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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[66,26,69,23,30,28,7],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bbdab89a628ce29e8227f6c5937f7b9.jpg",[],43,"37474F",{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":20,"description":79,"tags":80,"thumbUrl":88,"material":57,"size":58,"collection":89,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":92},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏","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》。",[81,82,83,55,48,23,30,84,85,86,87,7],"国画","书画","名画","印章","纸本","服饰","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg","人物画精选",[89],35,"BDBDBD",{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":20,"description":97,"tags":98,"thumbUrl":102,"material":33,"size":33,"collection":34,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":37},253579,"zhu-diao-shou-xing-zuo-xiang-yi-ming-253579","竹雕寿星坐像","此作以竹为材，随形施艺。寿星高额广颐，长髯垂胸，双目微阖，神态安恬祥和，尽显仙翁闲适之态。衣褶婉转舒展，刀法圆浑朴拙，将布料的垂坠质感刻画入微。身侧幼童拽住寿星衣衫，抬首稚态尽显，一动一静，烘托出融融天伦意趣。底座顺势雕作山石，保留竹材天然肌理，添几分山野生趣。整体将福寿祥瑞的意蕴藏于刀痕之中，把人物神态与互动温情雕琢得鲜活生动，尽显工艺的匠心与意趣，是兼具审美价值与民俗意涵的上乘之作。",[24,99,28,30,100,101,7],"竹质","寿星","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ace5e747a2ae7288297f41acc28a2be.jpg",[34],30,{"id":106,"slug":107,"title":108,"dynasty":18,"author":19,"museum":20,"description":109,"tags":110,"thumbUrl":116,"material":33,"size":33,"collection":34,"collections":117,"showCount":104,"zanCount":61,"manualWeight":11,"mainColor":73},245962,"jin-zong-ka-ba-la-ma-xiang-yi-ming-245962","金宗喀巴喇嘛像","此像鎏金饱满莹润，主尊面相丰润柔和，双目垂敛含慈，双手结印跏趺安坐，神态沉静庄严。身后背光以累丝打造缠枝宝相花，错落镶嵌松石、珊瑚、蜜蜡，繁丽灵动，晕开圣洁堂皇的光晕。两侧鎏金提灯垂挂珠串璎珞，随影轻摇更添雅致精巧。莲座与底座饰珐琅嵌奇珍，瑞兽纹饰生动威严，将藏地造像的宗教肃穆，与宫廷花丝镶嵌工艺精妙融合，每一处细节都凝聚匠心，尽显信仰载体的尊崇华贵。",[24,23,30,25,28,111,112,113,114,7,115],"镶嵌","宝石","珐琅","金属工艺","宗教造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb289a0f93b6f91b770dcc3b207f59836.jpg",[34],{"id":119,"slug":120,"title":121,"dynasty":122,"author":19,"museum":20,"description":123,"tags":124,"thumbUrl":129,"material":57,"size":58,"collection":33,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":92},287590,"song-di-hou-quan-shen-xiang-song-tai-zu-yi-ming-287590","宋帝后全身像-宋太祖","宋","此作将帝王气度藏于简雅笔色之间，帝王安坐髹金朱漆龙椅，展角幞头衬出面庞方正威严，长髯垂胸，双手拢握玉圭，仪态沉凝端重，自带开国君主的雄毅厚重。\n笔墨简净克制，淡墨匀细圆劲的线条勾勒衣纹，贴合绫罗垂坠柔润的质感，平净敷色不做繁饰，只以素白袍服衬出冲淡肃穆的皇家威仪。画作写实朴拙，细微处捕捉住君主不怒自威的神态，在简约平淡中尽显开国帝王的沉稳气场，是帝王肖像画里极具代表性的佳构。",[81,125,126,48,55,127,7,128],"人物画","肖像画","帝王","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bd71d9b3786698d40b0f5b2a35003.jpg",[],22,{"id":133,"slug":134,"title":135,"dynasty":122,"author":136,"museum":137,"description":138,"tags":139,"thumbUrl":144,"material":145,"size":146,"collection":33,"collections":147,"showCount":148,"zanCount":61,"manualWeight":11,"mainColor":37},220120,"shi-liu-luo-han-tu-di-san-zun-zhe-jin-da-shou-220120","十六罗汉图-第三尊者","金大受","日本东京国立博物馆","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。",[46,81,140,23,30,48,55,141,142,7,143],"立轴","孤石","僧袍","光头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5378c1d11a2d6b4a935b3bd48cd307.jpg","绢本,设色","118.8×51.7cm",[],20,{"id":150,"slug":151,"title":152,"dynasty":153,"author":19,"museum":20,"description":154,"tags":155,"thumbUrl":158,"material":33,"size":33,"collection":34,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":37},253605,"tong-liu-jin-fu-zuo-xiang-yi-ming-253605","铜鎏金佛坐像","唐","此像面容丰润柔和，垂目含笑间尽显沉静慈悲。右手轻扬施无畏印，安稳跏趺于莲台，衣褶流转舒展，带着独属的雍容舒展气度。\n\n莲台上下层叠呼应，六角底座端庄沉稳，镂空设计消解了铜铸的厚重，添了几分灵动精巧。鎏金虽覆斑驳铜锈，却更衬出岁月沉淀的厚重质感，将神性庄严与手工精妙相融，静静流淌着沉静悲悯的佛性，是宗教美学与手工技艺凝练的绝佳缩影。",[156,26,157,23,29,7,28],"唐代","鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa908d2fd9d065d9611d3992a3c85e099.jpg",[34],17,{"id":162,"slug":163,"title":164,"dynasty":153,"author":19,"museum":20,"description":165,"tags":166,"thumbUrl":168,"material":33,"size":33,"collection":34,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":37},253578,"tong-liu-jin-shuo-fa-fu-zuo-xiang-yi-ming-253578","铜鎏金说法佛坐像","此像体量虽小，却凝盛唐造像之典雅气韵。斑驳鎏金晕染出岁月痕迹，桃形背光古朴沉静，衬得佛像法相温婉端方，面含浅笑，神色恬然自若。衣褶婉转柔和，贴合身形，抬手说法的姿态沉静安然，似正宣演妙谛。束腰方台古拙稳重，承托出造像的端庄格局。鎏金虽已斑驳脱落，却更添古拙厚重的历史质感，将大唐佛教造像的圆融大气浓缩于方寸，携千年梵音余韵，静静诉说往昔佛风盛景。",[156,26,157,28,23,30,29,7,167],"说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a41995cc00f6ecf491d2a34345f924.jpg",[34],15,{"id":172,"slug":173,"title":174,"dynasty":175,"author":19,"museum":176,"description":177,"tags":178,"thumbUrl":189,"material":85,"size":190,"collection":191,"collections":192,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":92},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","元","北京故宫博物院","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[46,81,179,140,180,55,181,30,182,183,184,7,185,186,187,188,84],"宗教画","水墨","白描","山水","瀑布","罗汉","衣纹","光晕","岩石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1c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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。",[245,303,30,875,7,778,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c600ba1e184dd557faa10ed3dbc7fa.jpg",[],{"id":1120,"slug":1121,"title":1122,"dynasty":122,"author":19,"museum":20,"description":1123,"tags":1124,"thumbUrl":1127,"material":57,"size":58,"collection":33,"collections":1128,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255985,"qing-you-ci-bao-zi-nv-zuo-xiang-yi-ming-255985","青釉瓷抱子女坐像","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[379,245,1006,30,1125,1126,7,1049],"女子","抱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0249856db54220a39b32e25a5b9c3b.jpg",[],{"id":1130,"slug":1131,"title":1132,"dynasty":122,"author":19,"museum":20,"description":1115,"tags":1133,"thumbUrl":1134,"material":57,"size":58,"collection":33,"collections":1135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255974,"bai-you-ci-hei-cai-nv-zuo-xiang-yi-ming-255974","白釉瓷黑彩女坐像",[122,245,303,874,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11c753f2879911df366e19442c68aef.jpg",[],{"id":1137,"slug":1138,"title":1139,"dynasty":122,"author":19,"museum":20,"description":1115,"tags":1140,"thumbUrl":1141,"material":57,"size":58,"collection":33,"collections":1142,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255907,"bai-you-ci-ren-zuo-xiang-yi-ming-255907","白釉瓷人坐像",[122,245,303,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae42fa1bb03873f56c081f048ef5c27.jpg",[],{"id":1144,"slug":1145,"title":1139,"dynasty":122,"author":19,"museum":20,"description":1115,"tags":1146,"thumbUrl":1147,"material":57,"size":58,"collection":33,"collections":1148,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255904,"bai-you-ci-ren-zuo-xiang-yi-ming-255904",[122,245,303,30,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4174d48a7de85a9c5f96e8f765850d3.jpg",[],{"id":1150,"slug":1151,"title":1152,"dynasty":18,"author":19,"museum":20,"description":67,"tags":1153,"thumbUrl":1154,"material":57,"size":58,"collection":33,"collections":1155,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255898,"shi-luo-han-zuo-xiang-yi-ming-255898","石罗汉坐像",[24,28,543,23,30,184,235,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba920e097a7c8c0778ef13a7fb2085a6.jpg",[],{"id":1157,"slug":1158,"title":1159,"dynasty":122,"author":19,"museum":20,"description":1115,"tags":1160,"thumbUrl":1163,"material":57,"size":58,"collection":33,"collections":1164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255889,"bai-you-ci-jia-cai-shuang-shou-peng-wu-tong-zi-zuo-xiang-yi-ming-255889","白釉瓷加彩双手捧物童子坐像",[245,303,1161,48,30,101,7,1162],"加彩","捧物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27256fe40bf24eccfb2630b88cadb726.jpg",[],{"id":1166,"slug":1167,"title":1168,"dynasty":122,"author":19,"museum":20,"description":1115,"tags":1169,"thumbUrl":1171,"material":57,"size":58,"collection":33,"collections":1172,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255887,"bai-you-ci-hei-cai-chi-shan-nv-zuo-xiang-yi-ming-255887","白釉瓷黑彩持扇女坐像",[379,245,303,874,30,7,1170],"持扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f518f12fb7eecdabbf5b6ee1902304.jpg",[],{"id":1174,"slug":1175,"title":152,"dynasty":219,"author":19,"museum":20,"description":67,"tags":1176,"thumbUrl":1177,"material":57,"size":58,"collection":33,"collections":1178,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},255823,"tong-liu-jin-fu-zuo-xiang-yi-ming-255823",[219,23,26,157,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe650a7a021b61d63b575554ca31c9dfa.jpg",[],{"id":1180,"slug":1181,"title":1182,"dynasty":386,"author":19,"museum":20,"description":67,"tags":1183,"thumbUrl":1185,"material":57,"size":58,"collection":33,"collections":1186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":73},255822,"tong-gao-nu-zao-chan-ding-fu-zuo-xiang-yi-ming-255822","铜高奴造禅定佛坐像",[26,28,23,388,30,1184,7],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bcb863e3b0c53c82e77df4b44d501b3.jpg",[],{"id":1188,"slug":1189,"title":1190,"dynasty":219,"author":19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