感，尽显素描语言朴素却震撼的力量。",[7,28,725,2965,16359],"圣经故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ef1d9706ea7ae7d8765f686563b797.jpg",[],{"id":16363,"slug":16364,"title":16365,"dynasty":46,"author":47,"museum":75,"description":16366,"tags":16367,"thumbUrl":16368,"material":152,"size":153,"collection":103,"collections":16369,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288543,"da-bei-xin-jie-hu-shen-yin-zhou-ce-shou-gao-yi-ming-288543","大悲心結護身印呪冊手稿","纸色昏黄晕染岁月旧痕，通篇小楷取法唐人写经意趣，结体端秀匀停，笔致温润舒展，无剑拔弩张的锋芒，尽是平和冲淡的禅意。字间排布齐整，行气贯通如一，笔墨朴拙自然，带着抄录经文时的专注沉静。落笔皆是虔敬之心，将经文的肃穆融于笔锋起落，尽显传统写经书法的内敛雅致，悠悠古韵漫溢纸面，静静传递出抄录时的清宁心境。",[190,430,747,464,7,572,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fd0f37f3c1746334693c09d4d6751f.jpg",[],{"id":16371,"slug":16372,"title":16373,"dynasty":18,"author":47,"museum":75,"description":16374,"tags":16375,"thumbUrl":16376,"material":152,"size":153,"collection":103,"collections":16377,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288132,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-bai-er-shi-er-yi-ming-288132","大般若波罗蜜多经卷第五百二十二","此卷写经纸色泛黄古旧，墨色凝练匀净，尽显唐人写经的虔谨风貌。小楷笔法端秀恭谨，结体平正舒展，字字排布齐整却不失灵动，通篇行气舒缓流畅。笔下带着抄写者的敬佛之心，法度谨严又蕴藏温润静雅的气韵，是唐代写经书法的典型范本。它既是佛教典籍的载体，更是盛唐书法艺术的珍贵遗存，静静承载着千年前的笔墨匠心与信仰温度。",[26,190,747,430,7,1190,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1135653f3f306e034eeb5fe290d4ab.jpg",[],{"id":16379,"slug":16380,"title":16381,"dynasty":18,"author":47,"museum":75,"description":16382,"tags":16383,"thumbUrl":16384,"material":152,"size":153,"collection":103,"collections":16385,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},288130,"da-bo-re-bo-luo-mi-duo-jing-juan-di-er-bai-wu-shi-yi-ming-288130","大般若波罗蜜多经卷第二百五十","此卷小楷点画清劲舒展，结体端稳匀净，通篇气息安和沉静，尽显写经时的恭谨心力。墨色沉润，与泛黄藏经纸相映，虽经岁月摩挲有褶皱破损，却晕开旧时光的温厚质感。笔锋起落皆合唐楷法度，既带着庙堂楷书的整饬，又因抄经的静定生出清和禅意。笔墨之间藏着书写者的虔诚，将般若经义融于一笔一划，朴素无华却见匠心，平淡之中自有静定风骨。",[430,190,747,7,26,1190,572,595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ae2750455f003d32cb8ab900f508e.jpg",[],{"id":16387,"slug":16388,"title":16389,"dynasty":18,"author":47,"museum":75,"description":16390,"tags":16391,"thumbUrl":16393,"material":152,"size":153,"collection":103,"collections":16394,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288128,"shi-xuan-zang-yi-da-zang-jing-a-pi-da-mo-ju-she-lun-fen-bie-sui-min-pin-di-wu-zhi-er-yi-ming-288128","釋玄奘譯 大藏經 阿毗達磨俱舍論 分別随民品第五之二","此卷写经书法是唐代写经体的典型范式，笔画匀净秀雅，结体端庄舒展，墨色沉静莹润。抄经人以恭谨心境落墨，笔笔平和端严，尽显写经的法度与冲淡禅意。虽历经岁月，卷身有多处虫蛀残破，却更添古旧沧桑，带着千余年时光的厚重质感。作为译抄佛典的遗存，笔墨间藏着彼时的宗教文化意趣，是书法艺术与佛教文化交融的珍贵实物，静静诉说着过往的虔敬与雅致。",[190,747,430,26,7,1190,7366,16232,16392],"阿毗達磨俱舍論","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6293c77ab7bf83e0082a486ec44000.jpg",[],{"id":16396,"slug":16397,"title":16398,"dynasty":18,"author":47,"museum":75,"description":16399,"tags":16400,"thumbUrl":16401,"material":152,"size":153,"collection":103,"collections":16402,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},288126,"shi-xuan-zang-yi-da-bo-re-bo-luo-mi-duo-jing-di-shi-yi-yao-shi-si-jing-yu-yang-jing-yi-ming-288126","釋玄奘譯 大般若波羅蜜多經第十一 薬師寺経 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尽显澹然禅意。",[2304,7,3461,1030,1835,225,28,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95884efaab74a330ab15a1b9f7f2862d.jpg",[],{"id":17269,"slug":17270,"title":17271,"dynasty":73,"author":47,"museum":75,"description":3467,"tags":17272,"thumbUrl":17273,"material":152,"size":153,"collection":103,"collections":17274,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},253588,"shi-zhang-mao-ren-zao-shuang-guan-yin-xiang-yi-ming-253588","石张茂仁造双观音像",[73,4463,225,7,28,385,6822],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db2b7093bfedb2d219fff60b1241d62.jpg",[],{"id":17276,"slug":17277,"title":17278,"dynasty":2304,"author":47,"museum":75,"description":17279,"tags":17280,"thumbUrl":17281,"material":152,"size":153,"collection":103,"collections":17282,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},253587,"shi-zhang-feng-sheng-deng-zao-pu-sa-xiang-yi-ming-253587","石张丰生等造菩萨像","汉白玉质地素净温润，菩萨立姿端凝沉静。高发髻线条凝练古雅，面虽残损，慈悲气韵依旧流转。左手垂握璎珞，右手轻抬施无畏印，衣袂褶皱如春水垂淌，婉转舒展，尽显秀骨清像的灵动飘逸。莲台底座饱满圆融，残存背光晕染出悠悠神性。雕工洗练克制，将出尘禅意藏于刀工细节，把雅致空灵凝于石间，岁月磨蚀不减庄严静穆的东方气韵，静静诉说着旧日的信仰与审美。",[2304,4463,225,7,28,3106,3846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F884646bce7be5cae5df40d9ecb5df10e.jpg",[],{"id":17284,"slug":17285,"title":17286,"dynasty":2304,"author":47,"museum":75,"description":17287,"tags":17288,"thumbUrl":17289,"material":152,"size":153,"collection":103,"collections":17290,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},253574,"tong-liu-jin-guan-shi-yin-pu-sa-xiang-yi-ming-253574","铜鎏金观世音菩萨像","此造像以尖顶莲瓣背光撑起庄严格局，背光遍饰缠枝纹样，细密古雅。主尊安坐中央，头光之上排布数尊化佛，左右胁侍恭立，主次分明，层次尽显。\n\n鎏金虽斑驳脱落，却衬出时光厚重质感，佛衣褶皱简练古朴，线条清隽柔和，尽显沉静超脱的宗教气韵。残损边角并未折损肃穆神采，反而晕开独属岁月的沧桑，将千年前的信仰温度凝于铜身，静静传递着空灵悠远的虔诚力量，是宗教造像与古典审美融合的精妙之作。",[2304,7,1030,1835,225,28,3106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff686a0e3a1cfde90c9e1a6687819ba27.jpg",[],{"id":17292,"slug":17293,"title":17294,"dynasty":181,"author":47,"museum":75,"description":569,"tags":17295,"thumbUrl":17296,"material":152,"size":153,"collection":103,"collections":17297,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":215},253396,"tong-liu-jin-tao-shan-zao-guan-shi-yin-pu-sa-zuo-xiang-yi-ming-253396","铜鎏金陶善造观世音菩萨坐像",[181,7,28,1030,1835,225,3461,3106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433498bc151b5251342e3fbe368e3e0f.jpg",[],{"id":17299,"slug":17300,"title":5113,"dynasty":2304,"author":47,"museum":75,"description":569,"tags":17301,"thumbUrl":17302,"material":152,"size":153,"collection":103,"collections":17303,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},253387,"tong-fu-zuo-xiang-yi-ming-253387",[2304,7,28,1030,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b8f28f793cfd21555ccd7c616e4352d.jpg",[],{"id":17305,"slug":17306,"title":4946,"dynasty":394,"author":47,"museum":75,"description":17307,"tags":17308,"thumbUrl":17309,"material":152,"size":153,"collection":103,"collections":17310,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},253384,"tong-liu-jin-fu-li-xiang-yi-ming-253384","此造像身形修挺，莲瓣背光清简雅致，衬得佛颜愈发安和端方。面相圆润饱满，垂眸敛神，自带慈悲静定的气韵。右手施无畏印，予人安定力量，左手轻托法器，衣袂褶皱婉转流畅，贴合身形，尽显清隽秀雅的风骨。\n\n鎏金虽经岁月经年斑驳褪去，古铜包浆晕染出厚重古韵，将佛教造像的神圣感与中古工艺的朴拙凝练相融，静静伫立间，便流转着千年前的虔敬与平和。",[3847,7,3461,1030,1835,225,28,228,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58dde1c1da0f1f4f77b4411ab08ff28f.jpg",[],{"id":17312,"slug":17313,"title":17314,"dynasty":394,"author":47,"museum":75,"description":17315,"tags":17316,"thumbUrl":17317,"material":152,"size":153,"collection":103,"collections":17318,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},253381,"tong-liu-jin-zhao-shi-zao-guan-shi-yin-pu-sa-li-xiang-yi-ming-253381","铜鎏金赵氏造观世音菩萨立像","鎏金虽已斑驳脱落，却晕染出岁月沉淀的古拙质感。尖顶叶形背光浅刻纹饰依稀可见，带着往昔精致工艺的余韵。主尊合掌伫立，面容沉静悲悯，衣纹垂叠自然舒展，尽显慈悲端严之态。两侧胁侍身形恭谨拱卫，章法对称肃穆，烘托出主尊的庄严气场。板凳式底座形制古朴简练，沉凝厚重的铜色衬着残存鎏金，将佛教造像的神圣感与时代审美融于一体，带着历经时光浸润的温润质感，尽显早期佛教造像典雅庄重的独特气韵。",[3461,1030,1835,7,28,228,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e026abc5709d77be8580b0f217197b.jpg",[],{"id":17320,"slug":17321,"title":4946,"dynasty":18,"author":47,"museum":75,"description":17322,"tags":17323,"thumbUrl":17324,"material":152,"size":153,"collection":103,"collections":17325,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":215},253366,"tong-liu-jin-fu-li-xiang-yi-ming-253366","此像身姿挺拔秀逸，右手轻扬施无畏印，予人安宁力量，左手托握法器，神情恬然慈悲，尽显沉静端雅的神性气韵。衣纹贴体流畅，衬出身姿舒展柔和，尽显写实温润的特质。火焰背光层叠环绕，顶饰莲蕾，轮廓灵动华美。鎏金虽斑驳褪色，却晕染出岁月沉淀的华贵质感，下方台座铜锈苍古，与金身相映，将典雅庄重与跨越时光的沉静之美融为一体。",[371,1030,1835,225,7,572,28,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8640cd9dec8d045a5988a3ae51cdda.jpg",[],{"id":17327,"slug":17328,"title":5113,"dynasty":394,"author":47,"museum":75,"description":569,"tags":17329,"thumbUrl":17330,"material":152,"size":153,"collection":103,"collections":17331,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":215},253270,"tong-fu-zuo-xiang-yi-ming-253270",[3847,1030,225,7,443,1032],"https:\u002F\u002Foss.chuangqi.store\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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[223,9395,225,17551,497,2520,7,652],"开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d2da54053d9a72b67974db10bc8acbe.jpg",[],{"id":17555,"slug":17556,"title":17557,"dynasty":220,"author":47,"museum":75,"description":17558,"tags":17559,"thumbUrl":17560,"material":152,"size":153,"collection":103,"collections":17561,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":68},245518,"jin-qian-bao-shi-shi-jia-mu-ni-xiang-yi-ming-245518","金嵌宝石释迦牟尼像","此像通体鎏金，宝光温润华贵。结跏趺坐于饱满层叠的束腰莲台，下承镂空缠枝花底座，纹饰繁丽精巧，尽显匠思。\n\n本尊面容圆润慈悲，双目垂敛含笑，通肩法衣随形垂落，衣纹流畅舒展。双手结说法印，仪态庄重肃穆。尖拱形背光錾刻卷草缠枝，外缘火焰纹层叠烘托，衬得佛身愈发神圣高洁。\n\n整体造型规整端方，金水厚重匀净，细节处一丝不苟，将佛陀沉静庄严的神性，与造像极致华丽的工艺融合，尽显信仰之美与工巧之精。",[223,7,572,28,3106,224,225,226,4729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc384a9819d5c800be161b1c0b2b06069.jpg",[],{"id":17563,"slug":17564,"title":17565,"dynasty":220,"author":47,"museum":75,"description":17566,"tags":17567,"thumbUrl":17570,"material":152,"size":153,"collection":103,"collections":17571,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":41},245388,"jin-ji-nian-ga-ba-la-nian-zhu-yi-ming-245388","金记念嘎巴拉念珠","此串念珠以人骨磨制为主体珠身，每颗骨珠錾刻细密经文，自带藏地密宗的沉静肃穆。珊瑚圆珠作为隔珠，暖润色泽调和骨珠的清冷质感，金饰与松石点缀其间，更添精致华贵。朱红流苏垂坠摇曳，柔化了器物的厚重坚硬，让信仰的庄严里晕开几分灵动。整串念珠融修行的虔诚与手工巧思为一体，古朴质感中凝着绵长祈愿，是藏传佛教法器中兼具精神内核与审美价值的器物。",[223,7,59,224,17568,225,17569,12704,14700],"骨质","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11a7e76781f73dc0f6d6be138f20e30.jpg",[],{"id":17573,"slug":17574,"title":17575,"dynasty":220,"author":47,"museum":75,"description":17576,"tags":17577,"thumbUrl":17579,"material":152,"size":153,"collection":103,"collections":17580,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":215},245377,"jin-zan-hua-ba-bao-yu-yi-ming-245377","金錾花八宝-鱼","此作为佛门八宝中的双鱼造像，以纯金錾刻透雕而成。对鱼相向而视，轮廓饱满温婉，鳞片錾刻细密写实，鳍尾舒展灵动，两鱼交合处饰吉祥结，暗含圆满联结之意。顶部如意宝相纹端庄雅致，缠枝卷草环绕器身，虚实相生的透雕消解了方正形制的板滞，让金饰莹润流光间更添灵动感。\n\n整器金水饱满匀净，錾刻走线利落细腻，既带着清式工艺的妍丽工巧，也承载着吉庆有余、双福并至的美好祈愿，是清代金属细作的精巧佳构。",[223,224,17578,1897,15129,2449,7],"錾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57856c9a4d45df422f2f60893890a79.jpg",[],{"id":17582,"slug":17583,"title":17584,"dynasty":220,"author":47,"museum":75,"description":17585,"tags":17586,"thumbUrl":17588,"material":152,"size":153,"collection":103,"collections":17589,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":215},245372,"jin-fo-ta-yi-ming-245372","金佛塔","此塔宝顶嵌饰珠玉日月，光华内敛而威仪具足。覆钵塔身开龛奉佛，周身錾刻细密纹饰，将雪域佛塔的神圣意蕴融于寸厘之间。通体鎏金璨然生辉，塔刹层叠有序，束腰基座围栏细节考究，线条婉转华美。\n\n它凝萃手工技艺的极致水准，把藏地佛塔的清净庄严尽数铺展，是信仰与匠心交织淬炼的上乘之作，静静伫立间，尽显佛家静穆高华的气韵。",[220,7,224,225,2374,223,17587],"工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ae3715cdc41265638f00297328d7b3.jpg",[],{"id":17591,"slug":17592,"title":17593,"dynasty":220,"author":47,"museum":75,"description":17594,"tags":17595,"thumbUrl":17596,"material":152,"size":153,"collection":103,"collections":17597,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":215},241761,"ye-zi-dai-cui-shi-wu-fang-fu-chao-zhu-yi-ming-241761","椰子带翠饰五方佛朝珠","整体形制规整端雅，以匀净质朴的椰子珠为主体串制，自带天然温润质感。湖绿色翠质结珠与背云莹润通透，中和椰珠沉哑色调，明丽清新。鲜亮珊瑚小珠错落垂下，配搭小巧翠坠，层次分明，与主珠相映成趣。下方背云所缀红料坠角浓艳饱满，利落收尾。\n整套朝珠选材杂糅却和谐统一，清隽不失华贵，恪守礼制规制的同时，尽显旧时匠人巧思，将天然材质的质感与配色美学融合，静静诠释着古典雅致的审美风尚。",[223,59,2860,7,225,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59dd3e0d7b4c407fe0fcbec7e36ebce3.jpg",[],{"id":17599,"slug":17600,"title":17601,"dynasty":73,"author":11873,"museum":75,"description":11874,"tags":17602,"thumbUrl":17603,"material":152,"size":153,"collection":103,"collections":17604,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":41},240941,"miao-fa-lian-hua-jing-ce-juan-qi-zhao-you-chen-240941","妙法莲花经册卷七",[190,747,464,430,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6923346661297b8f52b59d0b7044831.jpg",[],{"id":17606,"slug":17607,"title":17608,"dynasty":18,"author":47,"museum":75,"description":17609,"tags":17610,"thumbUrl":17611,"material":152,"size":153,"collection":103,"collections":17612,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":124},240305,"zhi-hui-shan-yu-jia-shi-di-lun-xie-jing-juan-yi-ming-240305","智慧山瑜伽师地论写经卷","整卷以细密小字贯连始终，笔致恭谨流畅，尽显唐人写经的典型意韵。墨色沉润匀净，历经岁月依旧清晰醒目，朱圈句读点缀其间，与浓墨形成雅致对比，既标注文句，也为满卷笔墨增添了灵动层次。\n通篇排布齐整端严，字字大小匀停却暗藏变化，起收转合恪守唐楷法度，兼具抄经的实用性与书法审美价值。一笔一划皆见抄经人专注的心神，将宗教书写的虔诚融于笔墨之中，静静承载着千年前的书写传统与沉静匠心。",[23,190,747,430,26,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b5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x 1285 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瑜伽论第三十四 三十八分门记 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ty":46,"author":47,"museum":75,"description":18864,"tags":18865,"thumbUrl":18866,"material":152,"size":153,"collection":103,"collections":18867,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":215},290640,"jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290640","金刚般若波罗密经手稿","此卷纸色黄旧斑驳，边缘残损，带着岁月剥蚀的痕迹。通篇以小楷抄写，字迹端稳匀净，笔致沉静内敛，带着写经时的肃穆虔诚，笔墨虽历经年深日久而淡却未散，依旧清晰可观。\n\n书写排布齐整，字间气息安稳平和，尽显抄写时的恭敬心力，残损的卷面更添古旧厚重的禅意，将旧时的宗教敬奉之心凝于卷上，在漫漶纸页间留存下古朴清净的书卷气韵。",[26,190,747,572,7,595,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b031114fddeb597d7735430985936d.jpg",[],{"id":18869,"slug":18870,"title":18871,"dynasty":46,"author":47,"museum":75,"description":18872,"tags":18873,"thumbUrl":18874,"material":152,"size":153,"collection":103,"collections":18875,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290639,"da-bo-re-jing-juan-di-er-shi-san-yi-ming-290639","大般若经卷第二十三","纸面晕染着蜜色包浆，错落水渍如无心晕开的淡墨山水。似烟霭里的汀洲远树，又像云影下的寒山黛色，没有刻意经营的笔触，全是时光悄然摩挲的痕迹。\n\n素净纸页间，水痕层层叠叠，带着旧年潮气浸润的温柔弧度，将悠长岁月晕融其中。每一处深浅不一的印迹，都是时光写给纸页的信笺，藏着过往晨昏里的烟火余温，自带沉静古雅的禅意，于留白之间见天地悠悠，尽显无心而成的雅致意趣。",[747,26,7,190,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdacc2f8b374a810c6f7d94df67d3e57.jpg",[],{"id":18877,"slug":18878,"title":18879,"dynasty":46,"author":47,"museum":75,"description":18880,"tags":18881,"thumbUrl":18882,"material":152,"size":153,"collection":103,"collections":18883,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290638,"jin-guang-ming-jing-juan-di-si-shou-gao-yi-ming-290638","金光明经卷第四手稿","这卷写经以小楷书就，结体匀整端稳，笔致清隽秀雅。通篇千字排布森然不紊，墨色沉凝内敛，历经岁月经纸色泛黄，虫蛀斑驳的痕迹让其更添古雅厚重的沧桑质感。\n\n抄经人笔笔恪守法度，字里行间可见静定心境，既有佛家写经特有的肃穆气韵，又兼具文人小楷的雅致意趣，将虔诚之心融于笔锋起落之间，静静诉说着笔墨传承的悠长温度，是写经书法中颇具韵味的佳品。",[25,190,747,26,430,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bb7c204f064d4853fc8cb397a2063c.jpg",[],{"id":18885,"slug":18886,"title":18887,"dynasty":46,"author":47,"museum":75,"description":18888,"tags":18889,"thumbUrl":18890,"material":152,"size":153,"collection":103,"collections":18891,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},290637,"fu-shuo-zhi-hui-hai-cang-jing-juan-xia-shou-gao-yi-ming-290637","佛说智慧海藏经卷下手稿","此卷以小楷抄录经文，笔致温润秀雅，排布齐整匀净。点画凝练舒展，字字恪守法度却不失灵动，带着写经特有的恭谨气韵。古旧泛黄的纸页晕着沉净墨色，字里行间漫溢着肃穆禅意，书写者的虔诚藏在每一笔起落之中。整体气息平和庄重，尽显写经书法的沉静质感，仿佛将往昔的清净禅心凝于卷上，带着旧时光特有的厚重静谧，观之便觉心神安定。",[26,190,747,572,7,430,1190,3354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f4ba215e4c3ce86f26a9ab281a61ec.jpg",[],{"id":18893,"slug":18894,"title":18895,"dynasty":46,"author":47,"museum":75,"description":18896,"tags":18897,"thumbUrl":18898,"material":152,"size":153,"collection":103,"collections":18899,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290636,"si-fen-jie-shu-juan-di-er-shou-gao-yi-ming-290636","四分戒疏卷第二手稿","此卷以小楷抄就，通篇字行排布匀整森密却不显拥迫，笔致秀雅端稳，墨色匀净沉凝。朱笔批注错落点缀于行间，与墨色相映成趣。书写者下笔收放合度，字字恪守法度，尽显誊抄的虔敬姿态，藏着沉静内敛的书写心力。卷中笔墨带着古朴雅致的书卷气，不见浮躁之态，完整留存了旧时誊写校阅的细节，舒展间尽显中古写本独有的质朴文心，将抄写经典时的肃穆与专注凝于毫端，朴素却动人心神。",[26,190,747,430,7,572,1190,3354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95943061712ca034f03590423c4e51c1.jpg",[],{"id":18901,"slug":18902,"title":18903,"dynasty":46,"author":47,"museum":75,"description":18904,"tags":18905,"thumbUrl":18907,"material":152,"size":153,"collection":103,"collections":18908,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290635,"zeng-yi-a-han-jing-shou-gao-yi-ming-290635","增一阿含经手稿","此卷以小楷抄录经文，通卷排布齐整茂密，字距行距匀停舒朗，墨色清润凝练，尽显端雅静穆的书卷气韵。点画精谨细致，起收提捺皆见法度，笔力内敛沉厚，筋骨暗藏，虽字字独立却气脉贯通如一，将写经人的恭谨静定融入笔墨之间。\n\n全篇无一字苟且，一笔一划皆饱含敬奉之心，既有古雅简澹的意趣，又具端稳工致的姿态，在工整之中暗含灵动意趣，尽显书写者深厚的笔墨功底与虔诚的写经心境，是兼具宗教价值与书法美学价值的写本佳作。",[26,190,430,747,572,7,1190,18906],"佛经手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda98fc6e244fd1da064cf061385ac1d5.jpg",[],{"id":18910,"slug":18911,"title":18912,"dynasty":46,"author":47,"museum":75,"description":18913,"tags":18914,"thumbUrl":18915,"material":152,"size":153,"collection":103,"collections":18916,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290634,"si-fen-lv-cang-juan-er-shi-ba-shou-gao-yi-ming-290634","四分律藏卷二十八手稿","通篇以小楷抄就，字距行距如棋盘般排布严整，笔墨温润秀雅。起收笔一丝不苟，笔画圆融内敛，字字端稳沉静，不见丝毫浮躁懈怠，尽显抄经时的恭敬虔诚。\n\n整卷气息平和冲淡，将经文的庄严肃穆以笔墨具象晕染开来，无张扬笔锋，只在匀净字迹中蕴藏静定绵长的力量，带着手写经卷特有的质朴静雅与肃穆禅意，静静诉说着抄录时的专注与沉静。",[26,190,430,747,7,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652caaa7ee44ea3a335f4a204389601a.jpg",[],{"id":18918,"slug":18919,"title":18920,"dynasty":46,"author":47,"museum":75,"description":18921,"tags":18922,"thumbUrl":18923,"material":152,"size":153,"collection":103,"collections":18924,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290633,"wei-mo-jing-di-zi-pin-yi-ming-290633","维摩经弟子品","此卷淡墨书于泛黄古纸之上，笔触圆融朴拙，行笔舒展从容，字间排布匀净舒朗。纸面带着岁月浸蚀留下的残损痕迹，晕开厚重古雅的沧桑氛围感。\n\n通篇笔墨无刻意妍美雕琢，纯然是抄录经文时的静定流露，将虔诚的信仰融于笔端，字字晕染着沉静内敛的禅意，尽显书写时肃穆宁和的心境，兼具书法审美价值与厚重的人文宗教底蕴。",[190,25,26,747,7,572,430,1190,2770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a047a1d7159d1c88c69a2edd6b062d.jpg",[],{"id":18926,"slug":18927,"title":18928,"dynasty":46,"author":47,"museum":75,"description":18929,"tags":18930,"thumbUrl":18931,"material":152,"size":153,"collection":103,"collections":18932,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":215},290631,"you-po-sai-jie-jing-juan-di-er-shou-gao-yi-ming-290631","优婆塞戒经卷第二手稿","此卷以黄麻纸为底，乌丝界格规整排布，小字楷书写就。笔致精劲稳帖，点画朴拙凝练，字字匀停舒展，通篇气脉连贯沉静，带着抄经时的虔敬肃穆。纸页虽有残损虫蛀，却晕染出时光浸淫的厚重质感，更衬笔墨的温润古雅。无刻意妍美雕琢，却在平实书写里展露精湛功底，将宗教典籍的庄严与民间书法的朴素风神相融，平淡间自有沉静禅意，尽显古写经的质朴美感。",[190,747,26,430,7,572,1190,3354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837032fc6d57fe59b4d1c7477ecb8245.jpg",[],{"id":18934,"slug":18935,"title":18936,"dynasty":46,"author":47,"museum":75,"description":18937,"tags":18938,"thumbUrl":18939,"material":152,"size":153,"collection":103,"collections":18940,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},290629,"mo-he-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290629","摩诃般若波罗蜜经手稿","此卷小楷写经，笔致恭谨端稳，点画敦和舒展，结体匀整安雅，尽显民间写经的典型风貌。泛黄麻纸带着岁月浸润的温厚质感，浓黑墨色历经时光仍显沉实，虽有多处虫蛀残损，却更添古拙沧桑韵味。\n\n抄经者以沉静肃穆的笔力铺陈经文，通篇气息匀净宁和，字字皆带着抄录时的恭敬心力，褪去炫技的浮华，以质朴内敛的笔墨传递出信仰的沉静力量，尽显中古写经的质朴之美。",[190,747,26,1190,572,430,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b7d0717e17191cf8d0da31d285a2c1.jpg",[],{"id":18942,"slug":18943,"title":18944,"dynasty":46,"author":47,"museum":75,"description":18945,"tags":18946,"thumbUrl":18948,"material":152,"size":153,"collection":103,"collections":18949,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},290627,"jiu-zhu-zhong-sheng-ku-nan-jing-can-ye-yi-ming-290627","救诸众生苦难经残页","这页残纸浸着岁月的昏黄，纸面纹路藏着被时光揉捻过的质感。淡褪的墨痕虽已漫漶模糊，却仍能窥见当年抄经时笔锋起落的余韵。边角的编号印记，默默诉说着它曾被庋藏流转的过往。\n\n残损的形态带着残缺的诗意，旧时抄经人的虔诚凝在故纸之上，浅淡墨迹如同被时光磨平的梵音余韵，将久远的信仰气息沉敛在每一道纸纹里，晕开跨越年岁的沉静力量。",[747,7,1190,190,18947],"残页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c294e71638022cbcfe45ce8937ba17d.jpg",[],{"id":18951,"slug":18952,"title":18953,"dynasty":46,"author":47,"museum":75,"description":18954,"tags":18955,"thumbUrl":18956,"material":152,"size":153,"collection":103,"collections":18957,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},290626,"fu-shuo-tian-di-ba-yang-shen-zhou-jing-yi-ming-290626","佛说天地八阳神咒经","此卷以古旧麻纸为底，纸面泛黄斑驳，带着岁月浸洇的痕迹。书法为典型民间写经楷书，起笔收笔皆沉稳端秀，笔画舒展匀净，排布齐整肃穆。墨色虽历经年月依旧浓郁饱满，依稀可见缮写者落笔时的专注敬慎。\n\n残损的纸页更添沧桑厚重，笔锋间尽显中古写经特有的静谧虔诚，将信仰融于笔墨细节之中，质朴的书卷气扑面而来。观者仿佛能窥见往昔抄经时的沉静心绪，残页留存的不仅是经文，更是时光沉淀下的信仰温度与书法意趣。",[747,190,430,1190,7,572,193,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc0e1a34e332cb85bc6cb7cc13c8d538.jpg",[],{"id":18959,"slug":18960,"title":18961,"dynasty":220,"author":47,"museum":75,"description":18962,"tags":18963,"thumbUrl":18964,"material":152,"size":153,"collection":103,"collections":18965,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},290193,"da-bei-zhou-chu-xiang-tu-ce-shang-yi-ming-290193","大悲咒出相图册(上)","此本《工细大悲神咒佛像》(大悲咒出相图)上下册描绘的了大悲咒语前43句及图解,末页是护法韦驮尊天菩萨。书中一句一像,经文用青蓝色书,释文用朱红色书。",[24,464,7,747,28,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b760349faac2acd1c0b2e82b0ba1a65.jpg",[],{"id":18967,"slug":18968,"title":18969,"dynasty":46,"author":47,"museum":75,"description":18970,"tags":18971,"thumbUrl":18972,"material":152,"size":153,"collection":103,"collections":18973,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289569,"qiu-zhou-seng-ga-jing-xiang-zhi-bei-yi-ming-289569","泅洲僧伽經像-纸背","这帧遗存饱经岁月销蚀，纸面泛着沉郁的古褐，原有的图像已然漫漶朦胧，只余下隐约的色块残影，勾勒着曾经经像的轮廓余痕。褪色晕染的痕迹里，藏着被时光剥蚀的过往细节，带着古旧纸张特有的沧桑肌理，仿佛将往昔的虔敬与笔墨温度悄然封存。\n\n模糊残影间，依旧能窥见昔日绘塑时的沉静心意，残损的纸边与晕开的色块，皆是时光镌刻下的独特印记，带着古物遗存独有的厚重余韵，静默诉说着被岁月掩藏的信仰图景。",[24,25,51,7,28,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b71933166d384f6e9767e866e5d400.jpg",[],{"id":18975,"slug":18976,"title":18977,"dynasty":46,"author":47,"museum":75,"description":18978,"tags":18979,"thumbUrl":18981,"material":152,"size":153,"collection":103,"collections":18982,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289537,"attributed-to-ubaldo-gandolfi-christ-in-glory-with-saint-lawrence-saint-anthony-of-padua-yi-ming-289537","Attributed to Ubaldo Gandolfi--Christ in Glory with Saint Lawrence, Saint Anthony of Padua","棕褐笔调晕开神性回响，奔放线条铺陈出画面张力。上方穹顶中，簇拥的灵影裹挟翻飞衣袂，如卷涌云浪托举神圣光晕，笔意恣肆酣畅，将天国的宏阔氛围感凝于笔端。\n\n地面上的信徒或躬身仰望，或伸手祈颂，衣褶的明暗晕染精准勾勒出肃穆虔敬的神态，把凡世对神性的仰望与渴慕静静铺展。潦草却极具感染力的笔触，让神圣感召力跃然纸面，将信仰的热忱定格在这方寸画幅之中。",[7,28,6651,14577,14566,18980],"圣徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff329e4189996d94ea9021a4ebeb12f55.jpg",[],{"id":18984,"slug":18985,"title":18986,"dynasty":46,"author":47,"museum":75,"description":18987,"tags":18988,"thumbUrl":18990,"material":152,"size":153,"collection":103,"collections":18991,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289536,"attributed-to-ubaldo-gandolfi-decapitation-of-saint-james-the-greater-yi-ming-289536","Attributed to Ubaldo Gandolfi--Decapitation of Saint James the Greater","棕墨晕染的纸面之上，殉道时刻的庄严被定格。前景里圣徒舒展臂膀，在天使的环绕之中，从容直面死亡，肌肉贲张的侩子手正举刀落向他的颈项，侧旁的士兵漠然旁观。\n\n上方云气翻涌盘旋，簇拥着天使们自天国降临，急切前来接引殉道者的灵魂。利落遒劲的线条勾勒出衣袍褶皱，带着极强的动感张力，明暗晕染铺陈开凡世与天国的层次对比，将殉难的悲壮与神性升遐的神圣感相融，笔触里浸着浓郁的戏剧感染力，把信仰的坚毅传递得淋漓尽致。",[7,28,2241,2223,27,6651,16359,18989],"圣雅各斩首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a47acf5439866b3ad92ab9d052042ba.jpg",[],{"id":18993,"slug":18994,"title":18995,"dynasty":46,"author":47,"museum":75,"description":18996,"tags":18997,"thumbUrl":18998,"material":152,"size":153,"collection":103,"collections":18999,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289530,"auguste-rodin-origin-of-the-greek-vase-yi-ming-289530","Auguste Rodin--Origin of the Greek Vase","粗犷松弛的线条铺陈出沉郁肃穆的教堂空间，明暗晕染晕开砖石墙面的斑驳肌理，烘托出古旧穹顶的厚重质感。祭典队伍簇拥着华盖圣物缓缓行进，人物错落的动态带着庄重韵律，左侧执杖侍者躬身低首，尽显仪式的虔诚。\n\n潦草却精准的线条勾勒出袍服褶皱，带着速写的随性写意，却将祭典的庄严肃穆凝于纸面，仿佛能听见穹顶之下回旋的祷声，把宗教仪式的沉静厚重，定格在这朦胧又真切的瞬间之中。",[7,145,6651,17830,16340,13464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42be792ee8ff3b5d27b970d3f3982760.jpg",[],{"id":19001,"slug":19002,"title":19003,"dynasty":46,"author":47,"museum":75,"description":19004,"tags":19005,"thumbUrl":19007,"material":152,"size":153,"collection":103,"collections":19008,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289527,"aureliano-milani-an-old-man-on-his-deathbed-tempted-by-demons-yi-ming-289527","Aureliano Milani--An Old Man on His Deathbed Tempted by Demons","画面以逼仄卧房承载了临终前的精神炼狱。狞恶恶灵将濒死老人团团围住，有的俯身拉扯老人躯体，有的挥鞭恫吓，角落小魔怪煽风造势，床侧邪祟探爪攫取，连天花板都隐现魅影。\n作者以利落排线铺陈明暗，粗粝线条刻画出恶魔扭曲形貌，阴影将空间揉成压抑囚笼，把信徒临终前的精神拉扯具象到极致，让观者直面邪祟与神性的激烈对峙，将濒死之际的恐惧、挣扎全盘铺展，沉郁诡谲的氛围浸透纸面，直白诉说着灵肉博弈的终极试炼。",[6651,27,145,7,12927,148,19006,2903],"病床","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36337968697098e1e262b560cbab1941.jpg",[],{"id":19010,"slug":19011,"title":19012,"dynasty":46,"author":47,"museum":75,"description":19013,"tags":19014,"thumbUrl":19016,"material":152,"size":153,"collection":103,"collections":19017,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289524,"aurelio-lomi-saint-hyacinth-receiving-the-dominican-habit-yi-ming-289524","Aurelio Lomi--Saint Hyacinth Receiving the Dominican Habit","这幅素描以棕褐笔线铺陈，打稿网格可见创作时的严谨构思。画面下方是仪式核心，主教抬手肃穆授衣，圣徒躬身垂首，虔敬神态顺着沉坠的衣褶漫溢而出，围观者或凝神瞩目、或私语侧望，神态各有章法。\n云端的天使环伺环绕，灵动舒展的身姿与下方的庄重氛围形成柔刚对冲，角落嬉闹的小天使，为这场神圣晕染出鲜活暖意。\n线条兼具力量感与柔润度，精准勾勒出人物的体态情绪，将宗教仪式的庄严肃穆，与天国的轻盈灵动自然糅合，在素朴的稿纸上晕开虔诚又不失温度的氛围感。",[7,28,27,6651,16340,2241,19015,1106,278],"神职人员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf256756d9c52e15306495e73c6da00.jpg",[],{"id":19019,"slug":19020,"title":19021,"dynasty":46,"author":47,"museum":75,"description":19022,"tags":19023,"thumbUrl":19026,"material":152,"size":153,"collection":103,"collections":19027,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289523,"aurelio-luini-the-martyrdom-of-saint-lawrence-yi-ming-289523","Aurelio Luini--The Martyrdom of Saint Lawrence","这幅素描淡彩稿构图铺陈饱满，以明暗层次区分画面场域。左侧平民或信众哀恸惶恐，有人蜷缩在地，有人伸手呼号，将殉难的悲戚尽数流露。画面中央，身着朱红法衣的教会显贵神情肃穆，抬手的动作仿佛在传递最后的祷念，旁侧素色修士垂首静立，满含悲悯。右侧士兵倨傲冷漠，倚坐打量着这场悲剧，神色毫无波澜。\n\n淡彩晕开衣袍褶皱，线条既勾勒出人物的肌理情态，也将城邦街景晕染得极具氛围感。细腻笔触刻画出不同阶层的神态反差，把殉道时刻的神圣与悲怆定格，叙事张力十足，虽为稿本却情绪饱满厚重。",[7,145,53,6651,1106,19024,19025,19015],"殉道场景","城市建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc826af976cb0d4799d99672a9a66cb.jpg",[],{"id":19029,"slug":19030,"title":19031,"dynasty":46,"author":47,"museum":75,"description":19032,"tags":19033,"thumbUrl":19035,"material":152,"size":153,"collection":103,"collections":19036,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289507,"bartolome-esteba-n-murillo-the-infant-st-john-the-baptist-yi-ming-289507","Bartolomé Estebán Murillo--The Infant St. John the Baptist","这幅素描以松弛灵动的排线晕染铺陈明暗，柔化的笔触将孩童的稚态勾勒得鲜活动人。圣婴依偎着羔羊，懵懂澄澈的神情带着柔和暖意，抬手的姿态亲昵自然，与身旁温驯的生灵晕出缱绻的亲昵氛围。\n\n朦胧虚化的山野背景刻意隐去细节，烘托出静谧柔和的田园气息，让焦点全然落在这对相伴的身影之上。随性自如的线条兼具速写的生动松弛与古典宗教画的沉静诗意，以极简的明暗塑造出柔和体积感，将神性融于天真日常之中，尽显素描抒情的表现力，仿若将片刻温柔定格在纸面之上。",[7,28,6959,17819,6651,16295,19034],"山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a5d5f298eb81c35b25711d60eef686.jpg",[],{"id":19038,"slug":19039,"title":19040,"dynasty":46,"author":47,"museum":75,"description":19041,"tags":19042,"thumbUrl":19043,"material":152,"size":153,"collection":103,"collections":19044,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289494,"bernardino-poccetti-saint-antoninus-kneeling-before-the-crucifix-yi-ming-289494","Bernardino Poccetti--Saint Antoninus Kneeling before the Crucifix","这幅素描以克制却灵动的线条铺陈教堂内的虔敬图景。穹顶之下的礼拜堂中，左侧信众列队垂首静立，姿态沉凝庄重，中央跪伏的身影向着祭台苦像全心祷祝，简练笔触将敬慕与赤诚传递尽致。右侧妇孺依偎观望，柔缓的线条晕开寻常信众的平和安然。作品以疏密有致的排线交代空间纵深，利落轮廓清晰区分群像与祭台陈设，未以繁复敷色修饰，仅凭借明暗层次，便烘托出圣堂静谧庄严的氛围，将宗教场域的肃穆虔敬藏于每一处线条起落，尽显素描语言叙事传情的力量。",[7,27,6651,145,276,16329,13464,5013,1106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34839885bd23d52532b53256e5a94bf9.jpg",[],{"id":19046,"slug":19047,"title":19048,"dynasty":46,"author":47,"museum":75,"description":19049,"tags":19050,"thumbUrl":19054,"material":152,"size":153,"collection":103,"collections":19055,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289488,"bernardo-strozzi-study-for-st-francis-of-assisi-adoring-the-cross-yi-ming-289488","Bernardo Strozzi (–)-Study for St Francis of Assisi adoring the cross","粗粝的排线扫过蓬乱须发，顺着眉骨、颧肌的起伏揉擦出明暗层次，将脖颈拉伸的紧绷感全然铺展。人物目光竭力向上扬起，眉峰攒起的褶皱牵动着眼角纹路，微张的嘴唇仿佛正吐露出无声的祷念。\n\n厚重的炭色揉出须发的蓬松粗野，却用细腻晕染柔化了面部肌肉的震颤，把仰望时的悲戚与崇敬一并刻入纸面。光影顺着鼻梁与下颌线流淌，精准勾勒出仰颈时肌肉的拉扯感，将那份近乎屏息的虔诚，凝练成静态却极具张力的动容瞬间。",[6651,19051,7,1106,19052,2222,19053,6711],"人物肖像","圣方济各","虔诚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8021cc0f17c639cd3d9a95526c0079b.jpg",[],{"id":19057,"slug":19058,"title":19059,"dynasty":46,"author":47,"museum":75,"description":19060,"tags":19061,"thumbUrl":19064,"material":152,"size":153,"collection":103,"collections":19065,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289487,"bernardo-strozzi-saint-peter-yi-ming-289487","Bernardo Strozzi--Saint Peter","这幅素描以精准的笔触刻画出老者沉郁思索的模样，指节抵着颞侧，眉峰紧蹙，眼窝的阴影晕出焦灼又深邃的神思，仿佛正于内心叩问终极的信仰。蓬松卷曲的须发与沟壑纵横的肌肤形成强烈反差，排线疏密铺陈出细腻的光影层次，将皮肤松弛的垂坠感、血管虬结的手部肌理描摹得栩栩如生。\n\n满纸线条藏着饱满情绪，把老者饱经世事的沧桑与矢志不渝的坚定融为一体，让静态肖像拥有了鲜活的灵魂，仿佛下一刻便会开口，诉说沉淀在岁月里的沉重心事。",[7,19062,6651,145,9620,19063],"圣彼得","沉思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b16ca2af542756bd489afd60ed08d8.jpg",[],{"id":19067,"slug":19068,"title":19069,"dynasty":46,"author":47,"museum":75,"description":19070,"tags":19071,"thumbUrl":19074,"material":152,"size":153,"collection":103,"collections":19075,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289462,"rembrandt-st-peter-and-st-john-healing-the-paralytic-yi-ming-289462","Rembrandt--St. Peter and St John Healing the Paralytic","这幅速写以洗练线条铺陈神迹场景，瘫坐的乞者伸臂渴求，满含恳切张力。几位老者神色沉凝，圣徒的悲悯庄重呼之欲出。砖石拱门以粗粁笔痕晕开市井烟火气，寥寥数笔便勾勒出人物姿态与情绪流动，光影隐在线条疏密之间，将叙事感拉至顶点。作者以极简笔墨定格互动瞬间，无繁复修饰，却让虔诚、悲悯与希冀的氛围扑面而来。每一道线条都承载情节重量，将宗教故事的神圣质感融入街角日常，质朴却极具感染力，尽显素描语言的动人表现力。",[6651,28,7,16359,19072,19073],"医治瘫子","门洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40d0b52abf290f86d23bad297e3eff26.jpg",[],{"id":19077,"slug":19078,"title":19079,"dynasty":46,"author":47,"museum":75,"description":19080,"tags":19081,"thumbUrl":19084,"material":152,"size":153,"collection":103,"collections":19085,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289460,"rembrandt-the-wedding-night-of-tobias-and-sarah-yi-ming-289460","Rembrandt--The Wedding Night of Tobias and Sarah","这幅速写以松弛灵动的线条，定格下私密的室内时刻。跪地的二人垂首祈祷，柔和的轮廓勾勒出庄重虔诚的神态，将新婚夜的郑重誓言藏在沉静姿态中。\n\n左侧起伏的线条晕开帷幔柔垂的褶皱，朦胧划分出私密空间，右侧侍立的女仆低首静立，更衬出场景静谧平和的氛围。没有繁复雕琢，仅以寥寥即兴的笔触，便将新婚的神圣暖意与日常的温柔相融，带着临场捕捉的鲜活质感，让观者仿佛能触碰画面里流动的松弛与虔诚。",[7,28,6651,2903,19082,19083],"祈祷","新婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9f0ae428a5f2cd33afa19a9902c3642.jpg",[],{"id":19087,"slug":19088,"title":19089,"dynasty":46,"author":47,"museum":75,"description":19090,"tags":19091,"thumbUrl":19093,"material":152,"size":153,"collection":103,"collections":19094,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289323,"fra-bartolomeo-the-annunciation-recto-faint-view-of-buildings-yi-ming-289323","Fra Bartolomeo--The Annunciation (recto); Faint View of Buildings","这幅素描以灵动松弛的笔调铺陈，左侧跪立的天使身形舒展，衣褶线条疏密交错，精准勾勒出布料的垂坠与张力，将虔诚恭谨的神态藏在简练的轮廓里。右侧仅以浅淡虚浮的线条勾勒出模糊的身影，带着创作构思时的未定质感。大面积留白让画面呼吸感十足，虚实之间晕开静谧神圣的氛围。潦草却精准的笔痕，留存下创作构思的鲜活瞬间，未完成的松弛感与宗教题材的肃穆感相融，用朴素的素描语言，传递出动人的神性温度，将灵感乍现的刹那永久定格。",[7,28,27,6651,19092],"天使报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6791104af8e7a0b9840936f364c73a8.jpg",[],{"id":19096,"slug":19097,"title":19098,"dynasty":46,"author":47,"museum":75,"description":19099,"tags":19100,"thumbUrl":19102,"material":152,"size":153,"collection":103,"collections":19103,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289312,"mattia-preti-a-group-of-saints-and-angels-recto-studies-yi-ming-289312","Mattia Preti--A Group of Saints and Angels (recto); Studies","以红赭粉笔铺陈于纸本之上，笔触松弛却精准收拢住人物神态。前排圣徒敛眉垂目，沉凝裹挟着悲悯的神性质感，仰首的天使满溢着纯粹虔敬，后排群像朦胧层叠，烘托出拥挤又肃穆的神圣集会氛围。\n\n衣褶线条顺着躯体起伏延展，光影随粉笔晕染自然晕开，将个体情绪揉入整体氛围感中，仿佛祷告的余韵正萦绕在这群像之间，带着速写独有的灵动鲜活，又不失宗教题材自带的厚重庄严，寥寥数笔便将神性的张力诉诸纸面。",[7,278,6651,18980,2241,19101],"单色画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc0d394d9a54673407fa6dba039bfa4e.jpg",[],{"id":19105,"slug":19106,"title":19107,"dynasty":46,"author":47,"museum":75,"description":19108,"tags":19109,"thumbUrl":19111,"material":152,"size":153,"collection":103,"collections":19112,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289311,"mattia-preti-seated-bishop-with-arms-extended-and-three-attendant-figures-yi-ming-289311","Mattia Preti--Seated Bishop with Arms Extended and Three Attendant Figures","以红粉笔铺陈画面，粗粝松弛的笔触勾勒出主教的厚重身形，衣褶排线顺着布料垂坠转折，将织物的厚重质感尽显无疑。主教沉凝肃穆，舒展的手臂带着沉静威仪，与身后侍从们仰头呼喊的激昂形成强烈张力，短促线条精准勾勒出侍从们迸发的情绪。\n\n左侧淡描的模糊人影拉开画面层次，让场景更具纵深感，暖调红粉笔晕染出庄重的宗教氛围，潦草却精准的线条抓住人物神态与动势，将仪式里的肃穆与热忱交融，尽显素描语言的表现力。",[7,145,6651,19110,827],"主教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b6b4df4b86dffa6045536f374a0cfe.jpg",[],{"id":19114,"slug":19115,"title":19116,"dynasty":46,"author":47,"museum":75,"description":19117,"tags":19118,"thumbUrl":19120,"material":152,"size":153,"collection":103,"collections":19121,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289310,"mauro-soderini-drawing-for-a-frontispiece-yi-ming-289310","Mauro Soderini--Drawing for a 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Simon","椭圆形构图收拢画面张力，宴饮众人姿态鲜活各异，卧躺的宾客慵懒松弛，侍立女眷沉静端庄，动静相映。以明暗浓淡的炭笔笔触铺陈氛围，帷幔褶皱厚重苍劲，器物细节写实精巧。画面留存转印网格，带着创作底本的严谨质感，在简约素描层次里藏住宴饮喧嚣叙事，明暗晕染烘托出古典场景的庄重氛围感，将宗教宴饮的鲜活场面凝于笔端，尽显古典叙事画的沉稳张力。",[7,278,19128,6651,16330,5013,16350,19129],"宴饮","稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de53b456f02f9d26f9b4c24226c1a05.jpg",[],{"id":19133,"slug":19134,"title":19135,"dynasty":46,"author":47,"museum":75,"description":19136,"tags":19137,"thumbUrl":19142,"material":152,"size":153,"collection":103,"collections":19143,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289303,"michelangelo-anselmi-the-young-david-playing-the-harp-yi-ming-289303","Michelangelo Anselmi--The Young David Playing the Harp","以银笔绘于灰蓝纸本之上，淡墨排线晕染明暗，勾勒出半裸少年的悠然坐姿。柔润侧颜带着沉静神采，蓬松卷发如沐微风，躯体肌肉线条舒展写实，明暗铺陈精准塑造出肌肤温润的体积感。他怀拥竖琴，指尖似正轻拨弦丝，仿佛清越乐声正随呼吸漫溢。画面网格是古典创作的转印标线，藏着匠人的严谨巧思，将浪漫诗意与写实功底相融。静穆优雅的氛围里，少年的神性与青涩柔美交织，将沉醉于乐声的温柔瞬间定格，尽显古典人体素描的静谧张力。",[7,28,6651,16295,19138,19139,19140,19141],"竖琴","大卫","半裸人体","椭圆构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783ba5d61503b14d8c7ca52710b5f184.jpg",[],{"id":19145,"slug":19146,"title":19147,"dynasty":46,"author":47,"museum":75,"description":19148,"tags":19149,"thumbUrl":19151,"material":152,"size":153,"collection":103,"collections":19152,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289302,"michelangelo-buonarroti-design-for-the-tomb-of-pope-julius-yi-ming-289302","Michelangelo Buonarroti--Design for the Tomb of Pope Julius","整体严整对称，线条利落凝练，勾勒出庄重静穆的纪念性空间。顶部穹顶光晕裹挟圣母子，晕染出神圣氛围感，两侧立像身姿典雅，稳稳承托上层神域氛围。中层以陵墓瓮棺为核心，环绕的天使烘托出追思的哀荣感，角落拟人坐像沉敛肃穆，铺陈出厚重的纪念氛围。下层壁龛与浮雕细节繁丽却不失克制，将人文意趣与神性纪念精妙糅合，用精准笔触平衡建筑秩序感与雕塑张力，尽显肃穆典雅的古典美学底蕴。",[27,7,28,2223,19150,225,16276],"陵墓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69c3d86d775b12d16e8a2d02ce04fd7.jpg",[],{"id":19154,"slug":19155,"title":19156,"dynasty":46,"author":47,"museum":75,"description":19157,"tags":19158,"thumbUrl":19159,"material":152,"size":153,"collection":103,"collections":19160,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289294,"paolo-gerolamo-piola-christ-in-the-house-of-martha-and-mary-yi-ming-289294","Paolo Gerolamo Piola--Christ in the House of Martha and Mary","画面以对称拱厅铺展故事，左右两厢冷暖对照。左间烟火蒸腾，仆役们穿梭备宴，满是劳碌的市井温热；右厢静穆虔敬，马利亚跪伏迎候，基督垂目颔首满是悲悯柔和，门徒们肃立随侍。弧顶的小天使舒展羽翼，为庄严肃穆的空间揉入轻盈灵动。\n\n手绘排线勾勒衣褶起伏，淡彩晕染铺陈光影层次，让织物的厚重、石墙的冷硬呼之欲出。画师用细腻笔触刻绘神态，将侍奉的匆忙与敬拜的沉静并置，在古典建筑的框定下，把宗教叙事的神圣性揉进日常图景里，让信仰的温度顺着笔锋漫溢开来。",[16295,7,145,6651,14566,2241,5013,10690,16359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8e2f3da11049f2f67762368bf36188.jpg",[],{"id":19162,"slug":19163,"title":19164,"dynasty":46,"author":47,"museum":75,"description":19165,"tags":19166,"thumbUrl":19172,"material":152,"size":153,"collection":103,"collections":19173,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289291,"paolo-pagani-three-men-fighting-study-of-a-nude-figure-supported-by-another-yi-ming-289291","Paolo Pagani--Three Men Fighting; Study of a Nude Figure Supported by Another","此作以圣体为视觉核心，放射状圣光撕裂垂落帷幔，将神性的张力推至顶峰。两侧天使承托柔垂布幔，涡旋雕饰与层叠立柱相互缠绕，将建筑结构揉入戏剧化的宗教氛围之中。淡晕的明暗铺陈出近似大理石的温润质感，每一处雕花细节都在描摹神圣威仪，将信仰的庄严，融于这浮夸绮丽的视觉盛宴。整体设计打破静态建筑的束缚，让祭坛仿若正在涌动的神迹，将巴洛克风格的动态奢华与宗教肃穆完美糅合，勾勒出一场触手可及的神圣幻梦。",[7,19167,19168,6651,2241,19169,19170,19171],"祭坛","淡彩","圣体龛","装饰艺术","建筑设计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eff67081d8cea211133c42a5cec681.jpg",[],{"id":19175,"slug":19176,"title":19177,"dynasty":46,"author":47,"museum":75,"description":19178,"tags":19179,"thumbUrl":19181,"material":152,"size":153,"collection":103,"collections":19182,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289288,"parmigianino-design-for-a-sepulchral-monument-of-a-youth-yi-ming-289288","Parmigianino--Design for a Sepulchral Monument of a Youth","这幅设计稿以素描淡彩铺就，线条柔婉灵动，带着松弛的韵律感。休憩的少年居于画面核心，上方圣母子安坐花环拱门下，环绕的小爱神或持杖守护、或依偎侍奉，将神圣与悼亡的氛围相融。柔美的花环拱门消解了死亡的肃穆，下方碑铭两侧，顽童托举的细节为哀戚晕开一丝天真鲜活。整体构图层次分明，虚实相生，把对逝者的追思包裹在古典诗意的宗教意象中，笔触浸满温柔悲悯，让丧葬设计褪去冰冷底色，晕开脉脉温情，尽显古典美学里的悼怀诗意。",[6651,27,28,6959,7,19180,16295],"墓葬纪念碑设计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee18966e7f8f3f13bba9f68505af3684.jpg",[],{"id":19184,"slug":19185,"title":19186,"dynasty":46,"author":47,"museum":75,"description":19187,"tags":19188,"thumbUrl":19190,"material":152,"size":153,"collection":103,"collections":19191,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289287,"parmigianino-nine-studies-of-the-moses-in-the-steccata-yi-ming-289287","Parmigianino--Nine Studies of the Moses in the Steccata","这九幅稿本以饱满张力刻画摩西形象，每一尊都姿态各异，或扛举碑刻、拧身振臂，贲张的肌肉在棕褐墨色中跃动，揉合神性威严与凡人力感。\n作者以晕染层次区分光影，潦草却精准的排线顺着躯干走势铺陈，勾勒衣褶褶皱起伏，将肢体昂扬的瞬间张力定格。作为大型宗教创作的推敲草图，每一幅都反复打磨神性形象的精神气场，让律法的庄严顺着昂扬的肢体传递，将高踞神坛的宗教人物化为鲜活有力的具象。带着未完成的粗粝质感，却藏着最蓬勃的创作灵光，把宗教叙事的肃穆揉入充满力量感的动态中。",[7,145,6651,27,19189,1106],"习作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e1892f329a5c0c881aa84e0f5b177f4.jpg",[],{"id":19193,"slug":19194,"title":19195,"dynasty":46,"author":47,"museum":75,"description":19196,"tags":19197,"thumbUrl":19201,"material":152,"size":153,"collection":103,"collections":19202,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289275,"pierre-charles-tre-molie-res-the-ascension-of-christ-recto-head-yi-ming-289275","Pierre Charles Trémolières--The Ascension of Christ (recto); Head","画面上下虚实相映，上方基督舒展躯体腾跃云间，衣袂裹挟天风肆意翻卷，神性的飘逸随云气漫溢四周，天使振翼随行，将天国的空灵晕染尽致。\n\n下方使徒神态各异，或昂首凝望满含惊叹，或垂首敛容浸于动容，厚重堆叠的衣褶衬出凡人躯体的沉实，与天国的缥缈形成强烈对照，将瞻仰神迹时的震撼与虔诚刻画入微。\n\n单色笔触以明暗铺陈层次，柔劲兼具的线条，将神性的庄严与人性的动容交织，让信仰的肃穆与升华的神圣感扑面而来，在灰调晕染里铺展出凡神之间的精神共鸣。",[6651,2240,145,7,19198,19199,2241,19200],"基督升天","耶稣","使徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dc2ade95c6e2b33cc00628d5fceab1d.jpg",[],{"id":19204,"slug":19205,"title":19206,"dynasty":46,"author":47,"museum":75,"description":19207,"tags":19208,"thumbUrl":19210,"material":152,"size":153,"collection":103,"collections":19211,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289266,"pietro-roselli-the-apotheosis-of-saint-mark-yi-ming-289266","Pietro Roselli--The Apotheosis of Saint Mark","奔放淋漓的墨线即兴勾勒，短促排线晕染明暗层次，潦草却精准地锚定了升腾的动感。云端之上仙众环拥，圣徒在光雾中徐徐升举，下方小天使与灵怪接引呼应，整幅画面浸在狂喜飞升的韵律之中。\n\n未加修饰的速写笔触，将巴洛克式戏剧张力揉入宗教主题，随性的线条间满是奔涌的创作灵感，以未完成的松弛感，完整传递出超凡升遐的神圣震撼，仿佛将那瞬的神性狂喜定格在纸面。",[7,28,27,2241,1179,19209],"神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b11a65430b92cf025fd5629f7b22ea.jpg",[],{"id":19213,"slug":19214,"title":19215,"dynasty":46,"author":47,"museum":75,"description":19216,"tags":19217,"thumbUrl":19219,"material":152,"size":153,"collection":103,"collections":19220,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289262,"pietro-testa-the-presentation-of-the-virgin-in-the-temple-yi-ming-289262","Pietro Testa--The Presentation of the Virgin in the Temple","棕褐素描晕开神圣氛围，云端小天使振翅穿梭，灵动轻盈，与下方祭典形成鲜明动静反差。圣殿台阶之上，主教祭司肃穆而立，衣褶线条苍劲厚重，勾勒出典礼的庄重威仪。跪拜信众姿态虔诚，线条兼具松弛与力量，明暗晕染拉开空间层次，既塑造出人物群像的体积质感，也烘托出宗教仪式的肃穆庄重，让灵动神性与人间礼敬交织相融。",[7,6651,145,2241,19015,19218,712,4147],"圣殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af9e21211fc7e3370f9776536072b41.jpg",[],{"id":19222,"slug":19223,"title":19224,"dynasty":46,"author":47,"museum":75,"description":19225,"tags":19226,"thumbUrl":19230,"material":152,"size":153,"collection":103,"collections":19231,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289248,"polidoro-da-caravaggio-the-holy-family-yi-ming-289248","Polidoro da Caravaggio--The Holy Family","这幅郊野休憩的场景以棕褐素描铺陈，线条松弛却精准勾勒轮廓。圣母拥着圣婴，姿态柔婉亲昵，身旁老妇温情注视，右侧老者垂首休憩，持果孩童依偎身侧，林间浅淡晕染的光影落在起伏衣褶上，将神圣叙事揉进烟火日常里。\n\n远景村落晕染朦胧，苍劲树影衬出郊野丘壑的空寂，让私密天伦融于天地间，褪去宗教肃穆，只剩寻常家眷的松弛安恬。明暗晕染柔和过渡，衣料褶皱的厚重质感，神态的细腻描摹，将静谧温情藏进每一笔排线，把圣家族拉下神坛，定格成治愈的午后片刻。",[6651,7,145,19227,6959,187,19228,19229],"圣家族","郊野","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee60ebb836c6d4a0bb7a6f8ad74280e.jpg",[],{"id":19233,"slug":19234,"title":19235,"dynasty":46,"author":47,"museum":75,"description":19236,"tags":19237,"thumbUrl":19239,"material":152,"size":153,"collection":103,"collections":19240,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289245,"pompeo-batoni-allegory-in-honor-of-pope-benedict-xiv-yi-ming-289245","Pompeo Batoni--Allegory in Honor of Pope Benedict XIV","这幅素描以红棕色调铺陈出天界凡境的交融图景。上层云雾间，天使垂眸携礼，小天使托举纹章，圣光似随云絮漫溢而下。下方地母般的女性凭倚地球仪，与身旁人物一同仰望向穹顶，神态满含虔诚敬慕，远景的城邦隐在朦胧雾气里，柔化了圣俗的边界。\n\n线条松弛灵动，晕染出朦胧柔润的空气感，带着雅致柔婉的格调。虚实相生间，将神启的荣耀与世俗基业的信仰牵绊娓娓道来，庄重又不失诗意，静穆氛围里满溢着信仰与荣光交织的叙事感。",[6651,7,145,19238,2241,16297,19168,19025],"寓意画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5dfcf9c6a2aa3c0edf5e0d870d6940.jpg",[],{"id":19242,"slug":19243,"title":19244,"dynasty":46,"author":47,"museum":75,"description":19245,"tags":19246,"thumbUrl":19247,"material":152,"size":153,"collection":103,"collections":19248,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289242,"raffaellino-del-garbo-the-angel-of-the-annunciation-yi-ming-289242","Raffaellino del Garbo--The Angel of the Annunciation","圆形画框将古典静谧的氛围凝于方寸之间。细腻灵动的线条勾勒出天使柔缓的发卷、舒展的羽翼与层叠垂坠的衣褶，疏密张弛间，织物的柔软质感与天使优雅的体态尽显。\n\n天使侧身持花，侧脸恬淡温柔，仿佛正携着讯息缓步而来，神态澄澈圣洁。浅淡晕染铺陈出明暗层次，柔和的光影过渡，将对古典人体美感的追崇融于笔端。整幅手绘带着复古雅致的质感，简约却传神，静静晕开天使温婉沉静的气质，将这庄重柔静的瞬间定格下来。",[7,2241,28,497,725,16295,19092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c569c611495912272ed0c8d3b9265d6.jpg",[],{"id":19250,"slug":19251,"title":19252,"dynasty":46,"author":47,"museum":75,"description":19253,"tags":19254,"thumbUrl":19256,"material":152,"size":153,"collection":103,"collections":19257,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289239,"raphael-madonna-and-child-with-the-infant-saint-john-the-baptist-yi-ming-289239","Raphael--Madonna and Child with the Infant Saint John the Baptist","红粉笔晕开暖柔底色，松弛却精准的线条勾勒出画面温情轮廓。垂首的母亲沉静温婉，目光落向膝间嬉闹的幼童，指尖仿佛轻触孩童肩头，静穆里藏着亲昵暖意。两名幼童动作天真亲昵，鲜活稚气跃然纸上。创作者以细腻排线铺陈光影，寥寥数笔便赋予人物饱满体积感，虚实之间晕开呼吸感，将古典柔美与日常温情相融，把瞬逝的亲昵定格成永恒的静美，尽显速写捕捉鲜活氛围的动人魅力。",[7,28,6651,19255,6653,6652],"红描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4102d49212bf5a315283841c55451b80.jpg",[],{"id":19259,"slug":19260,"title":19261,"dynasty":46,"author":47,"museum":75,"description":19262,"tags":19263,"thumbUrl":19265,"material":152,"size":153,"collection":103,"collections":19266,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289217,"giuseppe-cades-blessed-francis-venimbeni-celebrating-mass-yi-ming-289217","Giuseppe Cades--Blessed Francis Venimbeni Celebrating Mass","棕褐色调铺陈出静谧肃穆的氛围。主祭神父垂首凝神于祭台经书之上，衣袍褶皱刻画厚重写实，将仪式的庄重感尽显无遗。跪坐的辅祭低垂眉眼，周身漫溢着纯粹的虔敬。左侧云气之间，翼天使与裸身灵众舒展身姿，灵动的线条将天国的辉耀与人间的弥撒相连，柔化了祭典的沉静刻板。\n画作以钢笔淡墨勾勒轮廓，赭色晕染铺陈层次，既精准刻画出祭衣的厚重质感，又烘托出天国幻境的缥缈空灵，让神圣叙事与写实场景自然相融，将宗教仪式的静穆庄严与神性辉耀的张力揉为一体，尽显独有的肃穆氛围感。",[7,145,6651,19168,2241,19167,19082,19264],"弥撒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef4e172995328f4c31600b9db43c72b4.jpg",[],{"id":19268,"slug":19269,"title":19270,"dynasty":46,"author":47,"museum":75,"description":19271,"tags":19272,"thumbUrl":19275,"material":152,"size":153,"collection":103,"collections":19276,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289215,"giuseppe-cades-virgin-and-child-yi-ming-289215","Giuseppe Cades--Virgin and Child","这幅素描以柔润的明暗铺陈出静谧温情，圣母身披流苏长巾，层叠衣褶似被微风轻拂的流云，将女性的柔和包容尽数舒展。她垂眸看向身侧，眉眼间满是温婉怜爱，怀抱着的圣婴以稚嫩手臂环住母亲，神态娇憨又全然依恋。\n\n朦胧荒寂的远景虚化了空间边界，将所有视线牢牢引向相拥的二人。线条松弛却精准妥帖，淡墨晕染出柔和层次，消解了宗教题材自带的肃穆疏离，将神性融于俗世亲昵的母子日常，让圣洁氛围晕开成治愈沉静的古典诗意，温柔描摹出这份跨越维度的脉脉亲情。",[7,145,6651,6653,6652,19273,19274],"母子","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfe21a7b3414e428a04e11029db7aa88.jpg",[],{"id":19278,"slug":19279,"title":19280,"dynasty":46,"author":47,"museum":75,"description":19281,"tags":19282,"thumbUrl":19286,"material":152,"size":153,"collection":103,"collections":19287,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289200,"goya-a-nun-frightened-by-a-ghost-images-of-spain-album-65-yi-ming-289200","Goya--A Nun Frightened by a Ghost; Images of Spain Album, 65","淡棕墨色晕开浓稠的诡谲氛围，站立的老妇长着两张扭曲的面孔，指尖扣着吉他却神态狞恶，仿佛不是拨弄弦音，而是要将恐惧送入下方修女的魂魄。\n\n坐卧的修女佝偻瑟缩，抬脸的惊惶被牢牢定格，明暗晕染将魂飞魄散的战栗具象化。潦草粗粝的笔触带着即兴速写的癫狂感，把深夜的悸梦揉入纸面，将幽暗中滋生的荒诞恐惧直白泼洒，让观者仿佛亲历这场骇人的鬼魅惊扰，窥见精神世界里潜藏的幽暗悸惧。",[7,28,19283,19284,19285,465],"惊恐","修女","幽灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451515c6fad6631ed18a790fedf87a39.jpg",[],{"id":19289,"slug":19290,"title":19291,"dynasty":46,"author":47,"museum":75,"description":19292,"tags":19293,"thumbUrl":19295,"material":152,"size":153,"collection":103,"collections":19296,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289197,"goya-a-woman-whispering-to-a-priest-yi-ming-289197","Goya--A Woman Whispering to a Priest","暗褐晕染出幽闭的拱门空间，将两人的私语牢牢框锁其中。男子俯身倾侧，与对面女子贴耳凑近，肢体姿态亲昵又带着隐秘的试探，仿佛正交换着不足为外人道的秘密。画面用浓淡不一的墨色揉化掉背景细节，将所有心绪都凝在二人之间流动的氛围里。柔化的轮廓晕开暧昧张力，暗调光影裹挟着恍惚的氛围感，让这场低语仿佛下一秒就会随暗影一同消散，只余下难言的暧昧余韵，在纸面幽幽萦绕。",[28,7,6651,2903,19294],"低语","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8110753294105e28e40122faca4e27.jpg",[],{"id":19298,"slug":19299,"title":19300,"dynasty":46,"author":47,"museum":75,"description":19301,"tags":19302,"thumbUrl":19305,"material":152,"size":153,"collection":103,"collections":19306,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289193,"goya-allegory-with-a-radiant-figure-beset-by-dark-spirits-yi-ming-289193","Goya--Allegory with a radiant figure beset by dark spirits","白衣少女伫立在圣光之下，双手紧扣于胸前，神情糅合着圣洁与惶惑，仿佛在以祈祷对抗周身的暗潮。环绕她的恶灵身形粗粝扭曲，如同从噩梦中滋生的暗影，将她牢牢裹挟，左侧的黑袍身影更是如沉默的威压，让窒息感扑面而来。\n\n画作以浓淡墨色的强烈冲撞构建张力，淡墨晕散开圣光的柔亮，焦墨刻画出恶灵的狰狞轮廓，把神圣信仰与邪祟侵蚀的精神对抗具象在纸面。粗粝的笔触带着原始的情绪冲击力，将少女的坚定与周遭的恶意拉扯出尖锐的戏剧感，让观者直观地触摸到这份信仰与梦魇交锋的震颤。",[28,7,19303,16349,465,6651,19304],"黑暗幽灵","压抑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db2a03d436551c5ac496dc7174ecbc8.jpg",[],{"id":19308,"slug":19309,"title":19310,"dynasty":46,"author":47,"museum":75,"description":19311,"tags":19312,"thumbUrl":19313,"material":152,"size":153,"collection":103,"collections":19314,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289178,"goya-interior-of-a-church-images-yi-ming-289178","Goya--Interior of a Church; Images","以淡墨晕染出幽谧的穹顶，阴影裹挟着朦胧光晕，让整座教堂浸在沉郁安宁的氛围里。\n\n素白修士的色块刺破深褐暗沉，成为画面锚点，他静立的身影和周遭躬身祈愿的信众形成动静对照。信众轮廓被晕染得柔和模糊，仿佛已经融在弥散的香火气息中，将虔诚尽数藏在低垂的姿态里。左侧伫立的神职人员神色沉静，衬出仪式的肃穆。\n\n壁龛中的圣像在晕染下朦胧恍惚，带着神性的疏离。松弛的晕染笔触裹住凝滞的时间，将宗教场合的沉静虔诚藏在墨色层次里，留白与晕染交织，让肃穆的氛围在朦胧间静静流淌。",[7,28,13464,465,6651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f5d446765de0f5e4b27431da69da59.jpg",[],{"id":19316,"slug":19317,"title":19318,"dynasty":46,"author":47,"museum":75,"description":19319,"tags":19320,"thumbUrl":19321,"material":152,"size":153,"collection":103,"collections":19322,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289174,"goya-monks-in-an-interior-images-of-spain-yi-ming-289174","Goya--Monks in an Interior; Images of Spain","以浓淡交织的墨色晕开沉抑的室内氛围，左侧窗格漏入的微光刺破昏沉，与角落浓黑形成强烈明暗对冲。三位老僧神态各藏心绪，立者垂首缄默，隐在兜帽阴影里，络腮胡老僧目光沉郁似有千言，俯身老僧佝腰垂头，仿佛正沉溺在低语或是沉哀之中。\n粗粝朴拙的笔触舍去细节描摹，以大块墨块勾勒出僧侣的萧索身形，将幽闭空间里凝滞的沉默与隐秘情绪定格。整个画面带着厚重的肃穆感，仿佛能让观者触摸到这封闭空间里沉抑的情绪流动，尽显沉郁肃穆的氛围感。",[7,28,2903,465,13465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c67d2acb5dbc33a24a33081429a5be.jpg",[],{"id":19324,"slug":19325,"title":19326,"dynasty":46,"author":47,"museum":75,"description":19327,"tags":19328,"thumbUrl":19330,"material":152,"size":153,"collection":103,"collections":19331,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289160,"goya-they-got-the-confessor-to-climb-in-by-the-window-yi-ming-289160","Goya--They Got the Confessor to Climb in by the Window","晕染的灰调晕开隐秘暧昧的氛围，昏暗的室内只剩三人紧绷的肢体动作承载故事。蒙头的女子俯身托扶，带着刻意遮掩的疏离感，将躬身翻墙的男子稳稳托住，男子局促的姿态泄露着慌张与急切。\n\n极简的笔触省略了场景的多余细节，将所有焦点交付于偷摸的肢体张力之间，小心翼翼的动作下，满是打破禁忌的情欲躁动，带着隐秘的讽刺意味，暗喻着道貌岸然之下的荒唐越界。画面留白烘托出不安紧绷的情绪，让观者于无声处脑补出这场闹剧的荒唐底色，将私密偷欢时的忐忑氛围刻画得入木三分。",[28,6651,19168,7,19329],"窗边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d9273462ed43fab5263d386c1c0f1a.jpg",[],{"id":19333,"slug":19334,"title":19335,"dynasty":46,"author":47,"museum":75,"description":19336,"tags":19337,"thumbUrl":19339,"material":152,"size":153,"collection":103,"collections":19340,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289156,"goya-women-with-children-by-a-wayside-cross-yi-ming-289156","Goya--Women with Children by a Wayside Cross","沉淡晕墨铺就沉郁底色，路边十字架茕孑矗立，带着缄默肃穆。立着的妇人将婴孩拢在怀中，垂落的头巾掩去半张脸，泄露出长途跋涉的疲惫。旁侧的妇人与孩童亲昵依偎着她，动作里带着同伴间的依赖，也藏着乱世流民的茫然无措。\n\n简练的墨线勾出衣衫褶皱，干湿浓淡的色块晕染出身形轮廓，粗粝随性的笔触裹着生活烟火气，也揉进漂泊的仓皇。十字架冷硬线条和妇孺柔软身形形成对照，信仰的慰藉与生存的窘迫交织，将小人物乱世求生的困顿与温情凝于纸面，满溢着无言悲悯。",[145,6651,13465,7,19338,11152,276,19274],"妇女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bdd578915758fef2f6b3aa99542001b.jpg",[],{"id":19342,"slug":19343,"title":19344,"dynasty":46,"author":47,"museum":75,"description":19345,"tags":19346,"thumbUrl":19349,"material":152,"size":153,"collection":103,"collections":19350,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289154,"gregorio-de-ferrari-ceiling-design-with-the-presentation-in-the-temple-yi-ming-289154","Gregorio de' Ferrari--Ceiling Design with the Presentation in the Temple","这幅天顶设计稿尽显巴洛克的华丽浪漫。下方拱券缠绕着层叠翻卷的茛苕涡纹，浮雕般的线条勾勒出饱满繁复的装饰细节，如同凝固的绮丽绮思。上方的圣典场景在晕染的云气中铺展开来，浅褐墨水在灰蓝纸本上晕出虚实光影，让人物仿佛腾跃于穹顶云海之间，献祭仪式的庄重感随云霭漫开。松弛却精准的草稿线条，将建筑装饰与宗教叙事浑然糅合，既保留装饰的华贵质感，又赋予神迹场景空灵缥缈的氛围，仿佛抬首便能看见圣光穿透薄雾，在穹顶之上缓缓演绎这幕神圣时刻。",[7,28,19347,6651,19168,319,343,2467,19348],"天顶画设计","圣殿呈献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6189d20f5677e35419535efd14b4bf89.jpg",[],{"id":19352,"slug":19353,"title":19354,"dynasty":46,"author":47,"museum":75,"description":19355,"tags":19356,"thumbUrl":19358,"material":152,"size":153,"collection":103,"collections":19359,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289150,"guercino-boy-chasing-a-butterfly-yi-ming-289150","Guercino--Boy Chasing a Butterfly","以棕褐淡晕与线条交织，塑造出祈祷的圣女形象。衣袍褶皱晕染松灵自然，明暗铺陈尽显织物垂坠厚重，线条简括却精准抓住衣物流动的韵律。圣女合十仰首，眉眼微抬，神色虔诚又带着圣洁的悲悯，将向上祈愿的沉静肃穆藏于神态细节中。弯月淡描于脚下暗合宗教意象，整幅带着速写式的随性精妙，于素朴纸面之上，以极简笔墨勾勒出庄重神圣的氛围，传神定格了人物的虔敬之心，尽显古典宗教肖像的含蓄美感。",[7,145,27,19082,11153,19357,6651],"月牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47193bd4f377afdc2b228b9dd3bfcf9a.jpg",[],{"id":19361,"slug":19362,"title":19363,"dynasty":46,"author":47,"museum":75,"description":19364,"tags":19365,"thumbUrl":19366,"material":152,"size":153,"collection":103,"collections":19367,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289145,"guercino-saint-francis-of-assisi-and-saint-louis-yi-ming-289145","Guercino--Saint Francis of Assisi and Saint Louis","这幅素描草稿以灵动奔放的笔触，将神圣与童趣交织。上方两名小天使振翅牵拉画布，寥寥数笔便勾勒出羽翼翻飞的鲜活动感，带着孩童般的俏皮轻盈。下方左侧人物抬手祈告，衣褶舒展柔和，神态虔诚动容，将圣洁的祈愿描摹尽致；右侧形象笔锋苍劲粗粝，身形厚重沉稳，二者一动一静形成强烈的视觉张力。\n整幅作品以极简线条捕捉刹那神韵，潦草却精准随性，将宗教的肃穆氛围与灵动的世俗意趣自然糅合，尽显速写草稿独有的松弛传神，尽显创作者捕捉情绪动态的深厚功底。",[27,7,28,2241,10689,6651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e42b366c95d2e861bb65357d5385650.jpg",[],{"id":19369,"slug":19370,"title":19371,"dynasty":46,"author":47,"museum":75,"description":19372,"tags":19373,"thumbUrl":19375,"material":152,"size":153,"collection":103,"collections":19376,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289133,"master-of-the-drapery-studies-christ-appearing-to-mary-magdalen-yi-ming-289133","Master of the Drapery Studies--Christ Appearing to Mary Magdalen","跪坐的玛利亚合十仰望，眼底满是眷恋哀戚，将久别重逢的孺慕与虔诚尽数倾注在姿态神情间。站立的基督手持圣旗，身形挺拔沉静，周身光晕晕开神圣肃穆的气息。\n\n整幅以细密精准的线条铺陈，衣褶刻画极具表现力，层叠褶皱尽显织物垂坠厚重的质感，将人物身形包裹得富有张力。背景庭院草木描摹柔和细腻，烘托出私密静谧的重逢氛围，以明暗线条勾勒情绪，将信徒的追思与圣者的悲悯烘托得淋漓尽致，尽显宗教叙事画作细腻写实的动人质感。",[7,28,27,14566,19374,2240],"抹大拉的马利亚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed39e7992733c316d45d274048b99b8.jpg",[],{"id":19378,"slug":19379,"title":19380,"dynasty":46,"author":47,"museum":75,"description":19381,"tags":19382,"thumbUrl":19384,"material":152,"size":153,"collection":103,"collections":19385,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289104,"jean-daret-study-for-christ-as-mediator-yi-ming-289104","Jean Daret--Study for Christ as Mediator","这幅素描以松弛却精准的排线，勾勒出跪坐的祈祷者形象。他双臂舒展朝天，头颅昂起，眉眼松弛、唇瓣微张，将全然的虔诚与释然揉进神态里，仿佛正沉浸在与天国的低语对话中。\n\n衣褶顺着躯体的张力自然铺陈，厚重垂坠的长袍线条将身形的体积感熨帖呈现，下半身隐没在朦胧的云气晕染中，让神圣感从肉身向外升腾弥散。画面没有多余修饰，仅依靠明暗层次，便将沉静又炽热的信仰震颤凝固在纸面，让观者能触摸到这份纯粹安宁的精神力量。",[6651,145,7,19383,19053,19082],"耶稣基督","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c9c97d0cee38b6ed322fa16b63cd60.jpg",[],{"id":19387,"slug":19388,"title":19389,"dynasty":46,"author":47,"museum":75,"description":19390,"tags":19391,"thumbUrl":19394,"material":152,"size":153,"collection":103,"collections":19395,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289066,"jusepe-de-ribera-adoration-of-the-shepherds-yi-ming-289066","Jusepe de Ribera--Adoration of the Shepherds","这幅速写以松弛灵动的笔触晕染出明暗层次，上方云中的小天使舒展翻飞，朦胧云雾烘托出神性空灵感。下方圣母子静卧中央，牧羊人们或俯身凝视或屈膝跪拜，质朴的神态满含虔敬温柔，将宗教的圣洁与世俗的温情相融。淡墨晕开的虚渺背景，将视线牢牢锁在圣家族与信众身上，光影错落间，神圣的静谧感裹挟着烟火暖意扑面而来，寥寥几笔便定格下虔敬安宁的瞬间，让神性的光晕与人间的质朴爱意交织成动人的图景。",[7,145,6651,2241,19392,6652,6653,19393],"牧羊人","朝拜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71477c65dfb7e230d951c5973f73d0d1.jpg",[],{"id":19397,"slug":19398,"title":19399,"dynasty":46,"author":47,"museum":75,"description":19400,"tags":19401,"thumbUrl":19403,"material":152,"size":153,"collection":103,"collections":19404,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289057,"lambert-lombard-christ-healing-at-the-pool-of-bethesda-yi-ming-289057","Lambert Lombard--Christ Healing at the Pool of Bethesda","画面以利落蚀刻线条铺展神迹：左侧长者伸手唤住背负瘫者的男子，池畔横陈疾苦之人，天使振翅自天际降临。明暗排线晕开光影，衬出人群惶惑与愈者沉郁的张力，远景城郭肃穆拱卫这场神圣疗愈，古典楼宇的厚重为信仰注脚。作者以刚劲笔触描摹市井疾苦与神性救赎的碰撞，将悲悯藏进衣褶纹路、沉凝的神色中，让信仰的温度浸透质朴刻绘，把宗教叙事的庄重沉静，融在细腻的人间百态描摹里。",[7,27,28,2965,14575,2241,19402,16359],"水池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570dbfcfec21d6d828d4723396b32c49.jpg",[],{"id":19406,"slug":19407,"title":19408,"dynasty":46,"author":47,"museum":75,"description":19409,"tags":19410,"thumbUrl":19412,"material":152,"size":153,"collection":103,"collections":19413,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289054,"laurent-de-la-hyre-st-roch-interceding-yi-ming-289054","Laurent de La Hyre--St. Roch Interceding","画面以上下分层铺展神性与俗世的拉扯，粗犷排线晕开明暗层次，将洞窟空间烘托得压抑肃穆。\n祈愿的圣徒抬手向穹顶，垂落的羽翼带着恳切张力，病榻上的垂死者身形枯槁，颓丧姿态写尽疫病苦楚。上方穹顶小景以柔缓排线晕出微光，悲悯神性穿透沉郁，将救赎暖意递向人间。\n随性又充满力量的笔触揉合悲恸与祈盼，速写的松弛感里藏着厚重共情，让苦难与慈悲在此交织震颤。",[7,28,6651,19411,2241,10690],"圣罗克","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0bc825e4df4660081758afbee0a677.jpg",[],{"id":19415,"slug":19416,"title":19417,"dynasty":46,"author":47,"museum":75,"description":19418,"tags":19419,"thumbUrl":19421,"material":152,"size":153,"collection":103,"collections":19422,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},289043,"le-on-ge-rard-leonardo-da-vinci-drawing-for-christ-yi-ming-289043","Léon Gérard--Leonardo da Vinci, Drawing for Christ","眼睑低垂，眉峰轻蹙，沉静的神情里裹挟着悲悯与苦痛，将基督受难前的恸意凝在斑驳的墙面之上。朦胧晕开的发肤与风化粗粝的肌理相融，仿佛形象从岁月侵蚀的壁面中缓缓浮现。\n粗粝的笔触带着未完成的朴拙，模糊了创作痕迹与时光磨蚀的边界，把神性的庄重揉进人性的柔软里，让沉静的面容自带沉郁肃穆的张力。每一处斑驳裂痕都像是为这份虔诚刻下的注脚，让悲悯的神情在岁月晕染中更显厚重。",[7,28,14566,6651,19420],"沉静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6937318e7086d0a4db107651d18e5fd7.jpg",[],{"id":19424,"slug":19425,"title":19426,"dynasty":46,"author":47,"museum":75,"description":19427,"tags":19428,"thumbUrl":19430,"material":152,"size":153,"collection":103,"collections":19431,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289041,"lorenzo-de-ferrari-christ-driving-the-money-changers-yi-ming-289041","Lorenzo de' Ferrari--Christ Driving the Money Changers","这幅素描以遒劲线条铺陈戏剧张力，中心身影高举手臂，将神圣愤慨具象化，怒斥驱赶神殿商贩。台阶上观者神色错愕凝滞，前景人群奔逃推搡，肢体的慌乱动态将冲突拉至顶点。精准的穹顶透视收拢视线，肃穆的神殿空间反衬出这场驱逐的动荡喧嚣。明暗排布烘托情绪层次，圣洁怒斥与世俗狼狈形成强烈反差，虽为草稿，却将洁净圣殿的激昂瞬间定格，叙事张力饱满尽显，古典宗教画的肃穆力量跃然纸面。",[7,28,27,6651,19218,14566,19429],"宗教事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c8d9f89a00d35ffd3c8e6145bcb79fe.jpg",[],{"id":19433,"slug":19434,"title":19435,"dynasty":46,"author":47,"museum":75,"description":19436,"tags":19437,"thumbUrl":19439,"material":152,"size":153,"collection":103,"collections":19440,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289022,"luca-cambiaso-the-holy-family-with-the-infant-baptist-yi-ming-289022","Luca Cambiaso--The Holy Family with the Infant Baptist","淡墨线条随性铺展，勾勒出松弛鲜活的群像氛围。站立老者身形凝练粗粝，几笔顿挫刻画出沉静肃穆的神态。坐席上的妇人姿态柔婉舒展，指尖轻托婴孩，落笔便晕开亲昵温存的母子羁绊。攀附在侧的幼童身形稚拙，将孩童娇憨灵动的模样尽数显现。斜向排线轻描出空间层次，整幅速写以极简的笔墨取舍，精准捕捉人物互动的温情瞬间，将静谧又温暖的氛围定格在纸面，尽显随性却传神的表现力，把细碎日常里的脉脉温情揉入笔墨之间。",[7,145,6651,27,19438,13936],"圣家庭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3554e8e4946736f00f342c232febfeca.jpg",[],{"id":19442,"slug":19443,"title":19444,"dynasty":46,"author":47,"museum":75,"description":19445,"tags":19446,"thumbUrl":19449,"material":152,"size":153,"collection":103,"collections":19450,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},289018,"ludovico-carracci-the-last-communion-of-saint-jerome-yi-ming-289018","Ludovico Carracci--The Last Communion of Saint Jerome","浅淡方格布满纸面，是为复刻而做的底稿排布。松散却精准的线条，将群像的哀恸与庄重揉在一处。中心人物佝偻的身形牵引着视线，围拢的信众低垂眉眼，沉恸顺着衣袍褶皱漫开。\n\n寥寥排线勾勒出肌肤起伏，用最克制的笔痕定格住临别的凝滞瞬间。未完成的淡痕留住了创作时的鲜活思考，朦胧间将肃穆悠长的氛围晕染开来，带着半成品独有的松弛张力，把告别的沉郁藏在每一笔轮廓里。",[7,28,6651,27,19447,19448],"圣杰罗姆","宗教场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790b889e0609aea5a19c724ffc9289f.jpg",[],{"id":19452,"slug":19453,"title":19454,"dynasty":46,"author":47,"museum":75,"description":19455,"tags":19456,"thumbUrl":19458,"material":152,"size":153,"collection":103,"collections":19459,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},288914,"giovanni-battista-naldini-the-dead-christ-supported-by-three-figures-yi-ming-288914","Giovanni Battista Naldini--The Dead Christ Supported by Three Figures","粗粝炭笔裹挟着情绪在纸面游走，将悲恸瞬间凝为永恒。瘫软的躯体带着沉甸甸的衰颓感，被三位搀扶者托举，紧绷的肢体线条如被拉扯的弦，将沉郁哀恸尽数吐露。\n\n画家以极具弹性的线条勾勒肌肉起伏，精准捕捉濒死躯体的重量感，未加修饰的潦草轮廓反而放大了情绪张力。淡墨晕染模糊了空间边界，让所有视线都锁紧这幕悲剧场景，低垂的头颅、紧绷的肩背，每一处细节都在诉说着难以言喻的悲怆，带着未完成的粗粝质感，却比完整画作更具直击人心的感染力，将死亡降临时凝滞的哀伤牢牢封存在纸面之上。",[7,28,6651,14566,19457,4147],"哀悼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09032f508c7b2449b9f09358f94a413.jpg",[],{"id":19461,"slug":19462,"title":19463,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19464,"thumbUrl":19466,"material":152,"size":153,"collection":103,"collections":19467,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288906,"giovanni-battista-tiepolo-illustration-for-a-book-allegory-of-venice-yi-ming-288906","Giovanni Battista Tiepolo--Illustration for a Book Allegory of Venice",[6651,19119,27,19168,28,1164,7,19465,13454],"寓言故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79aa77bcbfbedc6857797a9d5be1de01.jpg",[],{"id":19469,"slug":19470,"title":19471,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19472,"thumbUrl":19474,"material":152,"size":153,"collection":103,"collections":19475,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288905,"giovanni-battista-tiepolo-illustration-for-a-book-bishops-and-monks-being-received-yi-ming-288905","Giovanni Battista Tiepolo--Illustration for a Book Bishops and Monks Being Received",[6651,27,7,145,19473,19110,1558,16340],"书籍插画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa530a001232c60fbf8440aa87cf1ced.jpg",[],{"id":19477,"slug":19478,"title":19479,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19480,"thumbUrl":19485,"material":152,"size":153,"collection":103,"collections":19486,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288903,"giovanni-battista-tiepolo-illustration-for-a-book-cardinal-with-troops-facing-yi-ming-288903","Giovanni Battista Tiepolo--Illustration for a Book Cardinal with Troops Facing",[6651,27,7,19481,713,19482,145,19483,19484],"士兵","战场","战争","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e419976bf99fe00b1ba71e8b9f83dcf.jpg",[],{"id":19488,"slug":19489,"title":19490,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19491,"thumbUrl":19495,"material":152,"size":153,"collection":103,"collections":19496,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288895,"giovanni-battista-tiepolo-illustration-for-a-book-meeting-between-a-pope-and-doge-yi-ming-288895","Giovanni Battista Tiepolo--Illustration for a Book Meeting Between a Pope and 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Crusader",[6651,145,7,1081,19502,19503,5492],"十字军","授旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e946b0873c8737ff18301cf165e9ffc.jpg",[],{"id":19507,"slug":19508,"title":19509,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19510,"thumbUrl":19514,"material":152,"size":153,"collection":103,"collections":19515,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288892,"giovanni-battista-tiepolo-illustration-for-a-book-reception-of-monks-at-a-city-gate-yi-ming-288892","Giovanni Battista Tiepolo--Illustration for a Book Reception of Monks at a City Gate",[7,145,6651,27,13463,19511,19512,19513],"城门","群体人物","接待场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9c34cabda69ce856e6704e083f110d.jpg",[],{"id":19517,"slug":19518,"title":19519,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19520,"thumbUrl":19523,"material":152,"size":153,"collection":103,"collections":19524,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288891,"giovanni-battista-tiepolo-illustration-for-a-book-reception-of-a-bishop-leading-yi-ming-288891","Giovanni Battista Tiepolo--Illustration for a Book Reception of a Bishop 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Luke",[6651,7,28,712,19119,19530,1179],"画具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c2038e0e55a248b52e4f0fe4005874.jpg",[],{"id":19534,"slug":19535,"title":19536,"dynasty":46,"author":47,"museum":75,"description":16327,"tags":19537,"thumbUrl":19538,"material":152,"size":153,"collection":103,"collections":19539,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288863,"giovanni-battista-tiepolo-seated-woman-with-a-winged-putto-yi-ming-288863","Giovanni Battista Tiepolo--Seated Woman with a Winged 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Alms","这幅红褐素描以质朴笔触铺陈出满溢慈悲的场景。前景中主教俯身递出施舍，指尖相触的瞬间定格了温厚善意，赤贫的乞者垂首承接，嶙峋脊背写尽困顿里的谦卑与感激。\n\n背景街巷里人群涌动，神职者将赈济递向簇拥的流民，喧闹烟火气与前景的静谧共情形成对照，让善举从个体温情延伸为普惠的悲悯。\n线条松弛却精准，主教衣褶的垂坠感勾勒出庄重气度，流民粗糙肌理以简笔带过，明暗晕染烘托出柔和光影层次，没有刻意修饰，却将信仰中的人道关怀刻入每一处细节，让慈善的温度跃然纸面。",[7,145,6651,19553,19015,19554,1106],"施舍","平民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7775fcacbad573507be7004fb0c2e5d8.jpg",[],{"id":19558,"slug":19559,"title":19560,"dynasty":46,"author":47,"museum":75,"description":19561,"tags":19562,"thumbUrl":19564,"material":152,"size":153,"collection":103,"collections":19565,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288823,"pellegrino-tibaldi-saint-john-the-baptist-baptizing-the-multitude-yi-ming-288823","Pellegrino Tibaldi--Saint John the Baptist Baptizing the Multitude","以奔放淋漓的棕褐线条铺陈画面，无多余皴染，仅靠线条疾缓粗细区分人物动势与层次。右侧施洗者身姿挺拔庄重，左侧人群或虔诚伫立，或环拥孩童，神态动作各有不同，涌动着虔敬鲜活的氛围。潦草却精准的笔触，捕捉住人群涌动的松弛与热忱，将宗教仪式的肃穆和人间烟火的鲜活融为一体，寥寥几笔便让整个场景充满饱满叙事感，尽显速写捕捉刹那氛围的独特魅力。",[7,28,6651,19563,19512],"施洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8034bd050b3e6de60c78cd676e653491.jpg",[],{"id":19567,"slug":19568,"title":19569,"dynasty":46,"author":47,"museum":75,"description":19570,"tags":19571,"thumbUrl":19573,"material":152,"size":153,"collection":103,"collections":19574,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288819,"perino-del-vaga-presentation-of-the-virgin-in-the-temple-yi-ming-288819","Perino del Vaga--Presentation of the Virgin in the Temple","三角构图收拢起整个仪式场景，紧凑又带着庄重的秩序感。前景两侧人物以舒展的动作传递出饱满情绪，左侧女眷探身伸手，似是不舍的叮咛，右侧老者抬手祈愿，将视线引向台阶上端躬身的少女。\n棕褐素描结合淡彩在灰底晕开，衣褶粗粝的肌理被精准勾勒，台阶排线层层抬升空间，殿内群像朦胧肃穆，烘托出仪式的神圣氛围。几何边框将虔诚心绪凝锁其中，把送别与祈愿的温情融于简练笔触，静穆间流淌着庄重的叙事感，让这场仪式的虔诚氛围感扑面而来。",[7,145,6651,19218,19512,19572,4258],"圣母献殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73134ac0aef5f397c2f0dcf69e334739.jpg",[],{"id":19576,"slug":19577,"title":19578,"dynasty":46,"author":47,"museum":75,"description":19579,"tags":19580,"thumbUrl":19581,"material":152,"size":153,"collection":103,"collections":19582,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288814,"perugino-study-of-a-kneeling-youth-and-of-the-head-yi-ming-288814","Perugino--Study of a Kneeling Youth and of the Head","这幅速写以灵动炭笔线条铺陈画面，右侧跪姿少年身形完整，双膝着地、双手轻叠胸前，衣褶排线疏密相宜，将布料垂坠的柔软质感勾勒得淋漓尽致，虔诚沉静的氛围感呼之欲出。\n左上角少女头像以局部刻画尽显功力，卷曲蓬松的发丝婉转柔和，眉眼低垂噙着淡淡哀伤，神态描摹细腻入微。\n整幅创作带着随性的手稿质感，无多余修饰，以简约线条承载充沛情绪，尽显古典写实速写的质朴张力，让人窥见创作者捕捉动态与神态的深厚功底。",[6651,28,8708,7,6710,19189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82696cba0c1c37390574a4b58272708.jpg",[],{"id":19584,"slug":19585,"title":19586,"dynasty":46,"author":47,"museum":75,"description":19587,"tags":19588,"thumbUrl":19589,"material":152,"size":153,"collection":103,"collections":19590,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288813,"pesellino-saint-philip-seated-holding-a-book-and-a-cross-yi-ming-288813","Pesellino--Saint Philip Seated, Holding a Book and a Cross","以细腻排线铺陈明暗光影，衣褶层叠舒展，遒劲线条顺着肢体走势起伏，精准刻画出毛料垂坠的厚重质感。圣徒须发卷曲蓬松，眉眼低垂凝思，沉静肃穆的神态跃然纸面。他左手扶着十字架，右手轻按书本，安稳坐姿满是笃诚静穆，浅淡晕染的光晕衬出圣洁气质。整幅作品构图沉敛安稳，写实笔触糅合宗教的庄严氛围，将圣徒自持笃定的形象勾勒得生动传神，尽显古典宗教素描的静谧张力，让观者感知到人物沉静内敛的精神内核。",[7,145,6651,276,2010,18980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa82e7c1c3f8898be2d3a8197ca1ca5.jpg",[],{"id":19592,"slug":19593,"title":19594,"dynasty":46,"author":47,"museum":75,"description":19595,"tags":19596,"thumbUrl":19600,"material":152,"size":153,"collection":103,"collections":19601,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},288811,"peter-paul-rubens-a-sermon-in-a-village-church-yi-ming-288811","Peter Paul Rubens--A Sermon in a Village Church","彼得·保罗·鲁本斯（Peter Paul Rubens）（1577年6月28日—1640年5月30日），教名伯多禄·保禄·鲁宾斯，17世纪佛兰德斯画家，西班牙哈布斯堡王朝外交使节。鲁本斯是佛兰德斯画家，是巴洛克画派早期的代表人物。\n鲁本斯出生于德国锡根，在他的父亲去世后，12岁的鲁本斯跟随母亲回到了西班牙统治下的家乡安特卫普，并在那里接受了天主教洗礼。而宗教也成为鲁本斯画家生涯中十分重要的一个主题。",[19597,7,145,13464,19598,19599,10690],"水彩画","布道","乡村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5739dff8153c430ef3b620f5e7b3d04.jpg",[],{"id":19603,"slug":19604,"title":19605,"dynasty":46,"author":47,"museum":75,"description":19606,"tags":19607,"thumbUrl":19609,"material":152,"size":153,"collection":103,"collections":19610,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288788,"pierre-paul-prud-hon-the-assumption-of-the-virgin-yi-ming-288788","Pierre Paul Prud'hon--The Assumption of the Virgin","以浅色素纸铺就底色，炭笔晕染出缭绕云雾，朦胧晕开升天图景。上方圣像于云间舒展，轮廓虚化在烟霭中，带着庄严缥缈的神性。下方两位使徒扬臂仰望，衣袂线条松弛又充满张力，将仰望神迹时的震颤与虔诚藏在起伏的褶皱里。\n\n虚实相生的笔触让云雾与人物边界消融，光影隐在氤氲雾气间，把超验的神圣时刻定格，肃穆又带着空灵的氛围感，将信徒直面神迹的共情与震撼悄然传递。",[7,28,19608,6651],"圣母升天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941593ed8987624efd52e1e34a69e142.jpg",[],{"id":19612,"slug":19613,"title":19614,"dynasty":46,"author":47,"museum":75,"description":19615,"tags":19616,"thumbUrl":19618,"material":152,"size":153,"collection":103,"collections":19619,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288785,"pierre-puget-design-for-a-tabernacle-yi-ming-288785","Pierre Puget--Design for a Tabernacle","这幅设计稿带着浓郁的巴洛克张力，顶部十字架锚定神圣内核，涡卷状雕饰缠绕出华丽韵律，将建筑与雕塑精妙融合。\n\n中央圣龛被灵动翻飞的天使与健硕的古典人像簇拥，云团中迸绽的线条模拟圣光，烘托出庄严神性。排线细腻的素描技法精准铺陈明暗层次，让石材的厚重与人体的柔润呼之欲出，古典人文意趣与宗教肃穆感相融，每一处细节都在平衡仪式感与装饰性，仿佛能窥见这座圣体柜落成后，在光影下流淌的灵动气韵。",[7,27,6651,2241,276,1106,385,2223,19617],"宗教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff116b934f26d5d792d208483d4e0fdc4.jpg",[],{"id":19621,"slug":19622,"title":19623,"dynasty":46,"author":47,"museum":75,"description":19624,"tags":19625,"thumbUrl":19627,"material":152,"size":153,"collection":103,"collections":19628,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288760,"salvator-rosa-the-raising-of-lazarus-yi-ming-288760","Salvator Rosa--The Raising of Lazarus","这幅速写以奔放迅疾的棕褐墨线铺陈开神迹场景，笔触简劲洗练，却精准抓住了每个角色的神态动作。左侧拉撒路自蜷缩中苏醒，周遭人物或俯首祈祷或流露惊叹；右侧人群骚动，高举的手臂满是呼告的热忱。\n\n墨色浓淡晕染出明暗层次，烘托出肃穆又震撼的氛围。创作者以极具表现力的线条替代细节雕琢，将虔敬、错愕与欣喜揉进每一道笔触里，寥寥数笔就让场景的戏剧张力扑面而来，虽为草图，却拥有极强的叙事感染力，让人真切沉浸在这神圣时刻之中。",[7,28,19626,13465,6651,2476],"拉撒路复活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdd466f40faac284504fd82cf6c2864.jpg",[],{"id":19630,"slug":19631,"title":19632,"dynasty":46,"author":47,"museum":75,"description":19633,"tags":19634,"thumbUrl":19638,"material":152,"size":153,"collection":103,"collections":19639,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288755,"salvator-rosa-witches-sabbath-yi-ming-288755","Salvator Rosa--Witches' Sabbath","棕褐笔调铺就诡谲底色，奔放粗粝的线条勾勒出癫狂迷乱的群像。上方翼状邪灵张牙舞爪、盘旋纠缠，将阴森感肆意铺散；下方人影姿态扭曲惶惑，有人佝偻着搅动器物，有人拖拽同伴，癫狂与惶惑交织蔓延。潦草却精准的笔触，把禁忌仪式的迷狂暗黑揉进每一处褶皱，仿佛嘶哑呓语与诡异嘶吼穿透纸面，将观者拽入这场混沌荒诞的邪异场景之中，让神秘主义的惊悚氛围感扑面而来。",[6651,27,145,7,146,19635,19636,19637],"巫术","女巫","怪物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd384c3637db3116aed2de20a9147b55f.jpg",[],{"id":19641,"slug":19642,"title":19643,"dynasty":46,"author":47,"museum":75,"description":19644,"tags":19645,"thumbUrl":19648,"material":152,"size":153,"collection":103,"collections":19649,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288743,"school-of-rembrandt-the-entombment-after-mantegna-yi-ming-288743","School of Rembrandt--The Entombment, after Mantegna","画面以沉郁排线织就悲恸底色，群像铺陈出一场离别仪式。左侧众人紧绷肢体托举逝者，低垂眉眼将哀恸藏在动作里；中心男子神色肃穆沉静，与身旁崩溃瘫软的女眷形成强烈情绪反差。右侧老者仰首哀号，将整场悲伤推向顶点。\n\n衣褶线条粗粝苍劲，明暗铺陈出厚重质感，石碑铭文静静伫立，成为这场告别的沉默注脚。古典肃穆的构图之下，写实的动态将刻骨悲伤尽数展现，让悲悯浸透纸面，把葬礼之上的不舍与剧痛永远凝固。",[6651,7,28,19646,19647,117],"基督下葬","悲伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882bc858c5287c117bc4364de9a91af0.jpg",[],{"id":19651,"slug":19652,"title":19653,"dynasty":46,"author":47,"museum":75,"description":19654,"tags":19655,"thumbUrl":19656,"material":152,"size":153,"collection":103,"collections":19657,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288726,"urs-graf-the-bearer-of-the-banner-of-the-canton-glarus-yi-ming-288726","Urs Graf--The Bearer of the Banner of the Canton Glarus","刀锋镂刻下，孔武的佣兵背向观者，紧绷的肌理撑起挺拔轮廓，层叠肩甲的冷硬褶皱在铜痕里尽显铠甲厚重质感。肩头的圣徒光晕柔化了杀伐之气，垂坠的僧衣纹路与佣兵凌厉装束形成鲜明对照，神性护佑与世俗战意的张力在纸面铺展。\n\n旗面细密的叙事性刻绘暗藏信仰注脚，粗粝古旧的纸色晕开沉郁的时代底色，将佣兵的虔诚与悍勇凝在刀笔方寸间，成为征伐与祈愿交织的缄默注脚。",[7,28,27,2965,4859,5492,18980,5775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0dd6eac92d323e3ca8e076863ee6f9e.jpg",[],{"id":19659,"slug":19660,"title":19661,"dynasty":46,"author":47,"museum":75,"description":19662,"tags":19663,"thumbUrl":19664,"material":152,"size":153,"collection":103,"collections":19665,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288716,"vittorio-amedeo-rapous-the-vision-of-st-hubert-yi-ming-288716","Vittorio Amedeo Rapous--The Vision of St. Hubert","这幅素描淡彩以拱形框围合出神圣叙事场景，单膝跪地的骑士敛容屏息，将全部心神交付于林间异象——头顶灵光的圣鹿于林木间显现，这是天启降临的瞬间。身旁骏马温驯静立，脚边猎犬却警觉躁动，动静反差放大了此刻的超现实张力。朦胧晕染的林间背景将神迹包裹在氤氲雾气里，把狩猎的日常骤然拉向神性的感召。松弛却精准的线条勾勒出人物的虔敬神态，淡彩铺就柔和氛围感，定格住圣徒信仰觉醒的肃穆刹那，让神性的启迪与凡俗的悸动融为一体。",[7,28,1313,713,10690,27,2240,6651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7dcd60520526f6015a06b47b73aa855.jpg",[],{"id":19667,"slug":19668,"title":19669,"dynasty":46,"author":47,"museum":75,"description":19670,"tags":19671,"thumbUrl":19678,"material":152,"size":153,"collection":103,"collections":19679,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},288709,"william-blake-the-parable-of-the-wise-and-foolish-virgins-yi-ming-288709","William Blake--The Parable of the Wise and Foolish Virgins","昏沉夜色里，惶急与沉静撕扯出强烈的张力。跪地伸手的少女眼含惊惶，苦苦拽住前方身影，旁侧童女将灯盏倒置，徒留空茫徒劳。左侧少女们神色安然垂立，灯盏明灭轻摇，领头者抬臂直指远方，沉静又带着不容置疑的坚定。\n\n上方灵体吹起号角，将救赎的召唤送彻夜色。朦胧晕染的笔触揉合了神圣肃穆与失丧悔恨，把等候的持守与怠惰的悔恨具象在神态动作之中。空灯与明盏，惊惶与安然，画面用明暗拉扯出两种心境，将虔诚与疏怠的分野骤然清晰，让寓言的诘问藏在每一处细节里。",[7,145,19672,2241,19673,19674,19675,13916,19676,16330,19677],"女性人物","提灯","夜晚","惊慌","圣经寓言","淡彩画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe7a9f1a0399b5cdee82c7c80dd0aa5.jpg",[],{"id":19681,"slug":19682,"title":19683,"dynasty":46,"author":47,"museum":75,"description":19684,"tags":19685,"thumbUrl":19686,"material":152,"size":153,"collection":103,"collections":19687,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288703,"workshop-of-battista-franco-design-for-the-decoration-yi-ming-288703","Workshop of Battista Franco--Design for the Decoration","这幅设计稿以素描淡彩铺陈，将拱顶与墙面装饰融为一体。拱顶之上，天使与神话场景错落排布，花环与涡卷纹样穿插其间，让装饰兼具叙事性与韵律感。墙面壁龛浮雕刻画凝练，人物动态张弛有度，烘托出宗教叙事的肃穆氛围。\n\n线条精准利落，明暗晕染巧妙烘托出浮雕立体感，尽显文艺复兴晚期装饰美学。建筑结构与装饰艺术精妙融合，每一处细节都暗藏缜密巧思，将装饰的功能性与艺术性平衡得恰到好处，尽显古典艺术的庄严雅致。",[27,28,7,5001,6651,79,2467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9019c049ff59c402edd6c2b3410afcc.jpg",[],{"id":19689,"slug":19690,"title":19691,"dynasty":46,"author":47,"museum":75,"description":19692,"tags":19693,"thumbUrl":19694,"material":152,"size":153,"collection":103,"collections":19695,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288663,"attributed-to-francesco-allegrini-christ-crucified-with-the-good-thief-yi-ming-288663","attributed to Francesco Allegrini--Christ Crucified with the Good Thief","这是两幅钉刑受难的速写稿，左侧形象肌肉张力饱满，赭色块面晕染出受刑躯体的沉郁苦痛，紧绷的四肢拉伸着濒死的沉重感，将受刑者的肉身煎熬尽数倾注在粗粝笔触中。\n\n右侧形象则更写意疏朗，枯笔淡墨勾勒躯干，明暗对比锐利洗练，带着潦草却极具力量的生动感。整张手稿带着创作实验的松弛感，留白与晕染间留存着即兴创作的温度，将宗教题材的肃穆，转化为直击感官的情绪张力，寥寥数笔就传递出受难之下的悲悯与精神重量。",[7,6651,13465,14566,276,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d748a74c5b49edbc2a2bdf5ae440871.jpg",[],{"id":19697,"slug":19698,"title":19699,"dynasty":46,"author":47,"museum":75,"description":19700,"tags":19701,"thumbUrl":19702,"material":152,"size":153,"collection":103,"collections":19703,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288661,"attributed-to-francesco-allegrini-figures-yi-ming-288661","attributed to Francesco Allegrini--Figures","以利落的棕褐线条铺陈三段日常图景。左侧踞坐者抬手宣讲，簇拥的众人凝神侧目，将讲道的专注氛围尽显；中段两位老者相对休憩，持杖者似正絮叨，垂首搭档静然聆听，松弛又带着老友间的熟稔；右侧二人执手低语，亲昵氛围呼之欲出。\n作者以极简的速写笔触，依靠线条疏密虚实勾勒衣褶起伏、人物神态，不着多余晕染，却精准定格了不同场景的情绪张力，将古典市井群像的鲜活意趣凝于纸面，即兴随性的笔触，留存了日常互动的细腻情态，质朴又传神。",[28,27,7,6651,3354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc673c3dcf4b663b6f69db21923b83f28.jpg",[],{"id":19705,"slug":19706,"title":19707,"dynasty":46,"author":47,"museum":75,"description":19708,"tags":19709,"thumbUrl":19710,"material":152,"size":153,"collection":103,"collections":19711,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288658,"attributed-to-francesco-allegrini-four-flying-angels-two-flying-figures-yi-ming-288658","attributed to Francesco Allegrini--Four Flying Angels ; Two Flying Figures","这幅小稿以极简铁线勾勒出振翅天使，锐利线条带着飞扬张力，晕染水墨铺陈出羽翼蓬松质感，灵动身影仿佛要冲破纸页。右侧淡墨晕开的朦胧虚影，是未加修饰的灵光残影，虚实相映间，好似将天光里神迹乍现的瞬间定格。潦草随性的笔触是灵感迸发的即兴捕捉，泛黄纸面晕开旧时光的温柔，将飞翔轻盈与神性缥缈完美糅合，如一帧将散的幻梦，留存下转瞬即逝的空灵诗意。",[465,27,7,28,2241,134,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a50854e41a370511e74273bae39ca13.jpg",[],{"id":19713,"slug":19714,"title":19715,"dynasty":46,"author":47,"museum":75,"description":19716,"tags":19717,"thumbUrl":19718,"material":152,"size":153,"collection":103,"collections":19719,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},288626,"jean-baptiste-marie-pierre-the-flight-into-egypt-yi-ming-288626","Jean-Baptiste Marie Pierre--The Flight into Egypt","以棕褐色调铺就山野洞窟，逃难的圣家族暂作停留。怀拥圣婴的圣母周身晕着柔光，约瑟牵马立身侧，前景村民围拢跪拜，奉以蔬果敬奉神迹，牛群静卧在旁，消解了流亡的仓促。\n\n粗粝的笔触皴擦岩壁肌理，将山野荒蛮与人物的柔润线条交织，日常烟火与神圣叙事相融。随性松弛的速写感，让奔波的宗教故事落回俗世暖意，在幽寂的洞窟里，把流亡跋涉，化为一场温柔的林间驻留。",[7,6651,28,712,713,3399,16295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3873bf61d65803ebf7c716c2c9f0465.jpg",[],{"id":19721,"slug":19722,"title":19723,"dynasty":46,"author":47,"museum":75,"description":19724,"tags":19725,"thumbUrl":19727,"material":152,"size":153,"collection":103,"collections":19728,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288617,"joachim-wtewael-christ-with-the-cross-yi-ming-288617","Joachim Wtewael--Christ with the Cross","棕色调粉笔晕染出沉静底色，蓬松卷发与虬结胡须以浓淡笔触铺就粗糙质感，光影刻画出面部沟壑间饱经苦难的沧桑。抬望的双目糅合悲悯与坚毅，放射状线条晕染出的光晕，烘托出庄严圣洁的神性氛围。\n\n紧扣十字架的指节绷起，臂弯肌肉紧绷的张力，将背负苦难的沉重尽数传递。衣褶以利落排线堆叠，硬朗里带着破碎疲惫，把隐忍的苦痛藏进褶皱缝隙。\n\n古典写实的笔触将牺牲与救赎的精神内核凝于椭圆构图中，把受难的神圣感召，熔铸成极具感染力的静态瞬间，每一处光影都在诉说信仰的重量。",[7,28,14566,276,6651,6711,19726],"悲悯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c87e14a5ec3ad8ea08e77b2cae06671.jpg",[],{"id":19730,"slug":19731,"title":19732,"dynasty":46,"author":47,"museum":75,"description":19733,"tags":19734,"thumbUrl":19737,"material":152,"size":153,"collection":103,"collections":19738,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288600,"attributed-to-francesco-allegrini-king-solomon-receiving-the-queen-of-sheba-yi-ming-288600","attributed to Francesco Allegrini--King Solomon Receiving the Queen of Sheba","淡墨速写灵动随性，以寥寥线条铺陈出这场会面场景。画面右侧的核心二人衣袂舒展，趋近的身姿暗合会面的庄重氛围。周遭人群神态各异，或躬身肃穆，或自在舒展，潦草却精准的笔触点画出衣袍褶皱的垂坠张力，浓淡错落的墨色区分出人物层次。\n没有繁复雕琢，却以临场感极强的速写笔法，将仪式的庄重与人群的鲜活融于一纸，仿佛能听见场间的细碎低语与衣料摩挲声响，用最朴拙的线条，定格下这场会面最生动鲜活的瞬间。",[7,28,27,6651,16359,19735,19736],"所罗门王","示巴女王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f69199b242831eca58683da863a31f.jpg",[],{"id":19740,"slug":19741,"title":19742,"dynasty":46,"author":47,"museum":75,"description":19743,"tags":19744,"thumbUrl":19746,"material":152,"size":153,"collection":103,"collections":19747,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288586,"attributed-to-francesco-allegrini-the-arrest-of-christ-yi-ming-288586","attributed to Francesco Allegrini--The Arrest of Christ","迅疾粗粝的钢笔线条铺就整场戏，左侧兵丁攒动裹挟着核心人物，紧绷的肢体动作将押送的压迫感倾泻而出，潦草的排线勾勒出甲胄、兵刃的冷硬质感，把抓捕的混乱张力尽数彰显。右侧二人伸臂哀恸，极简的线条便托出无措悲怆的神态。作者依靠线条疏密区分明暗层次，不着多余晕染，却让这场抓捕的戏剧冲突跃然纸面。急促的笔触似将那仓皇又悲愤的瞬间永远定格，潦草却精准地刻画出每个角色的情绪，把这幕悲剧的慌乱与悲戚凝于方寸纸面间。",[7,28,6651,19745,725],"基督被捕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dd1ee9fc1b2c7852a68dc8fa12553f0.jpg",[],{"id":19749,"slug":19750,"title":19751,"dynasty":46,"author":47,"museum":75,"description":19752,"tags":19753,"thumbUrl":19756,"material":152,"size":153,"collection":103,"collections":19757,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288583,"attributed-to-francesco-allegrini-the-expulsion-of-adam-and-eve-from-paradise-yi-ming-288583","attributed to Francesco Allegrini--The Expulsion of Adam and Eve from Paradise","这幅速写以利落的红黑线条铺陈叙事，左侧长者抬手斥逐，线条凝练沉稳，带着不容置喙的威严。前列四人身形从佝偻惶然到踉跄奔逃，虚实交织的笔锋勾勒出肌肉紧绷的仓皇，淡红细线晕染出情绪的焦躁与局促。\n\n整幅画无需繁复着色，仅以灵动的线条就将驱逐时刻的戏剧张力拉满，把被逐者的窘迫惊惶与裁决者的肃穆威严，尽数揉进疏密有致的笔触里，极简却极具感染力。",[27,28,7,19754,19755],"神话故事","驱逐场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44165b9333dde94090aa70109c090b1.jpg",[],{"id":19759,"slug":19760,"title":19761,"dynasty":46,"author":47,"museum":75,"description":19762,"tags":19763,"thumbUrl":19764,"material":152,"size":153,"collection":103,"collections":19765,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288580,"attributed-to-francesco-allegrini-the-martyrdom-of-saint-sebastian-yi-ming-288580","attributed to Francesco Allegrini--The Martyrdom of Saint Sebastian","这页速写以洗练的铁线捕捉了充满张力的瞬间，寥寥数笔就将人物的动态韵律全然勾勒。左侧引弓的射手脊背绷紧，蓄势待发的力量感顺着弓弦倾泻；中心的圣者舒展躯体，带着受难时刻的凛然沉静，抬手的姿态消解了受刑的痛苦，转而透出神圣的从容；右侧的射手正奋力递出箭镞，肢体的紧绷和前者形成呼应。\n\n纸面淡晕的痕迹带着即兴创作的鲜活感，没有繁饰雕琢，却将殉难场景的戏剧冲突凝于薄纸之上，仿佛下一秒箭矢便要破空而出，让这幕神圣时刻的张力永远留存。",[27,28,7,6651,19024,2240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09bc6a013b370392d7123242faa28b6.jpg",[],{"id":19767,"slug":19768,"title":19769,"dynasty":46,"author":47,"museum":75,"description":19770,"tags":19771,"thumbUrl":19772,"material":152,"size":153,"collection":103,"collections":19773,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288572,"attributed-to-francesco-allegrini-unidentified-subject-two-falling-figures-yi-ming-288572","attributed to Francesco Allegrini--Unidentified Subject Two Falling Figures","利落灵动的蚀刻线条，勾勒出强烈的动静对冲。左侧两名坠落的身形衣袂翻卷，仿佛裹挟急风而下，带着惶然失重的动感，打破画面的平稳韵律。右侧两位女子相拥低语，衣褶垂坠柔和，姿态娴静安然，与左侧形成鲜明反差。朦胧的晕染模糊了背景边界，让冲突感更加聚焦。创作者用松弛随性的素描笔触，截取了充满叙事感的瞬间，一半是倏然的慌乱坠落，一半是静谧的私语，留下大片叙事空白，引观者遐想这两个割裂场景背后的隐秘联系，渲染出带着神秘感的戏剧氛围。",[7,145,27,2241,11153,6651,13465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875f0de47c0f82d7ec38597334ae8826.jpg",[],{"id":19775,"slug":19776,"title":19777,"dynasty":46,"author":47,"museum":75,"description":19778,"tags":19779,"thumbUrl":19783,"material":152,"size":153,"collection":103,"collections":19784,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},288559,"carlo-galli-bibiena-design-for-a-stage-set-solomon-receiving-the-queen-yi-ming-288559","carlo Galli Bibiena--Design for a Stage Set Solomon Receiving the Queen","这幅舞台设计稿以棕褐淡墨铺陈，将巴洛克的浮夸恢弘与戏剧叙事感融为一体。左侧繁复的柱廊缠绕着浮雕与壁龛，利落的线条勾勒出华丽肌理，明暗晕染让雕塑仿若呼之欲出，尽显装饰的极致张力。\n右侧露台广场错落排布着人群，侍从簇拥仪仗队列，动态十足，仿佛正上演着庄重的会面。远景朦胧虚化，巧妙拉大舞台景深，将仪式的肃穆热烈暗藏在疏密有致的画面中，每一处细节都在为戏剧氛围铺垫，让纸面仿佛已成为即将启幕的戏剧现场，尽显古典舞台设计的精妙构思。",[7,28,6651,19780,19781,19782,15378,16359],"舞台设计","淡墨","欧式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9a33edac83f1289a3453bdd68f19ce.jpg",[],{"id":19786,"slug":19787,"title":19788,"dynasty":46,"author":47,"museum":75,"description":19789,"tags":19790,"thumbUrl":19791,"material":152,"size":153,"collection":103,"collections":19792,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},287994,"da-cheng-kai-xin-xian-xing-dun-wu-zhen-zong-lun-yi-ming-287994","大乘開心顯性頓悟眞宗論","此卷纸面泛黄斑驳，遍布岁月侵蚀的痕迹，多处磨损残损，墨色淡褪模糊。行笔简劲流畅，带着写经特有的质朴笔意，依稀可见抄经手的娴熟功底。\n\n残卷虽难窥全貌，却依旧承载着顿悟义理的法脉流传，带着古旧厚重的历史质感，静静诉说千年来的时光变迁，尽显写卷独有的沧桑古韵与宗教文献的厚重价值。",[190,747,14663,26,7,595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae05ae5c982d99d876a44b4143cde0c2.jpg",[],{"id":19794,"slug":19795,"title":19796,"dynasty":46,"author":47,"museum":75,"description":19797,"tags":19798,"thumbUrl":19800,"material":152,"size":153,"collection":103,"collections":19801,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},287983,"da-cheng-bai-fa-ming-men-lun-juan-yi-ming-287983","大乘百法明門論卷","纸面带着岁月浸淫的昏黄与残损，笔墨却依旧鲜活动人。整体以行书化的写经体书就，行笔朴拙率意，无刻雕琢痕迹，尽显抄录时的随性自然。笔画粗细随性变幻，牵丝映带间可见书写的连贯气韵，通篇排布紧凑却不显壅塞，字字透着沉静的虔诚。\n\n它褪去炫技的浮华，藏着中古抄经人日常修行里沉淀的笔墨意趣，残泐的边角更添沧桑厚重，每一道墨迹都晕开经年的信仰温度，将书写者的初心与笔墨融为一体，质朴古雅的气韵藏于字里行间，尽显沉静安然的书卷质感。",[190,6254,747,26,572,1190,19799,7],"古写本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5d7015bf7bfcab94e767845997393f.jpg",[],{"id":19803,"slug":19804,"title":19805,"dynasty":46,"author":47,"museum":75,"description":19806,"tags":19807,"thumbUrl":19808,"material":152,"size":153,"collection":103,"collections":19809,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},287981,"fa-cang-quan-jing-p2168-fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-bao-ta-xin-jing-shou-gao-yi-ming-287981","法藏全景 P2168-佛說般若波羅蜜多心經 寶塔心經手稿","此作以经文书就佛宝塔形，经文随塔势层叠排布，自塔尖至基座，般若文句婉转铺陈，笔墨朴拙古雅，自带沉静禅意。塔心线刻佛像，庄严端凝，与周遭经文浑然一体，将礼佛虔心融于书法形制之中。\n\n整作是写刻结合的宗教艺术遗存，以字为砖，以文为塔，把经文深意化作视觉禅境，古旧纸面晕开岁月沉淀，平淡间藏着抄写者的至诚匠心，别具一格地诠释了经文与造像相融的东方美学。",[51,747,190,430,7,572,443,118,595,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edb9f1996a308899b4c56a8f53bf7e5.jpg",[],{"id":19811,"slug":19812,"title":19813,"dynasty":46,"author":47,"museum":75,"description":19814,"tags":19815,"thumbUrl":19816,"material":152,"size":153,"collection":103,"collections":19817,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":215},287936,"jin-gang-bo-re-bo-mi-jing-can-juan-hei-se-zhi-yi-ming-287936","金剛般若波蜜經殘卷黑色紙","此残卷以乌地衬出劲秀小楷，通篇排布匀整茂密，字字端雅秀润，笔致清劲凝练，尽显写经特有的恭谨法度。点画精到到位，结体端稳舒展，字距行距齐整划一，通篇气息贯通肃穆，带着宗教典籍特有的沉静庄严。\n\n纸面虽有斑驳残损，却更添古旧沧桑的厚重质感，残存经文绵密却不拥塞，笔意匀净含蓄，将书写者的虔诚融入笔墨之间，尽显写经的典型风貌，静静承载着久远的信仰传承与古典书法美学的融合意蕴。",[23,747,190,430,26,572,7,1190,4078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98caf8ba711aec5b83d21a51125972e.jpg",[],{"id":19819,"slug":19820,"title":14660,"dynasty":46,"author":47,"museum":75,"description":19821,"tags":19822,"thumbUrl":19823,"material":152,"size":153,"collection":103,"collections":19824,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},287918,"yu-jia-shi-di-lun-sheng-wen-di-fen-men-ji-juan-zhi-bei-yi-ming-287918","泛黄麻纸晕开岁月的痕迹，墨笔排布匀整端严，朴拙笔意藏着抄经手静定的修行日常。朱笔校注错落点缀，是研学义理时的悉心标注，虽为纸背誊录，却凝着中古佛学传习的鲜活切片。残损纸缘刻着时光剥蚀的印记，笔墨沉潜千年研学温度，是信仰与文字交织的质朴遗存，静静诉说着往昔僧众研阅经论的虔诚日常。",[23,26,190,747,7,1190,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83fa2fb23e184ca6b2eb4cdac400852.jpg",[],{"id":19826,"slug":19827,"title":19828,"dynasty":46,"author":47,"museum":75,"description":19829,"tags":19830,"thumbUrl":19831,"material":152,"size":153,"collection":103,"collections":19832,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},287914,"miao-fa-lian-hua-jing-di-qi-juan-yi-ming-287914","妙法連華經第七卷","此卷小楷写经笔致精劲凝练，字字端稳匀净，通篇排布齐整森然，气息绵密贯通，虽为长篇经文，却无一笔怠懈，尽显恪守法度的恭谨。墨色沉朴古雅，与泛黄藏经纸相得益彰，既有写经体的庄严静穆，又暗藏笔锋细微意趣，毫无刻板匠气。\n\n岁月晕染的纸色与留存的朱印，沉淀着悠悠时光的厚重，是宗教热忱与翰墨匠心的融合遗存，静静诉说着千年前抄经时的肃穆氛围，尽显东方书写的独特意蕴。",[23,26,190,747,572,430,1190,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e68da8fcfe21569d24cda1d43b6b66a.jpg",[],{"id":19834,"slug":19835,"title":19836,"dynasty":46,"author":47,"museum":75,"description":19837,"tags":19838,"thumbUrl":19839,"material":152,"size":153,"collection":103,"collections":19840,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},287911,"fa-hua-jing-xuan-zan-juan-di-shi-juan-miao-fa-hua-jing-ming-jue-yao-shu-cao-shu-yi-ming-287911","法華經玄贊卷第十卷妙法華經明決要述草書","此卷以狂放草书挥就，笔墨酣畅肆意。起笔迅疾利落，收笔或戛然而止或萦丝牵绕，字间气脉贯通如行云出岫。通篇排布密而不窒，字形大小欹正变幻自然，枯墨飞白与润墨浓笔交错相生，将经文的沉静意趣与草书的恣肆笔意相融。笔势时而开张奔逸如惊鸿掠影，时而收敛凝注似古松凝立，仿佛可见书写者挥毫时意气流转，将经文义理暗藏在跌宕的笔墨节律中，通篇浑成一体，尽显随性自在的书写意韵，是抄经草书中极具韵致的佳构。",[23,190,6254,747,26,7,572,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d388ca95316d99712574bcb335113f.jpg",[],{"id":19842,"slug":19843,"title":19844,"dynasty":46,"author":47,"museum":75,"description":19845,"tags":19846,"thumbUrl":19847,"material":152,"size":153,"collection":103,"collections":19848,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},287901,"fa-ju-jing-shu-juan-yi-ming-287901","法句經疏卷","此卷以行草写就，墨色沉朴古雅，纸面虽因岁月经年泛黄斑驳，笔墨意趣却丝毫不减。字迹排布紧凑却不壅挤，笔势牵丝映带、流转自如，兼具法度与随性之美。行笔朴拙凝练，粗细藏露随心变化，可见书写时的松弛与持敬。通篇浸透着禅门写经特有的沉静肃穆，字里行间既有疏朗的呼吸感，又带着誊抄经疏时的专注静定，是兼具文献价值与书法审美意趣的古写本佳作。",[23,26,747,190,572,7,1190,6254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bdfcd9c630bffd1c1823b351080c78.jpg",[],{"id":19850,"slug":19851,"title":19852,"dynasty":46,"author":47,"museum":75,"description":19853,"tags":19854,"thumbUrl":19855,"material":152,"size":153,"collection":103,"collections":19856,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},287849,"miao-fa-lian-hua-jing-juan-di-qi-yi-ming-287849","妙法蓮華經卷第七","此卷以率性草书抄写，笔墨朴拙自然，线条灵动跳脱，全无刻意雕琢的匠气，书写韵律浑然天成。泛黄的古纸遍布斑驳虫蚀痕迹，是岁月剥蚀留下的深刻印记，每一处缺损都承载着时光的厚重分量。\n\n字间排布错落随性，墨色浓淡自然过渡，既保有经文抄写的肃穆底色，又尽显草书舒展快意的姿态。宗教文本的沉静内核与书法美学的烂漫意趣融为一体，尽显中古写本朴拙古雅的独特气质，将千年前抄写者的随性笔意与悠悠岁月沉淀的沉静气韵留存至今。",[26,190,747,6254,572,1190,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01ce37d45f440f1dbf137086f925b71.jpg",[],{"id":19858,"slug":19859,"title":19860,"dynasty":46,"author":47,"museum":75,"description":19861,"tags":19862,"thumbUrl":19863,"material":152,"size":153,"collection":103,"collections":19864,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},287848,"fu-shuo-yu-lan-pen-jing-juan-yi-ming-287848","佛說盂蘭盆經卷","整卷以朱丝界栏分格，墨色沉朴古雅，小楷字字排布齐整却不失灵动。起收笔可见典型写经笔韵，法度暗藏，朴拙间带着清隽秀雅。泛黄古纸带着斑驳岁月痕迹，经文密而不紊，字里行间尽显抄经人的恭谨肃穆，满溢沉静庄严的宗教气质，是兼具书法美学与宗教文化价值的古卷，承载着悠远的写经文脉底蕴。",[26,190,747,572,7,1190,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfaadf8aef84c5eb43bc82739b533c2.jpg",[],{"id":19866,"slug":19867,"title":19868,"dynasty":46,"author":47,"museum":75,"description":19869,"tags":19870,"thumbUrl":19871,"material":152,"size":153,"collection":103,"collections":19872,"showCount":200,"zanCount":11,"manualWeight":1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025",[275,7,28,21935,16329,9242,2903,281,4147,2222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa365715052ddc64f2ab1f8b58aadab50.jpg",[],{"id":21974,"slug":21975,"title":21976,"dynasty":46,"author":47,"museum":75,"description":21977,"tags":21978,"thumbUrl":21979,"material":152,"size":153,"collection":103,"collections":21980,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},230577,"guang-zan-mo-he-bo-re-bo-luo-mi-san-mei-pin-zhi-yu-juan-shi-yi-ming-230577","光讃摩訶般若波羅蜜三昧品之餘卷十","此卷墨色沉凝温润，蝇头小楷排布繁密却匀净舒朗，通篇笔意连贯，起收利落尽显楷法端严，又暗含行书灵动意趣。纸面虽遍布虫蛀斑驳，岁月侵蚀痕迹满布，却更添古旧厚重的沧桑质感。字字皆为抄经人虔心所书，将宗教的肃穆沉潜于笔墨细节间，笔端凝聚着专注的心力，残卷依旧传递出清和肃穆的古雅禅意，尽显中古写经的质朴虔诚之美。",[7,190,747,430,26,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e9c339f590ada41c9175c2032fc848.jpg",[],{"id":21982,"slug":21983,"title":21984,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":21985,"thumbUrl":21986,"material":294,"size":153,"collection":103,"collections":21987,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230576,"zhu-tu-ban-zha-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230576","注荼半吒迦尊者",[23,24,7,53,28,52,51,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb9db64658c550af2d824b644c53bd5.jpg",[],{"id":21989,"slug":21990,"title":21991,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":21992,"thumbUrl":21993,"material":294,"size":153,"collection":103,"collections":21994,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230574,"fa-na-po-si-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230574","伐那婆斯尊者",[23,7,28,53,52,29,2189,385,101,3478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f98bc2e20f4050ca3130f80c4b840f.jpg",[],{"id":21996,"slug":21997,"title":21998,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":21999,"thumbUrl":22000,"material":294,"size":153,"collection":103,"collections":22001,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230572,"na-ga-xi-na-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230572","那伽犀那尊者",[23,24,25,53,52,51,7,28,385,858,209,1690,4100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144e096f3784ea482d460f180abc7a29.jpg",[],{"id":22003,"slug":22004,"title":22005,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":22006,"thumbUrl":22007,"material":294,"size":153,"collection":103,"collections":22008,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230568,"fa-du-luo-fu-duo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230568","伐阇罗弗多罗尊者",[23,24,25,53,52,7,28,61,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8dfdc68d27084d30a5d0fecce139c15.jpg",[],{"id":22010,"slug":22011,"title":22012,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":22013,"thumbUrl":22014,"material":294,"size":153,"collection":103,"collections":22015,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230566,"bo-tuo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230566","跛陀罗尊者",[23,24,25,51,7,52,53,28,541,385,241,189,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f361ef0328a78a64e1136188ce9c11.jpg",[],{"id":22017,"slug":22018,"title":22019,"dynasty":46,"author":5322,"museum":75,"description":5323,"tags":22020,"thumbUrl":22021,"material":294,"size":153,"collection":103,"collections":22022,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230564,"su-pin-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230564","苏频陀尊者",[23,24,25,51,7,53,52,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184b327ff8d97c9c0db00cc9edff2d25.jpg",[],{"id":22024,"slug":22025,"title":22026,"dynasty":46,"author":47,"museum":75,"description":22027,"tags":22028,"thumbUrl":22033,"material":152,"size":153,"collection":103,"collections":22034,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},230555,"jiang-hu-zao-qi-hua-ce-yi-ming-230555","江户早期 画册","此作以淡彩晕染铺就禅意底色，上方四位高僧于云间聚谈，衣纹华美精细，或持扇缓语，或安坐静聆，清寂悠然。下方廊台老僧独坐，林间轻烟漫溢，将上下场景晕染勾连。\n\n线条秀雅细腻，衣装纹饰精工细致，虚实相映间构建出超脱世俗的禅意空间，尽显雅致悠远的佛绘气韵，传递出静观天地、物我皆忘的禅家意趣。",[23,24,7,28,53,52,22029,1286,22030,22031,22032,19168],"佛绘","林间","廊台","云间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9094e7a162e332926e4d00628e669dfd.jpg",[],{"id":22036,"slug":22037,"title":22038,"dynasty":220,"author":47,"museum":75,"description":22039,"tags":22040,"thumbUrl":22041,"material":152,"size":153,"collection":103,"collections":22042,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},230094,"jin-gang-zi-nian-zhu-yi-ming-230094","金刚子念珠","深褐金刚子串起长链，肌理苍古，带着被长久摩挲而出的温润包浆，凝着持诵岁月的沉静佛韵。四颗珊瑚隔珠如朱砂落墨，朱赤明丽撞破沉郁底色，让整串念珠色调鲜活又不失庄重。下端坠饰细节雅致，绿松石星点提亮，黄绸书签垂落，素绳挽结摇曳生姿，带着手工匠意的温度。它制式规整，细节处处见用心，将宗教清寂与传统审美相融，既是礼佛持物，亦是藏着旧时光意趣的随身雅器，尽显内敛隽永的古典韵味。",[223,7,59,607,53,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21583b8f7f42023f56610694cfa184cd.jpg",[],{"id":22044,"slug":22045,"title":22046,"dynasty":220,"author":47,"museum":75,"description":22047,"tags":22048,"thumbUrl":22049,"material":152,"size":153,"collection":103,"collections":22050,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},230057,"qi-nian-zhu-yi-ming-230057","漆念珠","此念珠以漆珠串就，颗颗周正饱满，表层凝着经年摩挲而出的温润包浆，晕染出沉敛古朴的质感。以五枚浓丽鲜亮的珊瑚珠为隔饰，暗哑底色撞出明艳亮点，平衡了整体色调。\n\n配饰集珊瑚、翠玉、螺钿等材质于一体，佛头、背云与挂坠精巧雅致，将多材质的特质相融，尽显搭配巧思。器物既保有宗教持诵器物的沉静庄严，又暗合旧时配饰审美中对材质混搭、细节精工的追求，静静承载着往昔持诵时光里的悠悠岁月痕迹，尽显内敛雅致的旧韵。",[220,9395,59,8086,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c935f694e7d12ca1acd45ab2fc14e.jpg",[],{"id":22052,"slug":22053,"title":22054,"dynasty":220,"author":47,"museum":75,"description":22055,"tags":22056,"thumbUrl":22057,"material":152,"size":153,"collection":103,"collections":22058,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},229817,"shan-hu-song-shi-nian-zhu-shan-hu-yi-ming-229817","珊瑚松石念珠(珊瑚)","此念珠以珊瑚为主材，颗颗匀净饱满，凝着醇厚鲜亮的朱红，如同揉碎的霞色凝结而成。青金石分珠点缀其间，宝蓝与丹赤相映，撞色出古典又明艳的层次。\n\n下端配松石、饰件错落排布，素色绦带垂落，带着旧时光的温润质感。整体形制周正雅致，将天然珠宝的肌理之美，与礼佛器物的沉静气韵相融，自带静穆祥和的氛围，是藏着虔心的随身珍玩，晕开悠悠古韵。",[223,7,59,17569,5148,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215f617aa56fbe2aa87d7097b80aa2c9.jpg",[],{"id":22060,"slug":22061,"title":22062,"dynasty":220,"author":47,"museum":75,"description":22063,"tags":22064,"thumbUrl":22065,"material":152,"size":153,"collection":103,"collections":22066,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},229765,"zha-ma-lu-gu-yi-ming-229765","札嘛噜鼓","这是一件兼具宗教意涵与工艺美感的随身法器。小巧的八角鼓身蒙皮凝着岁月包浆，质朴古拙。下衔流云纹饰件与藏蓝宝珠，垂落数幅织绣飘带。绣带配色浓烈鲜活，以精妙针艺缂绣出花木山石，或是重瓣牡丹艳红灼目，或是幽芳花卉伴石而生，山野生机跃然丝面。\n它将宗教仪轨的庄肃，融合民间织绣的柔美工巧，既作为法会中摇奏的法器，亦是清代手工艺的精巧缩影，藏着高原文化独有的灵动意趣。",[223,119,652,7,53,497,61,2936,1483,225,5014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc616fa42084d26024163af0cdc141b93.jpg",[],{"id":22068,"slug":22069,"title":22070,"dynasty":220,"author":47,"museum":75,"description":22071,"tags":22072,"thumbUrl":22074,"material":152,"size":153,"collection":103,"collections":22075,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},229711,"qian-jin-ba-bao-hei-rong-piao-dai-yi-ming-229711","嵌金八宝黑绒飘带","黑绒沉如凝夜，衬得鎏金八宝愈发明丽灼目。每一处金饰皆錾刻精妙，宝相饱满灵动，各呈吉庆意蕴，将佛家八宝的祥瑞熔于方寸。柔绒的哑光肌理撞着金饰的亮泽，静穆又华贵。\n\n末端垂坠的朱红、宝蓝饰石，莹润澄澈，随飘带轻晃便漾出细碎灵动，为沉敛整体点睛提亮。这缕飘带将匠人的细腻藏入经纬，把礼制之下的精致排场与祈福心意织为一体，垂坠之间，漾着雅致雍容的古韵余温。",[223,61,22073,15129,7,59],"嵌金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcc8d48d1604015e1f54e1656d7f2c8.jpg",[],{"id":22077,"slug":22078,"title":22079,"dynasty":220,"author":47,"museum":75,"description":22080,"tags":22081,"thumbUrl":22083,"material":152,"size":153,"collection":103,"collections":22084,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},229696,"ga-ba-la-qian-jin-yin-zhu-bao-shu-zhu-yi-ming-229696","嘎巴拉嵌金银珠宝数珠","这串数珠以嘎巴拉骨为主体，每枚骨珠均错金错银，镶嵌细小珠宝，排布规整细密，尽显精工巧思。圆润珊瑚隔珠点缀其间，暖润朱红调和骨色的朴拙，层次鲜明和谐。下悬四组红绳流苏，串联鎏金饰件，流苏垂坠柔润，细节处尽显藏地密宗器物的庄严质感。\n\n整体形制肃穆庄重，将骨骼的质朴、贵金属的华贵与珠宝的莹润融为一体，凝聚着独有的宗教审美与手工匠心，尽显密宗法物的神圣意蕴。",[223,7,652,59,226,22082,15267,17568],"金银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50334f8d3376e708966313575dc1aa00.jpg",[],{"id":22086,"slug":22087,"title":22088,"dynasty":220,"author":47,"museum":75,"description":22089,"tags":22090,"thumbUrl":22093,"material":152,"size":153,"collection":103,"collections":22094,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},229544,"tong-tai-qia-si-fa-lang-shi-xiang-zi-zai-fan-wen-die-yi-ming-229544","铜胎掐丝珐瑯十相自在梵文碟","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[223,22091,20172,1030,7,13999,22092],"铜胎掐丝珐琅","十相自在图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff952fe641c9805f0d6cb7e0e7ef04b68.jpg",[],{"id":22096,"slug":22097,"title":22098,"dynasty":220,"author":47,"museum":75,"description":22099,"tags":22100,"thumbUrl":22101,"material":152,"size":153,"collection":103,"collections":22102,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},229459,"du-jin-bao-gai-yi-ming-229459","镀金宝盖","整体鎏金莹润亮泽，宝盖周身錾刻繁密缠枝纹，层叠环绕，线条灵动舒展，尽显錾刻工艺的极致精妙。托架云纹卷舒柔婉，似携仙气萦绕，烘托出器物的神圣气韵。长杆挺拔匀净，末端花苞钮饱满雅致，与宝盖的华美相得益彰。\n\n它兼具宗教法器的庄严与金作工艺的华贵，将藏地器物的神圣感与细腻金工完美相融。莹润金面承载着精湛匠艺，每一处纹路都凝结着旧时工匠的心血，既不失礼器的肃穆，又尽显金饰的华贵，静静诉说着往昔金作技艺的登峰造极。",[223,1031,225,224,652,7,2297,1908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d091a889b167c33c899a1b7dc93b4b0.jpg",[],{"id":22104,"slug":22105,"title":22106,"dynasty":220,"author":47,"museum":75,"description":22107,"tags":22108,"thumbUrl":22111,"material":152,"size":153,"collection":103,"collections":22112,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},229448,"mi-la-shu-zhu-qing-guang-xu-er-shi-yi-nian-ban-chan-e-er-de-ni-jin-yi-ming-229448","蜜蜡数珠-清光绪二十一年班禅额尔德尼进","这串数珠以蜜蜡为材，颗颗匀润饱满，凝着暖糯的琥珀色泽，澄澈通透间晕开经年的温润包浆。搭配花丝珐琅饰件，宝蓝底色衬着鎏金纹饰，掐丝填色细腻雅致，藏地风格浓郁庄重，带着沉静的宗教意蕴。\n\n作为朝贡进献的供器，它联结着藏汉礼佛传统，每一枚珠子都载着祈福愿力，沉淀着晚清宗教与政治交融的历史余温，藏地工艺与中原审美在此呼应，朴素里见匠心，静穆间藏着虔诚信仰的重量。",[223,7,572,59,22109,22110,225],"蜜蜡","数珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d010874b46d19c3826537b3b3c995c4.jpg",[],{"id":22114,"slug":22115,"title":22116,"dynasty":220,"author":47,"museum":75,"description":22117,"tags":22118,"thumbUrl":22119,"material":152,"size":153,"collection":103,"collections":22120,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},229405,"yin-ba-bao-zhi-er-yi-ming-229405","银八宝（之二）","此件供器以圆牌为主体，高浮雕双凤环拥宝相花，翎羽舒展婉转，灵动华贵，宝相花饱满妍丽，尽显雍容之态。牌身三方嵌饰红蓝宝珠，莹润晕彩，为素雅银身晕开一抹亮色，更添富丽。\n\n圆牌下承缠枝云纹托架，茎柄仿花叶柔婉舒展，线条流畅自然，底托为莲瓣覆座，形制上下呼应，浑然一体。通体鎏银包浆厚重匀净，浮雕层次分明，将吉祥八宝的庄严意趣融于工致造像之中，尽显手工匠心，静穆间晕开华贵的宗教美感。",[12200,225,7,1897,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed02c31be9005c9d0ba7936e628dad4a.jpg",[],{"id":22122,"slug":22123,"title":22124,"dynasty":220,"author":47,"museum":75,"description":22125,"tags":22126,"thumbUrl":22127,"material":152,"size":153,"collection":103,"collections":22128,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},229312,"mu-zi-nian-zhu-yi-ming-229312","木子念珠","以旋削木片串为主体，柔韧皮绳穿系起素朴底色。颗颗木圈排布齐整，带着手工打磨的温润质感。搭配的红玛瑙圆珠沉凝浓郁，米白、湖蓝配珠错落点缀，撞出明快鲜亮的视觉层次。\n银质挂饰锋芒利落，带着原生的粗犷张力；系挂的经卷残片晕开经年虔敬，让这串念珠脱离了单纯饰件的属性，成为藏地信徒日常修行的随身陪伴。\n器物不加繁复雕饰，将材质本味与祈愿之心揉合为一，尽显山野拙朴的原生审美，是藏地手工与精神信仰交织的生动缩影。",[223,7,59,607,225,2374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd509ca2bfd5e13e8adb6e73292e22f87.jpg",[],{"id":22130,"slug":22131,"title":22132,"dynasty":220,"author":47,"museum":75,"description":22089,"tags":22133,"thumbUrl":22134,"material":152,"size":153,"collection":103,"collections":22135,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},229133,"qia-si-fa-lang-fan-wen-die-yi-ming-229133","掐丝珐瑯梵文碟",[15127,20082,53,7,13999,652,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ade6c462850e52bda55d15602a95a0.jpg",[],{"id":22137,"slug":22138,"title":22139,"dynasty":220,"author":47,"museum":75,"description":22140,"tags":22141,"thumbUrl":22142,"material":152,"size":153,"collection":103,"collections":22143,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":68},229076,"yin-tan-cheng-tu-guan-hu-tu-ke-tu-deng-jin-yi-ming-229076","银坛城-土观呼图克图等进","银质坛城盖面錾刻规整坛城布局，正中方台凝练出神圣核心，金属肌理晕开肃穆的宗教氛围。器身通体浮雕缠枝纹样，细密走线勾勒出藏地工艺的精致风骨，每一处凿痕都藏着匠人的沉静心力。\n\n搭配的五色哈达依旧柔润鲜亮，白洁、红暖、黄明、蓝静、绿柔，呼应藏地宇宙观的五行意蕴，凝驻着敬献时的赤诚心意。金属的厚重沉静，搭配彩绸的鲜活暖意，让这件器物既是精湛藏地工艺的缩影，更承载着庄重纯粹的信仰重量。",[223,7,12200,652,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4f22d8141adbb74d083eda299f1883.jpg",[],{"id":22145,"slug":22146,"title":22147,"dynasty":220,"author":47,"museum":75,"description":22148,"tags":22149,"thumbUrl":22150,"material":152,"size":153,"collection":103,"collections":22151,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},229056,"ga-bu-la-shu-zhu-qing-qian-long-si-shi-wu-nian-shi-yue-er-shi-qi-ri-ban-chan-jin-yi-ming-229056","嘎布拉数珠-清乾隆四十五年十月二十七日班禅进","以嘎布拉骨管为主体串链，质朴肌理凝着岁月沉敛的质感。朱红珊瑚珠错落点缀其间，暖艳色调调和骨材的冷硬，下端配搭松石圆珠，撞色跳脱又不失和谐。垂坠的流苏柔化器物的肃穆轮廓，让密宗数珠兼具仪轨庄严与雅致美感。\n它带着雪域信仰的厚重温度，将藏地手工巧思与宗教意趣相融，静穆中晕开悠远禅意，是藏传佛教器物里兼具精神内核与审美价值的精妙之作，每一颗珠串都沉淀着雪域圣地的信仰情怀。",[7,652,59,22110,223,53,17569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086aae1088c0d0eafd67f9d15d541cbe.jpg",[],{"id":22153,"slug":22154,"title":22155,"dynasty":181,"author":47,"museum":75,"description":13017,"tags":22156,"thumbUrl":22157,"material":152,"size":153,"collection":103,"collections":22158,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":124},227291,"luo-han-tou-yi-ming-227291","罗汉头",[2400,225,7,28,2222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304e1d47321579ddfd0b7b74622ecd9c.jpg",[],{"id":22160,"slug"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胎体与亮泽鎏金形成明暗反差，层次分明。分层铸造却浑然一体，匠师将虔诚信仰凝于每一处錾刻细节，造形生动饱满，纹饰细腻入微。雪域工艺的厚重质感，与密宗器物的神圣内核在此相融，静立间便铺展出藏地信仰的肃穆华美，是承载祈愿的匠心之作。",[12200,224,225,7,1917,1008,28,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d9afa32a351d34890bec55d539ad6b.jpg",[],{"id":24947,"slug":24948,"title":24949,"dynasty":220,"author":47,"museum":75,"description":24950,"tags":24951,"thumbUrl":24952,"material":152,"size":153,"collection":103,"collections":24953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274978,"tong-du-jin-ta-yi-ming-274978","铜镀金塔","此塔循藏式佛塔制式，层次分明，静穆端庄。覆钵塔身饱满圆融，环饰数道弦纹，利落线条勾勒出沉稳体量。基座錾刻缠枝莲瓣，纹路舒展饱满，尽显錾刻工法的细腻入微。\n\n相轮层级严整，宝顶莲瓣隽秀，嵌饰的松石晕着幽光，在鎏金的沉厚底色上晕开灵动意趣。鎏金虽经岁月浸染上斑驳包浆，却更衬出古韵沉凝，将藏地信仰的庄严与手工匠造的巧思相融，静静晕开跨越时光的信仰温度与美学质感。",[7,3504,1030,224,225,2374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22a912429a971a81ff85d6bcfb526d.jpg",[],{"id":24955,"slug":24956,"title":24957,"dynasty":220,"author":47,"museum":75,"description":14715,"tags":24958,"thumbUrl":24959,"material":152,"size":153,"collection":103,"collections":24960,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274974,"qia-si-fa-lang-ba-ling-gong-yi-ming-274974","掐丝珐琅巴苓供",[20172,15127,7,13296,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd26e2239718bc9a771eb2503e10f46.jpg",[],{"id":24962,"slug":24963,"title":24964,"dynasty":220,"author":47,"museum":75,"description":6517,"tags":24965,"thumbUrl":24966,"material":152,"size":153,"collection":103,"collections":24967,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274973,"tong-ben-ba-ping-yi-ming-274973","铜奔巴瓶",[1030,7,9508,321,2374,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9a544c6ab2f6e60b57a3fc56130648.jpg",[],{"id":24969,"slug":24970,"title":24971,"dynasty":220,"author":47,"museum":75,"description":24972,"tags":24973,"thumbUrl":24975,"material":152,"size":153,"collection":103,"collections":24976,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},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。",[607,9395,9508,7,32,24974],"红漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2cdf3ca40f47ab90119336abd24dd04.jpg",[],{"id":24978,"slug":24979,"title":24699,"dynasty":220,"author":47,"museum":75,"description":24980,"tags":24981,"thumbUrl":24983,"material":152,"size":153,"collection":103,"collections":24984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},274937,"tong-du-jin-ba-bao-chang-yi-ming-274937","这件造像以精金铸就，自上而下层次分明。顶部吉祥结盘曲往复，线条柔婉连绵，暗含圆满无尽的祈愿，下托盛放的仰莲，瓣尖轻扬，似含朝露。中层云纹翻涌灵动，将上下构件自然衔合，如祥光浮空。底座葫芦饱满圆润，錾刻纹饰细密精巧，缠枝卷叶环绕，与须弥莲座呼应成趣。\n\n周身金水厚重莹润，煌煌光泽间尽显华贵庄重，精湛金工藏于每一处细节里，将宗教意蕴与宫廷审美相融，线条流转间带着沉静典雅的气韵，把清净圆满的美好寄于这件精巧造物之中。",[224,1030,225,7,24982,20173,652],"佛教八宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F024f413bda96bfc04767b2eb36f7cd37.jpg",[],{"id":24986,"slug":24987,"title":24988,"dynasty":220,"author":47,"museum":75,"description":24989,"tags":24990,"thumbUrl":24991,"material":152,"size":153,"collection":103,"collections":24992,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},274936,"tong-du-jin-ba-bao-yu-yi-ming-274936","铜镀金八宝-鱼","这件供器鎏金璨然华贵，造型层层铺陈，尽显匠心。顶部双鱼灵动舒展，鳍尾鲜活如生，被缠枝莲台托举簇拥，暗合吉庆有余的祥瑞意涵。中层云纹座翻卷灵动，似将仙气托举而上，下接宝瓶葫芦，纹饰饱满精细，纳聚祈福安和之意。\n\n整体以錾刻、累丝工艺精作而成，线条华丽流畅，细节处尽显工造极致水准，融合了吉祥意蕴与宫廷审美风骨，华贵之余不失空灵隽秀，是礼佛供器里的精巧佳构，将鎏金铜器的华美与祈福深意融于一体。",[224,1030,225,1897,7,2374,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd924e3f13af4f6c435bb6ae0d43d2c8.jpg",[],{"id":24994,"slug":24995,"title":24707,"dynasty":220,"author":47,"museum":75,"description":24996,"tags":24997,"thumbUrl":24998,"material":152,"size":153,"collection":103,"collections":24999,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274935,"tong-du-jin-ba-bao-guan-yi-ming-274935","通体鎏金匀净厚重，宝光内敛华贵。整器造型层叠呼应，顶端宝瓶挺拔秀雅，盖顶饰钮，两侧缠枝形耳灵动舒展，安坐仰莲台座，下承流云束腰柱，云纹卷舒饱满，线条婉转柔润，将灵动与沉稳融于一身。\n\n中部宝瓶复刻上制，莲瓣承托，上下形制呼应协谐，让整体视觉平衡舒展。底座錾刻纹饰细密妥帖，稳稳承载整器威仪。\n\n这件器物以吉祥宝瓶为核心意象，錾刻与铸造工艺精湛绝伦，纹饰繁而不杂，把神性庄严与金工美学融于一体，静穆间自有祥瑞之气流淌，尽显庄重圣洁的祈福之意。",[224,1030,225,7,15129,2374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce8f713303f2d5adff5c584b35b9889a.jpg",[],{"id":25001,"slug":25002,"title":24715,"dynasty":220,"author":47,"museum":75,"description":25003,"tags":25004,"thumbUrl":25005,"material":152,"size":153,"collection":103,"collections":25006,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274934,"tong-du-jin-ba-bao-hua-yi-ming-274934","整体鎏金明丽华贵，造型层次分明韵味悠长。顶部镂空莲花苞盖缠枝舒展，灵动精巧，下接仰莲台座，花苞似将绽未绽，自带清雅圣洁之气。云纹束腰翻卷流转，如仙气萦身，衔接起上下景致。中部宝瓶饱满端庄，周身錾刻细密缠枝纹饰，两侧宝绶轻盈垂落，尽显端庄雅致。底座莲瓣层叠环绕，饱满圆润，周身纹饰细腻入微。\n\n这件供器将莲花圣洁意涵与吉祥意象相融，鎏金工艺精湛细腻，把藏传佛教的清净庄严与宫廷造办的华贵工巧合二为一，尽显雅致肃穆的佛门气韵。",[224,1030,225,7,98,2374,15129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eb8ca59c598f808c0481abf36625af.jpg",[],{"id":25008,"slug":25009,"title":24731,"dynasty":220,"author":47,"museum":75,"description":25010,"tags":2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盘长结，回环往复连绵不绝，暗合佛法无始无终、福寿绵长的吉祥意涵。\n\n莲台舒展饱满，瓣脉分明，鎏金莹润厚重，古意盎然。支架缠枝卷草灵动婉转，与莲台、覆莲底座层层呼应，层次分明有序。整体造型庄重华贵，藏地造像的浑厚大气尽显其中，细节处一丝不苟，錾刻走线流畅细腻，鎏金褪去的斑驳晕开独有的岁月质感，将吉祥寓意与金工美学融于一身，静穆间自有清净庄严的宗教意韵。",[1030,1031,225,7,652,20173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d07bd29edd1e000fbb227a3da0aa9d.jpg",[],{"id":25220,"slug":25221,"title":24988,"dynasty":220,"author":47,"museum":75,"description":25222,"tags":25223,"thumbUrl":25224,"material":152,"size":153,"collection":103,"collections":25225,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274902,"tong-du-jin-ba-bao-yu-yi-ming-274902","此件造像层次错落有致，桃形背光錾刻缠枝纹为底，中心双鱼相互环绕，身形舒展灵动，周身纹路细致华美，尽显自在生机。鎏金包浆厚重柔润，古韵氤氲。下方莲台花瓣饱满立体，卷草立柱与仰莲底座雕琢精巧繁复，细节处尽显匠心。\n\n金鱼寓意解脱自在，这件造像将这份吉祥意涵与金属錾刻鎏金工艺相融，尽显清代藏传造像的精巧工法，诠释出虔诚雅致的宗教美学韵味。",[1030,1031,225,7,1897,241,2374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fdca947b1ab85b947f371c6636b3f4.jpg",[],{"id":25227,"slug":25228,"title":24707,"dynasty":220,"author":47,"museum":75,"description":25229,"tags":25230,"thumbUrl":25231,"material":152,"size":153,"collection":103,"collections":25232,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274901,"tong-du-jin-ba-bao-guan-yi-ming-274901","宝冠形背光錾刻缠枝莲纹，环托丰肩敛腹的宝罐，璎珞垂饰错落点缀，尽显华贵庄严。饱满舒展的仰莲台承起主体，花瓣肌理鲜活如生，下接镂空卷草缠枝立柱，灵动卷叶蜿蜒环绕，与覆莲底座的沉稳厚重形成虚实呼应。鎏金覆裹铜胎，历经时光晕出温润柔光，金属冷硬质感糅合静穆佛韵。细金工艺将藏地美学凝于方寸，把清净圆满的祈愿熔铸在錾刻纹路之中，是工艺与信仰相融的精巧之作。",[7,1030,1031,225,98,15129,20429,16736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e0fd92f3d4ac0c0ecf51f3cee87d96c.jpg",[],{"id":25234,"slug":25235,"title":24731,"dynasty":220,"author":47,"museum":75,"description":25236,"tags":25237,"thumbUrl":25238,"material":152,"size":153,"collection":103,"collections":25239,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274899,"tong-du-jin-ba-bao-gai-yi-ming-274899","这件供器层次分明，顶部浮雕摩羯宝首，怒目圆睁、鬃毛翻卷，威严狞厉，环绕的火焰背光錾刻细密，烘托出神圣肃穆的宗教气场。下方莲台饱满舒展，莲瓣脉络清晰鲜活，稳稳承托宝盖，尽显庄重雅致。\n\n底座以缠枝卷草与莲纹交叠装饰，錾刻工艺细腻入微，通体镀金莹润厚重，华贵质感扑面而来。整体将藏传佛教的宗教肃穆与清代金作的精巧工艺相融，细节处皆见匠心，凝练出庄严神圣的信仰美学。",[1030,1031,225,7,2374,98,15129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb3dc010376fcda97e5a50ec726c142.jpg",[],{"id":25241,"slug":25242,"title":24739,"dynasty":220,"author":47,"museum":75,"description":25243,"tags":25244,"thumbUrl":25245,"material":152,"size":153,"collection":103,"collections":25246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274898,"tong-du-jin-ba-bao-san-yi-ming-274898","这件宝伞嵌于桃形佛龛之中，伞主法相威严，持法器安坐，周身纹饰錾刻细密繁复，华贵庄重。\n\n下承仰莲座，莲瓣饱满鲜活，脉理分毫毕现。莲茎缠绕翻卷的瑞草纹，与底座覆莲纹遥遥呼应，鎏金随着时光晕染出深浅层次，古铜底色晕开温润包浆，将藏地法器的庄严气度与工艺美学相融。它把护佑祈福的意涵凝于造像，静穆间尽显清代造像的精工巧思，藏着厚重的宗教意蕴。",[1030,1031,225,7,15129,24742,5860,16736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df6bb0e1d65a34bddac7a121b82a980.jpg",[],{"id":25248,"slug":25249,"title":25024,"dynasty":220,"author":47,"museum":75,"description":25250,"tags":25251,"thumbUrl":25252,"material":152,"size":153,"collection":103,"collections":25253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274897,"tong-du-jin-ba-bao-luo-yi-ming-274897","宝螺背光饰缠枝莲纹，内錾刻法螺本尊，法相肃穆灵动，气韵庄严。饱满层叠的莲台承托宝器，花瓣肌理写实舒展，尽显圣洁之态。透雕卷草纹的支架柔婉灵动，中和器物厚重感，与莲台、底托形成虚实错落的韵律。通体镀金凝润亮泽，局部露铜色衬出纹饰层次，藏地手工冶铸的精细虔诚尽显无余。整器将宗教祈福意象与金属工艺精妙相融，静穆间带着精致华丽，是藏传法器中的匠心之作，尽显清代造像的典雅美学，凝聚着信仰与匠造的双重温度。",[1030,224,24628,225,7,25027,5860,652,15129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03127824c19be1b39237410956f1f2e.jpg",[],{"id":25255,"slug":25256,"title":24723,"dynasty":220,"author":47,"museum":75,"description":25257,"tags":25258,"thumbUrl":25259,"material":152,"size":153,"collection":103,"collections":25260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274896,"tong-du-jin-ba-bao-lun-yi-ming-274896","此器自上而下层次分明，桃形背光錾刻缠枝莲纹拱卫法轮，轮心纹饰庄严尽显圆满禅意。莲台层层绽露饱满莲苞，稳稳承托圣物。支架透雕卷草纹灵动舒展，与莲台静穆形成动静相宜的反差。底足覆莲环绕，鎏金历经岁月晕染，古旧包浆更衬器物雍容华贵。整器庄重精巧，将藏传佛教清净意蕴与精湛造办工艺相融，是佛前供器中的佳品，尽显信仰与工艺交织的大美。",[1030,1031,225,7,2296,98,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332c5c6ab0006cda5b1c7dc212698bc4.jpg",[],{"id":25262,"slug":25263,"title":13565,"dynasty":220,"author":47,"museum":75,"description":25264,"tags":25265,"thumbUrl":25266,"material":152,"size":153,"collection":103,"collections":25267,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274895,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274895","菩萨白身赤足舒坐莲台，身姿曼妙灵动，抬手展具，周身朱焰萦回，青珐琅底色晕染出澄澈清净的佛境，配色鲜亮明快，佛韵盎然。银镀金底座分饰层莲与缠枝瑞纹，錾刻走线细腻古拙，鎏金莹润光泽与珐琅彩的明丽相映成趣，将藏地造像的神性静穆与内地金属细作的精工华贵融于一体，气韵庄严又不失灵动雅致，尽显彼时宗教造像的审美意趣，是匠心独具的供佛佳器。",[7,12200,224,229,28,571,225,2374,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243d51a1e734e161ea2f5b8411fe9061.jpg",[],{"id":25269,"slug":25270,"title":13565,"dynasty":220,"author":47,"museum":75,"description":25271,"tags":25272,"thumbUrl":25273,"material":152,"size":153,"collection":103,"collections":25274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274894,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274894","水滴形鎏金佛龛内，菩萨安坐莲台，莹白法身环饰璎珞，神态慈悲自在。蓝底嵌饰细密匀净，托出菩萨明丽衣色与宝相，色彩古雅沉静，尽显殊圣安然。\n\n下方银质莲台舒展层叠，卷草缠枝纹饰柔婉灵动，与鎏金龛沿的繁复雕花彼此呼应。素银冷冽光泽与鎏金华贵金芒相融，藏地造像的雄浑气质与精工巧思交织，将信仰凝注于寸厘工艺中，静静诉说着清净庄严的供养之心，尽显藏地供具的独特美学意涵。",[7,12200,224,225,229,53,13568,98,20333,1106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d8fb5c0f366d5e012b7fb49546ea94.jpg",[],{"id":25276,"slug":25277,"title":13565,"dynasty":220,"author":47,"museum":75,"description":25278,"tags":25279,"thumbUrl":25280,"material":152,"size":153,"collection":103,"collections":25281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274893,"yin-du-jin-tuo-hua-gong-yang-pu-sa-yi-ming-274893","这件供器融珐琅绘像与錾金造艺于一体，中心珐琅面板之上，菩萨身姿舒展安和，眉眼慈悲柔婉，衣带随形飘举，在青蓝色底釉映衬下，色彩明丽鲜活，尽显清净庄严的神性美感。\n\n银镀金托架匠心十足，层叠仰莲承托宝桃形画框，框身錾刻缠枝卷草，纹路饱满灵动，下接雕花束腰底座，鎏金光泽沉稳古雅。藏地造像的厚重质感与珐琅彩饰的鲜亮相映成趣，既饱含宗教供器的肃穆气韵，又尽显手工技艺的精妙水准，是信仰与匠意融合的绝佳载体。",[7,572,11217,12200,224,225,28,652,14719],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff841df9437a175f0670d3893ba6c053.jpg",[],{"id":25283,"slug":25284,"title":25285,"dynasty":220,"author":47,"museum":75,"description":25286,"tags":25287,"thumbUrl":25288,"material":152,"size":153,"collection":103,"collections":25289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274891,"tong-xiang-yin-qi-zhen-mo-ni-bao-yi-ming-274891","铜镶银七珍-摩尼宝","这件造像以莲台承托鎏金背光，主尊仪态端严，双手托举法珠，绶带宝纹随形环绕，灵动舒展。铜银错镶的工艺让明暗层次尽显分明，鎏金的华贵与银质的清冽相互映衬。下接卷草缠枝束腰支架，仰覆莲底座錾刻禅纹，线条辗转间尽显藏地造像的精工巧思。\n\n整体静穆中带着富丽质感，既承载着护持祥瑞的宗教神性，又尽显清时造像的审美意趣，将摩尼宝的圣洁华贵凝练其中，是匠心与信仰融合的精妙之作。",[7,572,1030,12200,225,443,5860,321,24511,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23103e57a8ecf769b87a54426341d51.jpg",[],{"id":25291,"slug":25292,"title":25293,"dynasty":220,"author":47,"museum":75,"description":25294,"tags":25295,"thumbUrl":25296,"material":152,"size":153,"collection":103,"collections":25297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274890,"tong-xiang-yin-qi-zhen-jiang-jun-bao-yi-ming-274890","铜镶银七珍-将军宝","整体造型庄重雅致，铜银错金的工艺让器物明暗交映，鎏金褪去的痕迹晕开岁月包浆。宝顶主尊安坐于缠枝纹环绕的背光之内，錾刻细腻，法相端严祥和，纹饰灵动舒展。下方莲台瓣层叠饱满，舒展而富有生机。下接卷草镂空底座，缠枝纹婉转流畅，将藏地手工的极致巧思凝于一身。\n作为供器，它承载着祈福护佑的信仰重量，佛仪规整，细节处尽显匠心，静穆之间尽显华贵庄严的宗教气韵。",[1030,12200,225,7,572,2374,98,443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9c99eb0c25621a7a2a4909ef1ce18e.jpg",[],{"id":25299,"slug":25300,"title":25301,"dynasty":220,"author":47,"museum":75,"description":25302,"tags":25303,"thumbUrl":25304,"material":152,"size":153,"collection":103,"collections":25305,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274889,"tong-xiang-yin-qi-zhen-lun-bao-yi-ming-274889","铜镶银七珍-轮宝","此件以铜银错镶为工，宝顶錾刻驮宝瑞象，背负摩尼宝，缠枝莲纹环伺周遭，瑞象温驯端凝，纹饰灵动细腻，尽显吉庆圣洁的意蕴。\n\n上下层莲座瓣棱明洁，银质莲晕沉古雅，与鎏金铜色交相辉映。束腰处镂空卷草柔婉舒展，承托莲台更显秀挺雅致。底足覆裹莲瓣，鎏金凝厚莹润，层层递进间将庄严与雅致融为一体，尽显雪域信仰美学，是清时藏传造像工艺的精巧之作。",[7,1030,12200,225,652,712,16674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cc0f8d6ea5b68a279a29c6e9192057.jpg",[],{"id":25307,"slug":25308,"title":25309,"dynasty":220,"author":47,"museum":75,"description":25310,"tags":25311,"thumbUrl":25312,"material":152,"size":153,"collection":103,"collections":25313,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274888,"tong-xiang-yin-qi-zhen-xiang-bao-yi-ming-274888","铜镶银七珍-象宝","此供器以莲台高擎主饰，宝象身躯敦实厚重，背负宝幢鞍鞯，周身纹饰錾刻细腻入微，尽显祥瑞威仪。外缘缠枝纹盘绕环护，鎏金与素银错色分明，勾勒出饱满华丽的视觉层次。\n\n底座镂空卷草舒展灵动，仰覆莲瓣与莲台上下呼应，下承浮雕莲纹基座，整体庄雅典重。手工錾刻的肌理尽显匠心，将宗教器物的神圣感与金属细作的精妙融合一体，静穆间流露庄重质感，尽显传统工艺的凝练巧思。",[7,1030,12200,225,652,1163,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6a6403e3778be29a4aa707404fcfca.jpg",[],{"id":25315,"slug":25316,"title":25317,"dynasty":220,"author":47,"museum":75,"description":25318,"tags":25319,"thumbUrl":25320,"material":152,"size":153,"collection":103,"collections":25321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274887,"tong-xiang-yin-qi-zhen-ma-bao-yi-ming-274887","铜镶银七珍-马宝","桃形牌身錾刻缠枝卷草，柔婉舒展的线条框定神异造像，驭天神人安坐昂首神驹之上，周身祥纹环绕，鬃毛飞扬的神驹雄健挺拔，细节饱满生动，尽显庄严神异。\n\n莲台瓣叶分明饱满，鎏金包浆凝厚沉郁，暗哑金调晕开经年岁月的温润。下部卷草立柱虚实相生，与覆莲底座呼应，整体线条流转圆润，将厚重质朴与精工錾刻的细腻相融，把供养祈福的至诚心意凝于每一处刀痕，是兼具审美与信仰价值的供器佳作。",[1030,12200,225,7,572,713,16674,5860,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790a3f8518a09c0cda00cf7e2f26f7a.jpg",[],{"id":25323,"slug":25324,"title":25325,"dynasty":220,"author":47,"museum":75,"description":25326,"tags":25327,"thumbUrl":25329,"material":152,"size":153,"collection":103,"collections":25330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},274886,"tong-xiang-yin-qi-zhen-nv-bao-yi-ming-274886","铜镶银七珍-女宝","此作分层塑造，莲台稳稳承托起宝镜，镜心高浮雕女宝法相，面容庄严祥和，环绕缠枝卷草纹，錾刻细密灵动，尽显工艺精妙。莲瓣晕染深浅釉色，蓝褐相间，雅致沉稳。柱身错银打造缠枝卷草，银白莹润与鎏金铜色交相辉映，古雅华贵。底座满饰仰莲纹饰，周身鎏金厚重莹润，历经岁月仍光泽不减。整体造型规整肃穆，藏地造像的厚重质感与精细装饰相融，将供器的神圣感与装饰性完美结合，尽显信仰器物的庄严华贵之美。",[7,572,16674,25328,1030,12200,225,9508,98,652],"女宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4887d0a4973b1439418e429c096bfab3.jpg",[],{"id":25332,"slug":25333,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25334,"tags":25335,"thumbUrl":25336,"material":152,"size":153,"collection":103,"collections":25337,"showCount":11,"zanCount":11,"manualWeight":11,"mainColo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饱满晕染，法物细节清晰生动，尽显密宗仪轨之肃穆。\n\n银质台座层次分明，仰莲承起牌身，镂空卷云缠枝婉转缠绕，底足錾刻宝相如意。冷冽银胎与明丽珐琅相映成趣，藏地虔敬信仰融于精工巧思之间，凝练成供佛佳器，静穆之中流露信仰之美与匠造之精。",[12200,10351,7,13296,12713,25392],"嵌珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00cad09470ad5167c5c25b6ac7f58f0c.jpg",[],{"id":25396,"slug":25397,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25398,"tags":25399,"thumbUrl":25400,"material":152,"size":153,"collection":103,"collections":25401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274875,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274875","整体取佛龛形制，银胎哑光沉稳，莲台瓣叶饱满层叠，舒展立体。束腰处缠枝卷草灵动婉转，底足錾纹古雅厚重。\n\n嵌饰珐琅为点睛之笔，浅蓝底晕开柔润光泽，法结纹样配宝相花，红彩妍丽、蓝绶柔婉、黄彩鲜亮，色彩冷暖交织晕染，与银质肌理形成鲜明反差，莹润与哑光相得益彰。\n\n金属细工与珐琅彩饰精妙融合，礼佛的庄严肃穆偕同工巧审美意趣，尽显不俗匠心。",[12200,10351,13296,225,98,20173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bd74e0ae8244e31eb58118acc01957.jpg",[],{"id":25403,"slug":25404,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25405,"tags":25406,"thumbUrl":25407,"material":152,"size":153,"collection":103,"collections":25408,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274873,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274873","此器将金属细工与珐琅彩饰精妙相融，银胎錾刻细腻入微，缠枝莲纹蜿蜒灵动，承托嵌片的莲瓣饱满立体，底足云纹古雅舒展，勾勒出庄重雅致的佛供形制。\n\n嵌片之上，贲巴壶明丽醒目，朱黄纹饰在湖蓝底色晕染下，华贵祥和之意扑面而来，正是藏传佛教中象征洁净与福德的供养圣物。冷硬银质柔化于珐琅暖彩之间，静穆中带着鲜活的宗教意韵，将祈福供养的虔诚之意凝缩于方寸器物里，庄重又不失灵动美感，尽显手工匠人的细腻匠心。",[12200,20172,7,572,20164,25392,98,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb347bb28b24bd77affd639f1a30254.jpg",[],{"id":25410,"slug":25411,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25412,"tags":25413,"thumbUrl":25414,"material":152,"size":153,"collection":103,"collections":25415,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274872,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274872","银胎錾刻层层莲瓣缠枝，层叠错落间托举珐琅龛室。釉色明妍鲜亮，宝相莲舒展柔瓣，粉彩晕染开温婉韵致，中心法轮安坐莲心，黄底梵纹肃穆端严，静诉供养祈愿。沉敛的银质包浆撞色珐琅的明丽鲜妍，藏地佛教器物的清净庄严，与中原珐琅工艺的灵秀工巧相融，将虔敬之心凝于寸厘方寸，是清代民族工艺合璧的精巧之作。",[12200,10351,7,241,13296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c7640ed2354b2be56eb593ee658832.jpg",[],{"id":25417,"slug":25418,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25419,"tags":25420,"thumbUrl":25422,"material":152,"size":153,"collection":103,"collections":25423,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274871,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274871","宝盖形龛面以珐琅为底，红彩描金的供碗纹样静置其上，釉色莹润鲜亮，将供品的饱满圣洁尽数展现。下方莲座瓣叶舒展饱满，脉络宛然，稳稳承托住饰片。支架虬曲缠绕，以缠枝为骨，灵动似藏着袅袅祥韵，底端祥云底座沉稳厚重，收束整体造型。\n\n银胎冷冽的金属质感，与暖调珐琅相映成趣，肃穆中不失精巧，庄重里暗含灵动，将信仰的虔诚凝于寸尺器物之中，尽显藏地供器独有的审美意韵。",[7,12200,10351,652,225,98,25421],"供养","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6eb49e7d1a5566ba9e71d53388a6d4.jpg",[],{"id":25425,"slug":25426,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25427,"tags":25428,"thumbUrl":25429,"material":152,"size":153,"collection":103,"collections":25430,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274869,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274869","整体撷取莲座承托宝龛的经典范式，银胎沉穆古雅，錾刻缠枝卷草纹层叠辗转，莲瓣饱满舒展，将佛前供养的庄静意蕴凝于骨相。龛心嵌珐琅釉面，以浅蓝为地晕染烟云古松，彩釉红花环簇山巅，白浪漱石间禅意自生。珐琅填色匀净明丽，与银胎苍朴质感冷暖呼应，既有清制工艺的工致精细，又暗合供养器的静穆禅风，将工艺美学与宗教意趣融于一体，是清代金属珐琅造像的精巧之作。",[12200,10351,7,225,652,98,497,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284fa9f4ec06b6aaa4a61827c342cbb8.jpg",[],{"id":25432,"slug":25433,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25434,"tags":25435,"thumbUrl":25436,"material":152,"size":153,"collection":103,"collections":25437,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274868,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274868","银胎锤揲出层叠莲台与卷草缠纹底座，肌理沉敛古拙。龛内嵌珐琅面板，明丽釉色晕染出供碗盛载鲜果琼枝，缠枝花团环绕碗身，宝相纹在下承托，明快鲜活的珐琅色彩与银胎哑光清冷的质感形成反差，将礼供的虔诚融于装饰意趣间。\n\n它以錾刻与珐琅工艺交织，糅合藏地造像的庄严与清式彩饰的雅致，既是奉佛圣物，亦是民族工艺交融的精巧缩影，静穆中晕开信仰的温润底色。",[12200,10351,7,225,98,13296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa155cdc2ecc0f0a1f0c8dc1de7a644.jpg",[],{"id":25439,"slug":25440,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25441,"tags":25442,"thumbUrl":25443,"material":152,"size":153,"collection":103,"collections":25444,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274867,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274867","整体宝相端凝，莲台承托主体，卷云缠枝底座灵动古雅，柔化了银胎的冷硬质感。嵌饰的珐琅澄澈明净，中央莲花法纹晕开朱红、湖蓝、石绿层次，晕色饱满柔和，与哑光银胎形成鲜明的冷暖反差。\n\n银胎錾刻细腻古拙，莲萼脉络清晰如含露待放，卷涡云纹盘旋流转，浸着清净禅意。珐琅填色匀净鲜亮，将宗教纹饰的神圣感烘托得恰到好处，是金属细工与珐琅工艺的精妙结合，静静流露着供养器具的沉静美感与虔诚心意。",[12200,10351,7,9508,225,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa96a7009ec7cd73ba4ff7f9eb99db40.jpg",[],{"id":25446,"slug":25447,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25448,"tags":25449,"thumbUrl":25450,"material":152,"size":153,"collection":103,"collections":25451,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274866,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274866","银质胎身凝着岁月晕染的温润包浆，分层錾刻的莲台与卷草底座，将婉转灵动的线条藏于肃穆形制之中。宝龛内嵌珐琅彩釉，青釉为底晕开柔和底色，亭台精巧雅致，瑞兽环伺左右，鲜亮釉色与冷冽银质相映成趣。\n\n整体形制清隽端庄，佛前供养的沉静虔诚融于方寸细节，手工细作的精巧藏在每一处纹路转角，信仰与匠心在此相融，静穆又鲜活，尽显雅致肃穆的供养之美。",[12200,10351,29,172,7,225,20164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c60eabe014d0e208c0acde2f0b3a74.jpg",[],{"id":25453,"slug":25454,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25455,"tags":25456,"thumbUrl":25457,"material":152,"size":153,"collection":103,"collections":25458,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274865,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274865","整体造型层叠有序，供牌下承双层莲台，莲瓣饱满舒展，肌理褶皱分毫毕现，将银料的温润质感尽显无余。束腰处錾刻缠枝瑞兽，灵动古拙，底座浮雕缠枝宝相花，稳稳托举起整器。\n\n供牌以湖蓝珐琅为底釉，匀净莹润，其上填彩堆塑菩提树，褐枝苍劲，绿叶鲜活鲜亮，明快色彩于素净银胎间晕开生机，将菩提清净圣洁的意蕴娓娓道来。\n\n素银的厚重肃穆，与珐琅的明丽通透相映成趣，藏地供器的庄严感，糅合精巧工致的细作技法，让信仰的虔诚与工艺的匠心浑然一体，尽显清供雅器的静美意蕴。",[12200,10351,9508,7,98,187,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9808bc90f6e5ed349aea6aaa67600.jpg",[],{"id":25460,"slug":25461,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25462,"tags":25463,"thumbUrl":25464,"material":152,"size":153,"collection":103,"collections":25465,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274864,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274864","底座錾刻缠枝莲纹，古拙厚重，承托起镂雕云纹立柱，瑞气蜿蜒升腾。层叠莲台饱满舒展，稳稳托举佛龛式主面。珐琅嵌饰是点睛之笔，朱红飞檐的亭台静立苍蓝水石之上，粉彩云烟萦绕周遭，冷暖色调交融柔和，将仙山楼阁的清幽意境晕染得恰到好处。银胎的哑光古雅，衬得珐琅彩愈发鲜亮明丽，錾刻、珐琅工艺相融，神性肃穆与工巧雅致浑然一体，尽显匠人细腻心思与精妙审美。",[12200,10351,29,7,225,98,13296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f816cf1a79bdf42cd37b1ab537b97d2.jpg",[],{"id":25467,"slug":25468,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25469,"tags":25470,"thumbUrl":25471,"material":152,"size":153,"collection":103,"collections":25472,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274863,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274863","此器以银为胎骨，宝焰形龛内嵌珐琅饰片，浅蓝釉色如澄净晴空，中央橙红莲朵浮于云水之上，色泽明丽鲜活，与冷冽银质相映成趣。\n下层莲台层层舒展，垂饰银链添灵动意趣，底座錾刻缠枝卷草，纹路古雅婉转。它融合錾刻、珐琅工艺，将宗教供养的静穆虔诚凝于一身，清冷银辉衬得珐琅愈发鲜亮，尽显清代手工技艺的精妙匠心。",[12200,10351,59,7,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1676628438829e0ffe3091f75ce67917.jpg",[],{"id":25474,"slug":25475,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25476,"tags":25477,"thumbUrl":25478,"material":152,"size":153,"collection":103,"collections":25479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274862,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274862","这件器物以银为胎骨，珐琅点缀神魂。顶部珐琅釉面莹洁透亮，中心饰慧眼金莲，朱红莲瓣舒展灵动，慧眼明澈沉静，晕染出宗教的肃穆净洁，外围银质雕花拱罩，卷草纹缠连柔婉，烘托出庄严佛韵。\n\n莲台承托珐琅宝饰，莲瓣饱满写实，过渡自然。束腰底座錾刻瑞兽缠枝，层次错落分明，底部浮雕覆莲与宝相花，古朴厚重，尽显錾刻工艺的细腻精妙。\n\n银的哑光冷冽与珐琅的鲜亮明丽相映成趣，将藏地佛教清净意涵与手工匠艺融为一体，静穆中蕴含着神圣的供养之美，是宗教造像与金属珐琅工艺结合的精巧之作。",[12200,10351,7,572,225,98,13296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88333d6c561773d142b8de1dffc5102.jpg",[],{"id":25481,"slug":25482,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25483,"tags":25484,"thumbUrl":25485,"material":152,"size":153,"collection":103,"collections":25486,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274861,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274861","这一件供养器物融两种材质之美，珐琅面板上的空行母身姿翩跹，朱砂色衣袂随风舒展，宝冠璎珞细节毕现，釉面莹润亮泽，与银胎的冷冽金属感相映成趣。\n\n银质台座层层递进，莲台承托造像，束腰处卷草缠枝婉转连绵，底足浮雕云纹层叠，线条细腻柔婉。藏地的宗教审美与珐琅工艺、錾刻银工相融，把神圣的供养意涵凝于寸方之间，重工精丽又不失灵动宗教气韵，尽显手工匠人的精湛造诣。",[10351,12200,13296,7,1739,172,24320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58a46d3eccf4a89d56206c161a19dbc.jpg",[],{"id":25488,"slug":25489,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25490,"tags":25491,"thumbUrl":25492,"material":152,"size":153,"collection":103,"collections":25493,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274860,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274860","莲台底座卷云缠枝，古雅沉稳，托举宝瓶形开光。浅蓝珐琅地晕染如薄雾烟霞，山石层叠苍劲，草木扶苏灵动，将幽深山林缩于方寸，釉色清润透亮似凝住山光。银胎錾刻的莲瓣卷纹肌理细腻古朴，与珐琅的明润相映成趣。清冷金属质感糅合釉色柔润，肃穆间藏着江南山水的温婉意趣，藏汉工艺在此交融共生，携着礼佛清供的静雅禅意。",[12200,10351,7,186,12713,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88b8251e78238aff15daba879069761.jpg",[],{"id":25495,"slug":25496,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25497,"tags":25498,"thumbUrl":25499,"material":152,"size":153,"collection":103,"collections":25500,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274859,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274859","此作以银胎塑底座，分莲台、缠枝云纹柱身与卷云底台，层叠镂雕，纹路辗转灵动，尽显錾刻精工。嵌珐琅为龛心，天青地色明净莹润，护法天王身着宝胄，持戟端坐，衣袂翩然舒展，设色浓丽古雅，红彩衬出威仪，金彩勾描宝饰细节，藏地造像的肃穆厚重与珐琅彩的柔润鲜亮相融，将护法天王的威严气度晕染得恰到好处，尽显汉藏工艺合璧的手工匠心之美。",[12200,20172,1106,225,5860,7,13296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12aabdff59d3a7aa65d7bf2d0d6f586.jpg",[],{"id":25502,"slug":25503,"title":20161,"dynasty":220,"author":47,"museum":75,"description":25504,"tags":25505,"thumbUrl":25506,"material":152,"size":153,"collection":103,"collections":25507,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274858,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274858","莲台承托宝函，卷草缠枝为座，银胎錾刻纹路古拙柔婉，衬出器物静穆庄重。嵌于正中的珐琅片是点睛之笔，天蓝底釉匀净透亮，折枝花卉鲜妍灵动，粉花柔润娇丽，蓝叶舒朗劲挺，各色花蕊错落点缀，将花木生机凝于方寸。\n\n冷冽哑光银质与莹亮珐琅形成鲜明反差，精工细作间，把供养的虔诚心意融在鲜活画意里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冷色中和了鎏金的明黄张扬，二者交相辉映。伞身造型凝练，被嵌满松石的鎏金圆拱环拱卫，细节精巧华贵。\n\n上下莲瓣莹润饱满，鎏金缠枝纹舒展灵动，将松石构件妥帖衔接，藏地法器的沉静质感与宫廷精工融为一体，在寸尺之间尽显庄重华贵的宗教美学，是雪域信仰与皇家工艺的完美契合，静穆端方尽显清供重器的不凡格调。",[7,24982,24742,24628,24857,225,321,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2669196f99922bb8a5b345364b682279.jpg",[],{"id":25569,"slug":25570,"title":24699,"dynasty":220,"author":47,"museum":75,"description":25571,"tags":25572,"thumbUrl":25573,"material":152,"size":153,"collection":103,"collections":25574,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274823,"tong-du-jin-ba-bao-chang-yi-ming-274823","通体鎏金，宝光温润华贵。顶部盘长结缠回往复，无始无终，线条灵动蜷曲，似在悠然舒展，暗合福寿连绵的美好祈愿。下承莲台，瓣叶饱满层叠，如盛夏青莲盛放，清净雅致，柔和衔接法饰与支柱。支柱透雕缠枝宝相花，卷舒自如，花叶交缠间尽显繁复精巧，匠师以錾刻、透雕之法，将纹理镂刻入微，明暗错落间尽显立体层次。整体气韵贯通，既具藏传法器的庄严法度，又饱含清代金作的华贵工致，是宗教礼器与宫廷美学融合的精妙之品。",[7,1030,224,225,652,20173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cd5db766c8ef281e46d5eaa3569c80.jpg",[],{"id":25576,"slug":25577,"title":24988,"dynasty":220,"author":47,"museum":75,"description":25578,"tags":25579,"thumbUrl":25580,"material":152,"size":153,"collection":103,"collections":25581,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274822,"tong-du-jin-ba-bao-yu-yi-ming-274822","双鱼交缠灵动鲜活，鳍尾舒展翻卷，伫立在仰莲台座之上，暗含年年有余的吉庆寓意。器身通体鎏金，明黄莹润，支架以缠枝卷草铺陈，镂刻繁复华丽，线条虬劲婉转，光影游走间尽显华贵雍容。底足取俯莲造型，镂空雕琢不失端庄稳重，与上部的灵动形成巧妙呼应。整体细节一丝不苟，将造像的精工富丽尽数展现，既是庄严肃穆的礼佛供器，也藏纳着祈福纳祥的美好意涵，处处彰显着匠心巧思。",[1030,224,225,652,1897,241,7,15129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd2722472693b411217be2d1286eb10.jpg",[],{"id":25583,"slug":25584,"title":24707,"dynasty":220,"author":47,"museum":75,"description":25585,"tags":25586,"thumbUrl":25587,"material":152,"size":153,"collection":103,"collections":25588,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274821,"tong-du-jin-ba-bao-guan-yi-ming-274821","此器鎏金莹亮，华贵雅致。顶部宝罐饱满端庄，双耳垂系饰带，覆塔式顶盖挺拔规整，暗合聚福纳祥的美好寓意。罐下仰莲台瓣层叠舒展，柔婉雅致，承接上下浑然一体。中部支架取缠枝卷草之形，涡旋灵动，线条繁复却流畅利落，錾刻工艺尽显精妙，将柔美与劲挺融为一体。底座镂空莲叶纹，沉稳大气，稳稳承托整体器物。\n\n比例匀称合度，从宝罐的静穆端庄到支架的灵动柔美过渡自然。金泽沉敛温润，尽显细腻造作工法，静立间带着祈福纳吉的平和意蕴，是藏传佛教供器里的精巧之作。",[1030,1031,7,225,15129,321,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15995b00099130bfa28ec9993318a99a.jpg",[],{"id":25590,"slug":25591,"title":24715,"dynasty":220,"author":47,"museum":75,"description":25592,"tags":25593,"thumbUrl":25594,"material":152,"size":153,"collection":103,"collections":25595,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274820,"tong-du-jin-ba-bao-hua-yi-ming-274820","这件鎏金供器宝花舒展饱满，花瓣层叠妍丽，下承仰莲莲台，曲线柔婉挺括，将清净雅致的意韵藏于形制之中。中部支架透雕缠枝卷草，回旋舒展的线条灵动流畅，把华丽工巧与典雅气韵相融无间。通体鎏金厚重匀净，色泽明丽华贵，尽显工致精湛的锻造技艺。\n\n整体造型上下呼应，层层递进，兼具供器的庄严规整与装饰的精巧灵秀，将吉祥寓意凝于细节之中，是清代金属细作的上乘之作。",[1030,224,225,7,98,15129,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3703341596c11dd92853b758eeef455c.jpg",[],{"id":25597,"slug":25598,"title":24731,"dynasty":220,"author":47,"museum":75,"description":25599,"tags":25600,"thumbUrl":25601,"material":152,"size":153,"collection":103,"collections":25602,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274819,"tong-du-jin-ba-bao-gai-yi-ming-274819","通体鎏金匀净厚重，宝光莹莹历经岁时不减。顶部法盖威严灵动，卷舒纹饰似携梵音流转，下承仰莲座，瓣叶层叠饱满，凝住莲绽刹那的清灵。茎身缠枝卷草婉转舒展，线条如流云曳动，将神性庄严与柔美意态融于一处。底托镂空莲瓣造型空灵精巧，层层造型递次铺展，刚柔相济。\n整器工致精巧，将供器的端雅圣洁与造艺匠心相融，静穆间尽显佛前供具的虔诚意趣，是彼时造作工艺的精妙缩影。",[7,1030,224,225,15129,14719,321,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15dc71d71aac48d5e2a8bc15c66e03.jpg",[],{"id":25604,"slug":25605,"title":24739,"dynasty":220,"author":47,"museum":75,"description":25606,"tags":25607,"thumbUrl":25608,"material":152,"size":153,"collection":103,"collections":25609,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274818,"tong-du-jin-ba-bao-san-yi-ming-274818","此器鎏金莹润亮泽，宝伞作为核心饰于顶冠，錾刻精细饱满，灵动舒展的缠枝纹承托宝伞，下覆仰莲座承接主体。器身镂空卷草纹层叠流转，线条柔婉暗含力道，仿若舒展的莲枝，层层铺陈开佛国静雅意蕴。整体造型端庄不失精巧，鎏金厚重匀净，尽显卓绝做工，将藏传佛教八宝的圣洁寓意凝于寸尺之间，静穆中带着华贵雍容，是清代佛前供器的上乘之作，静静诉说着佛前供仪的庄严与精致。",[224,1030,225,7,24982,9508,24742,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77755ff320c33d8e48f464d94aad234e.jpg",[],{"id":25611,"slug":25612,"title":25024,"dynasty":220,"author":47,"museum":75,"description":25613,"tags":25614,"thumbUrl":25615,"material":152,"size":153,"collection":103,"collections":25616,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274817,"tong-du-jin-ba-bao-luo-yi-ming-274817","法螺宝顶錾刻细腻灵动，威严中带着精巧神采。下接覆莲底座，舒展的卷草纹茎干柔婉多姿，将庄重与柔美相融。通体鎏金熠熠生辉，纹饰排布层次分明，刚劲线条勾勒宗教器物的肃穆神性，柔婉卷草又添雅致风韵。\n\n整体自上而下一气呵成，沉稳镂空底座承托造型，尽显华贵庄严，将藏地礼器的神圣感与清代金属细作的匠心完美结合，是工艺与宗教美学合璧的精巧之作。",[7,572,1030,224,225,652,25027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff19426880749fda4b7b66ae9295191d2.jpg",[],{"id":25618,"slug":25619,"title":24723,"dynasty":220,"author":47,"museum":75,"description":25620,"tags":25621,"thumbUrl":25622,"material":152,"size":153,"collection":103,"collections":25623,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},274816,"tong-du-jin-ba-bao-lun-yi-ming-274816","此器鎏金饱满莹润，整作自上而下层次分明。顶部法轮纹饰规整庄重，轮辐匀衬环绕中心宝毂，周饰圆珠，下接灵动舒展的卷草飞天，将法轮稳稳承托于覆莲宝座之上。\n\n束腰茎干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ize":153,"collection":103,"collections":25946,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274673,"shou-shan-shi-diao-luo-han-yi-ming-274673","此作取寿山石为材，罗汉宽额含笑，神态慈蔼雍容，衣褶婉转流畅，勾勒出随性松弛的禅者姿态。身旁瑞兽憨态可掬，依偎罗汉身侧互动，消解了造像的疏离肃穆，平添几分温情意趣。\n\n匠人巧施圆雕浅刻，将衣料的柔润质感与罗汉的平和神情刻画入微，瑞兽灵动神态跃然石上，依石赋形尽显原石肌理的沉静古雅。配红漆描金底座，缠枝纹饰柔婉精致，素雅底色衬出几分华贵，与造像浑然相融。整体兼具禅意静穆与俗世温情，是清代石雕工艺中颇具人文温度的佳作。",[2860,225,7,1869,28,1481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73daa91890b7133eeed2cb4b5486547.jpg",[],{"id":25948,"slug":25949,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25950,"tags":25951,"thumbUrl":25952,"material":152,"size":153,"collection":103,"collections":25953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274672,"shou-shan-shi-diao-luo-han-yi-ming-274672","此作以温润寿山石圆雕而成，罗汉垂眉含笑，神态安和恬然，衣褶流转柔润，将僧衣的宽绰质感刻画入微。他正与身前瑞兽戏耍互动，打破了出家人惯常的清寂肃穆，增添灵动生机。\n\n匠师巧用石材质色，澄澈素净的石材塑为僧袍，石身天然赤褐雕琢瑞兽，色彩错落间层次尽显。原本清苦的修行意象，因这嬉玩场景添了脉脉温情，静中藏动，将神性与烟火气相融，尽显雕刻工艺的精巧灵韵，把寿山石的天生温润和造像意趣完美结合。",[2860,225,7,1869,385,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab329af6f7489f77b76231d1ceb76533.jpg",[],{"id":25955,"slug":25956,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25957,"tags":25958,"thumbUrl":25960,"material":152,"size":153,"collection":103,"collections":25961,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274671,"shou-shan-shi-diao-luo-han-yi-ming-274671","此作取寿山石莹润材质雕就，罗汉自在趺坐，面相圆和带笑，眉眼弯垂间尽显憨朴和煦的悠然意态，将出世高僧的闲适超然诠释得恰到好处。他双手捧托宝瓶，瓶中轻绽花枝，暗合清净禅意。衣褶婉转贴合身形，刀法舒展自然，将石材温润质感与人物松弛气韵相融无间。髹漆填彩底座古雅别致，缠枝花卉纹饰细腻生动，与素雅石身相映成趣，更衬罗汉出尘气质，是兼具工艺意趣与禅韵的精巧佳构。",[2860,225,7,1869,28,25959,4462],"喜悦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa8bf0e835872ed05d5c32f67c6f678.jpg",[],{"id":25963,"slug":25964,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25965,"tags":25966,"thumbUrl":25967,"material":152,"size":153,"collection":103,"collections":25968,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274670,"shou-shan-shi-diao-luo-han-yi-ming-274670","这件圆雕以双色寿山石巧琢而成，创作者随石赋色，将朱砂色石质化作罗汉僧衣，衣褶垂转自然柔和，线条舒展流畅。罗汉面容沉静慈悲，左手抬举似在演法，右手牵系灵犬，神态超然淡然，眉须纹路皆刻画入微，尽显高僧的肃穆安然。\n\n身旁瑞犬取黄润石质雕琢，昂首摆尾憨态可掬，与罗汉的沉静形成灵动对照。整作刀工细腻写实，衣纹层次分明，灵犬肌理鲜活生动，将石材天然质感与造型意趣相融，静谧中带着灵动生机，尽显清代寿山石雕的精巧工法与雅致禅意。",[4462,2860,225,1869,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d61e97c73bf92a96d0ff45aa4698f1.jpg",[],{"id":25970,"slug":25971,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25972,"tags":25973,"thumbUrl":25974,"material":152,"size":153,"collection":103,"collections":25975,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274669,"shou-shan-shi-diao-luo-han-yi-ming-274669","这件石雕以温腻莹润的寿山石为材，将罗汉塑得形神兼具。罗汉半跏趺坐，面露憨然笑意，左手托捧寿桃，右手轻抬似正剔齿，打破了出家人的肃穆刻板，尽显随性诙谐的烟火意趣。\n\n衣褶流转自然柔和，线条兼具挺括感，将僧袍垂坠质感刻画得淋漓尽致，细微之处足见匠者不俗功力。搭配的铜座錾刻古雅纹饰，与石雕相得益彰，更衬得整体愈发古朴沉静。\n\n整作在方寸之间勾勒出罗汉的闲适悠然，将禅意融于日常意趣之中，是清代小品石雕中的精巧之作，尽显传统工艺的雅致韵味。",[2860,225,7,1869,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0900f2d8f3ae943669373d5a609d016.jpg",[],{"id":25977,"slug":25978,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25979,"tags":25980,"thumbUrl":25981,"material":152,"size":153,"collection":103,"collections":25982,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274668,"shou-shan-shi-diao-luo-han-yi-ming-274668","这件石雕取料清润莹洁，罗汉跌坐，蹙眉张口，似正畅演禅机，神情生动传神。衣褶婉转流动，贴合身形，将织物柔软质感尽显，写实细腻。身侧瑞兽依偎，昂首抬目呼应罗汉，添了几分灵动意趣。朱漆底座浅雕缠枝纹样，素雅古雅，与石雕的清润底色相映成趣。整体雕工浑朴精致，将罗汉沉静慈悲又不失鲜活的神态刻画入微，在方寸之间融禅意与写实雕刻于一体，尽显传统石雕工艺的精妙匠心。",[225,2860,1869,7,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff38dfbfdd66092e8d7a401e2c125bd2e.jpg",[],{"id":25984,"slug":25985,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25986,"tags":25987,"thumbUrl":25988,"material":152,"size":153,"collection":103,"collections":25989,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274667,"shou-shan-shi-diao-luo-han-yi-ming-274667","这尊造像取料莹润温腻，颅顶高隆，神态安恬和煦。半跏趺坐的身形松弛自在，衣褶如行云垂水，婉转流动间将石材的温润与织物的柔软质感相融无间。罗汉指尖轻抬，似正沉吟禅语，胸前饰记简约沉静，更衬出出尘气质。\n\n匠人以圆雕技法随形赋意，顺着石质肌理刻画神态肌理，将罗汉散淡自在的禅者意态描摹入微。浅淡石色晕染如天光覆身，自带清和禅意。搭配雕花古雅的底座，与造像浑然一体，尽显清隽雅致的文房意趣，似能牵引观者窥见旧时案头，沉心观览的悠然光景。",[2860,225,7,1869,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b7970aa1b9c1ac854c9423d82f558d.jpg",[],{"id":25991,"slug":25992,"title":25914,"dynasty":220,"author":47,"museum":75,"description":25993,"tags":25994,"thumbUrl":25995,"material":152,"size":153,"collection":103,"collections":25996,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},274666,"shou-shan-shi-diao-luo-han-yi-ming-274666","此件石雕取料温润莹洁，匠者施刀圆熟洗练。罗汉箕坐随性，右手支耳作谛听状，似在静聆梵音，左手轻托灵果，神态松弛自在，衣褶贴体垂坠，将出尘静定的气韵刻画入微。身旁瑞兽昂首亲昵，憨态可掬，与罗汉的悠然闲雅相映成趣。\n\n匠者巧用石材天然色泽，将肌肤、衣饰与瑞兽的肌理色泽自然区分，细节处见真章，把罗汉超脱世俗的闲适意趣诠释尽致，尽显文玩雅韵与匠心巧思。",[2860,225,1869,7,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394547711c95fc3d2ff18701d482232a.jpg",[],{"id":25998,"slug":25999,"title":25914,"dynasty":220,"author":47,"museum":75,"description":26000,"tags":26001,"thu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文案\n此卷小楷笃实端凝，落笔安稳沉厚，尽显唐人写经的虔敬气象。\n起笔斩截利落，捺笔重按轻收，笔势宽博舒展。结体庄重平正，间架宽博，尽显雄强笔力。书写者以毫落墨，字字端严，以恭谨之心写就全篇。\n点画精劲匀净，将经文中的禅理与书法相融，恪守戒律，以身心受持佛法。百万字卷，笔底尽显清净，以无畏之心挥毫，落笔间尽显盛唐写经的恢弘气势。",[747,190,430,26,432,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02bed6eed304744358f0233d989305c.jpg",[],{"id":30641,"slug":30642,"title":30643,"dynasty":46,"author":47,"museum":75,"description":30644,"tags":30645,"thumbUrl":30646,"material":152,"size":153,"collection":103,"collections":30647,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},230754,"hong-diao-qi-kan-yi-ming-230754","红雕漆龛","它仿重檐歇山楼阁造型，层叠排布，气度庄雅沉静。通体髹饰红漆，满錾缠枝浮雕，纹路婉转萦回，细密灵动，铺满每一处立面，繁而不乱，尽显雕工的精湛入微。上层拱窗镶饰金边，在沉敛的朱红中晕开细碎金芒，打破厚重色调的沉闷感。顶部宝顶方正收束，基座飞檐轻翘，勾勒出古建特有的舒展雅致。髹漆与雕刻工艺相融相合，将东方古建的端庄意境凝缩其中，处处流露着传统手工的精巧匠心，藏着内敛厚重的东方古韵。",[9395,225,17542,7,29,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae58b5c1f2306b4f9017ce33721be96.jpg",[],{"id":30649,"slug":30650,"title":30651,"dynasty":46,"author":47,"museum":75,"description":30652,"tags":30653,"thumbUrl":30655,"material":152,"size":153,"collection":103,"collections":30656,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},230746,"shi-diao-er-fu-bing-zuo-can-xiang-yi-ming-230746","石雕二佛并坐残像","砂石质地裹挟着风化的斑驳痕迹，残损的轮廓里，依旧沉淀着沉静肃穆的禅意。双佛并坐的形制虽有缺失，佛首低垂安然，隐约可见的衣褶带着古朴拙趣，不见繁复修饰，却将佛陀的平和神态悄然留存。\n\n残损没有消解它的力量，反而赋予了它别样的沧桑美感，时光在此镌刻下印记，将过往的虔敬凝缩在这一方顽石中，静默诉说着曾经的信仰回响，拙朴的刀工里藏着造像时的至诚温度，哪怕历经岁月磨蚀，依旧能让人触摸到千年前的宗教热忱。",[7,28,225,4462,30654],"残像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17290da923b60b94d8522a4b22f4b5f.jpg",[],{"id":30658,"slug":30659,"title":30660,"dynasty":46,"author":47,"museum":75,"description":30661,"tags":30662,"thumbUrl":30663,"material":152,"size":153,"collection":103,"collections":30664,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230540,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-si-juan-yi-ming-230540","大唐西域记.12卷.唐.玄奘著（第四卷）","靛蓝素纸为底，泥金书绘相映，沉穆底色托衬出华贵庄严的气韵。经文取规整写经体，笔锋匀净端雅，结体方正工稳，将奉经礼佛的虔敬藏于每一笔划之中。\n右侧佛造像排布严整，主尊安坐莲台，胁侍诸佛环绕，衣纹线条凝练流畅，莲云布景空灵悠远。诸佛面容慈悲安和，尽显释道造像的雍容法度，将信仰的沉静与匠人的精工融为一体，是写经与造像合璧的精妙遗存，尽显中古释典艺术的审美意趣与宗教底蕴。",[430,747,4078,52,53,7,28,229,2945,1190,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0763fcfc7ace393fd0cd06a6bf16104.jpg",[],{"id":30666,"slug":30667,"title":30668,"dynasty":46,"author":47,"museum":75,"description":30669,"tags":30670,"thumbUrl":30671,"material":152,"size":153,"collection":103,"collections":30672,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230539,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-shi-yi-juan-yi-ming-230539","大唐西域记.12卷.唐.玄奘著（第十一卷）","绀纸为底，金泥晕染铺陈诸佛法会。莲台之上主尊宝相端严，圣众侍从环侍左右，祥云托地、宝幢垂悬，线条纤劲流畅，金辉沉敛华贵，将极乐圣域的祥和庄严晕染尽致。\n\n左侧金书经文笔势挺秀端雅，锋棱内敛却筋骨暗藏，金彩与墨色交相辉映，仿佛能窥见昔年笔底流转的虔敬之心。\n书画合璧，装帧古雅，将写绘工艺的极致精巧与佛法的清净庄严相融，暗合丝路梵典流传的悠远佛缘，尽显东方古典宗教美术的雍容气度。",[7,28,443,229,342,30,190,430,747,53,52,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b396f3e957f5baef45e7bf8f27c5d5.jpg",[],{"id":30674,"slug":30675,"title":30676,"dynasty":46,"author":47,"museum":75,"description":30677,"tags":30678,"thumbUrl":30679,"material":152,"size":153,"collection":103,"collections":30680,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230538,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-liu-juan-yi-ming-230538","大唐西域记.12卷.唐.玄奘著（第六卷）","绀纸为底，泥金为彩，右侧佛说法变相线条细劲圆融，主尊安坐莲台，胁侍弟子、菩萨环绕左右，祥云宝树掩映出清净法界，金辉在靛蓝底色晕开肃穆华贵。\n\n左页泥金小楷端雅秀润，笔致匀净舒展，字字饱含虔敬心力。写经与变相相融一体，将信仰诉诸笔墨刀笔之间，工细精湛的绘写，让靛蓝与赤金交织出沉静庄严的氛围感，尽显中古写绘的典雅质感，是佛教典籍与工美艺术合璧的佳构。",[7,28,52,430,747,1190,2732,7599,1739,595,5306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d018403fa56e39f93e2fd0bded8e97.jpg",[],{"id":30682,"slug":30683,"title":30684,"dynasty":46,"author":47,"museum":75,"description":30685,"tags":30686,"thumbUrl":30687,"material":152,"size":153,"collection":103,"collections":30688,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230537,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-wu-juan-yi-ming-230537","大唐西域记.12卷.唐.玄奘著（第五卷）","靛蓝磁青为底，泥金晕染勾勒诸佛菩萨造像。主尊趺坐莲台，胁侍左右排布，衣袂层叠流畅，宝光鎏晕明丽，尽显造像端严静穆的盛唐气韵。左侧泥金小楷挺秀匀净，笔致舒展工稳，经文排布齐整朗润，金墨与幽蓝底色相映成辉。写绘合璧，将奉经的虔诚与匠人的工巧融于一卷，肃穆的宗教意涵与极致的工艺美学在此交融，是兼具艺术价值与信仰温度的写经珍品。",[7,28,430,27,4078,1190,747,464,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d0f660b8b640e093e91fac5a44c987.jpg",[],{"id":30690,"slug":30691,"title":30692,"dynasty":46,"author":47,"museum":75,"description":30693,"tags":30694,"thumbUrl":30695,"material":152,"size":153,"collection":103,"collections":30696,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230536,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-er-juan-yi-ming-230536","大唐西域记.12卷.唐.玄奘著（第二卷）","此作为绀纸泥金写本经卷，绀蓝底色沉敛雅致，泥金书就经文，笔锋劲挺匀整，尽显写经的肃穆法度，字字端严暗含沉静禅意。\n\n右侧造像以泥金勾勒晕染，主尊安坐莲台，胁侍环绕拱卫，宝相慈悲端严。祥云莲台刻画入微，线条婉转舒展，将极乐净土的祥和庄严铺陈开来。经文与佛造像同幅共生，融写经的虔敬与造像的庄严为一体，沉蓝与金彩交相辉映，让信仰的厚重与工艺的精妙相融，尽显中古佛韵的典雅华贵。",[7,28,747,430,52,53,464,1190,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefc30f40fb9bdab6f336f00e50d634c.jpg",[],{"id":30698,"slug":30699,"title":30700,"dynasty":46,"author":47,"museum":75,"description":30701,"tags":30702,"thumbUrl":30703,"material":152,"size":153,"collection":103,"collections":30704,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230535,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-jiu-juan-yi-ming-230535","大唐西域记.12卷.唐.玄奘著（第九卷）","此卷以磁青纸为底，泥金书文饰绘。小楷工整端秀，笔锋劲挺雅致，金辉在幽蓝底色上愈发醒目古雅。右侧佛绘以金彩勾勒晕染，主佛趺坐莲台，宝相肃穆，圣众环绕礼拜，灵树生于祥云之间，层叠云气衬出佛国清寂庄严的意境，将文字中的西域佛境具象呈现。整体沉静典雅，融书法、绘事于一体，尽显中古写经造像的细腻匠心，让笔下的梵天盛景化作可观的精妙图景。",[7,53,52,7599,28,443,30,209,846,747,190,595,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8dbca60f57b60780b0542ae91cb314.jpg",[],{"id":30706,"slug":30707,"title":30708,"dynasty":46,"author":47,"museum":75,"description":30709,"tags":30710,"thumbUrl":30711,"material":152,"size":153,"collection":103,"collections":30712,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230534,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-san-juan-yi-ming-230534","大唐西域记.12卷.唐.玄奘著（第三卷）","靛蓝绀纸沉静雍容，泥金为墨，左文右图，是写经与佛画的绝妙合璧。\n经文笔锋端秀劲挺，字字匀净庄严，尽显写经的肃穆法度。右侧佛变相图以泥金勾勒晕染，诸佛跌跏安坐莲台，面容慈悲圆满，衣袂纹饰婉转流畅，祥云萦绕、星子点缀虚空，层次朗然分明。整幅作品将西行所记的佛国盛境具象铺展，宗教的虔敬之意融于精湛工法，静穆祥和的佛国气象跃然纸上，是中古宗教审美与工艺技艺的完美融合，尽显写经艺术的典雅极致与信仰之美。",[747,7599,27,53,7,28,1190,464,725,572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac903e268136baf61761dd13fad47f4.jpg",[],{"id":30714,"slug":30715,"title":30716,"dynasty":46,"author":47,"museum":75,"description":30717,"tags":30718,"thumbUrl":30719,"material":152,"size":153,"collection":103,"collections":30720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230533,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-qi-juan-yi-ming-230533","大唐西域记.12卷.唐.玄奘著（第七卷）","磁青纸为底，以泥金施彩写绘。右侧五方佛说法图，金笔勾勒的法相端严沉静，主尊安坐莲台，胁侍随祥云环伺左右，神情虔恭。线条婉转细腻，晕染柔和雅致，铺展出佛国清寂庄严的气韵。\n\n左侧泥金书就经文，笔力沉凝方正，赤金在靛蓝底色上粲然醒目，经文义理与佛造像相映成趣，将信仰诉诸极致精工，是写经与释画交融的上乘之作，尽显古韵华贵的独特美感。",[430,1136,52,7,28,858,1190,747,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb941d7c9724124985da814d8d2b600.jpg",[],{"id":30722,"slug":30723,"title":30724,"dynasty":220,"author":47,"museum":75,"description":30725,"tags":30726,"thumbUrl":30727,"material":152,"size":153,"collection":103,"collections":30728,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":215},230324,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-shi-juan-yi-ming-230324","大唐西域记.12卷.唐.玄奘著（第十卷）","靛蓝底纸沉穆古雅，泥金书迹秀润端方，笔锋匀净凝练，带着写经特有的肃穆恭谨。右侧变相图以泥金晕染，主尊安坐莲台，面含慈蔼宝相，侍从眷属或立或侍，神态虔敬温恭，衬池畔花木清逸雅致，佛国的宁和清寂尽显于金蓝之间。\n\n经文与绘像相映成趣，经文肃穆工整，绘像静雅庄严，二者合璧，将西行觐见的佛国气象凝于尺幅，既有宗教文本的厚重，又兼具佛教美术的静美，藏着沉静的信仰温度，古韵绵长。",[464,747,4078,52,7,28,443,98,1621,187,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb000dc1b55ae72aee69b52720e50ea7.jpg",[],{"id":30730,"slug":30731,"title":30732,"dynasty":220,"author":47,"museum":75,"description":30733,"tags":30734,"thumbUrl":30735,"material":152,"size":153,"collection":103,"collections":30736,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},230071,"shan-hu-mu-zi-nian-zhu-yi-ming-230071","珊瑚木子念珠","以温润木子为主体串珠，深褐底色沉静内敛，珊瑚圆珠提亮配色，冷暖撞色雅致和谐。错落搭配的银质坠饰、古朴挂饰，带着手工打磨的细腻温度，细碎饰件随动线轻晃，晕开旧时光的松弛禅意。器物藏着旧时礼佛的虔诚心意，质朴底色配亮眼点缀，将肃穆禅意与日常美感相融，尽显手作器物的沉静韵味，藏着独属于旧时光的温柔质感。",[223,59,8086,17569,607,7,225,22266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2591220c3414c2a93881ca506d66df1e.jpg",[],{"id":30738,"slug":30739,"title":30740,"dynasty":220,"author":47,"museum":75,"description":9639,"tags":30741,"thumbUrl":30743,"material":152,"size":153,"collection":103,"collections":30744,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":124},230039,"qing-yu-diao-ba-bao-lu-yi-ming-230039","青玉雕八宝炉",[223,2860,225,16735,13797,7,11121,15129,30742],"炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e65957576044e7b74d9a150f8f09e4f.jpg",[],{"id":30746,"slug":30747,"title":24864,"dynasty":220,"author":47,"museum":75,"description":30748,"tags":30749,"thumbUrl":30750,"material":152,"size":153,"collection":103,"collections":30751,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},229955,"tong-ling-yi-ming-229955","此器以五股金刚杵为柄，怒目摩羯张口环护杵身，威仪具足，暗含护持密法之意。钟体弧腹敞口，自上而下饰三重纹饰：肩隅缠枝宝相花连绵环绕，腹间卷草托举覆莲纹样，近足处錾刻梵文真言。线条柔婉不失刚劲，将密宗神圣意涵融于细节。\n\n整体铜色沉穆古雅，包浆温润莹泽，是密教法器中的精工之作。它承载祈福驱邪的宗教功用，又以对称和谐的形制，尽显藏式造像的庄重美学，静穆间似有梵音萦怀，晕开肃穆禅意。",[223,1030,225,7,652,2297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7bbfebba223247582b27a6f1237267.jpg",[],{"id":30753,"slug":30754,"title":24880,"dynasty":220,"author":47,"museum":75,"description":30755,"tags":30756,"thumbUrl":30757,"material":152,"size":153,"collection":103,"collections":30758,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},229937,"tong-chu-yi-ming-229937","此五股金刚杵，对称规整，鎏金覆身历经岁时晕染，依旧沉敛华贵。两端以五瓣莲台为底承托杵身，股身錾刻灵动纹饰，锋棱凝练凛然威仪，环弧与尖锋刚柔并济，是摧破诸障的密宗圣器。它线条圆融流畅，手工錾刻的细节带着朴拙匠心，将密宗神圣意涵凝于金属之中。历经时光打磨，包浆温润厚重，静静诉说着过往的梵音法事，是信仰与古早工艺交融的精妙之作。",[223,7,1030,225,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e488278a576c529877301c5ef33d823.jpg",[],{"id":30760,"slug":30761,"title":30762,"dynasty":220,"author":47,"museum":75,"description":30763,"tags":30764,"t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