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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，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，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。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏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。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。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》。",[45,47,49,50,7,117,236,118,233,237,52,56,238],"界画","佛像","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],13,{"id":244,"slug":245,"title":246,"dynasty":40,"author":19,"museum":20,"description":99,"tags":247,"thumbUrl":251,"material":74,"size":75,"collection":30,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":94},281520,"lan-bo-li-kai-guang-ju-hua-ping-yi-ming-281520","蓝玻璃开光菊花瓶",[25,248,72,7,102,249,250],"玻璃器","蓝玻璃","花卉纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b333efc54b7d0f4e9623aae02236938.jpg",[],12,{"id":255,"slug":256,"title":257,"dynasty":40,"author":19,"museum":20,"description":99,"tags":258,"thumbUrl":262,"material":74,"size":75,"collection":30,"collections":263,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":35},258773,"jia-qing-kuan-ji-lan-miao-jin-chan-zhi-lian-die-wen-ping-yi-ming-258773","嘉庆款祭蓝描金缠枝莲蝶纹瓶",[46,24,259,7,260,261,25],"祭蓝釉","缠枝莲纹","蝶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67a467b9c37976ef88cdce2cd44cc76.jpg",[],{"id":265,"slug":266,"title":267,"dynasty":40,"author":19,"museum":20,"description":268,"tags":269,"thumbUrl":274,"material":74,"size":75,"collection":30,"collections":275,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":94},248410,"hei-qi-miao-jin-shan-shui-tu-hai-tang-shi-pan-yi-ming-248410","黑漆描金山水图海棠式盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [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。",[71,7,140,270,271,272,273],"小桥","树木","飞鸟","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b833f69cc1ddd420721b935c05f16.jpg",[],{"id":277,"slug":278,"title":279,"dynasty":40,"author":19,"museum":20,"description":82,"tags":280,"thumbUrl":282,"material":74,"size":75,"collection":30,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":108},271308,"cheng-hou-cun-zhi-feng-huang-yi-mo-yi-ming-271308","程后村制凤凰仪墨",[86,153,7,281],"文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d8a954601606109114c10a4f2f7dbb.jpg",[],11,{"id":286,"slug":287,"title":288,"dynasty":40,"author":19,"museum":20,"description":289,"tags":290,"thumbUrl":294,"material":74,"size":75,"collection":30,"collections":295,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":108},248542,"zi-qi-miao-jin-yin-san-duo-wen-hai-tang-shi-yu-ti-cuan-he-yi-ming-248542","紫漆描金银三多纹海棠式玉屉攒盒","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。",[71,7,291,50,292,227,293,25],"描银","三多纹","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7f37e64c5299ed21a4a46fbb0f5ea1.jpg",[],{"id":297,"slug":298,"title":299,"dynasty":40,"author":19,"museum":20,"description":300,"tags":301,"thumbUrl":306,"material":74,"size":75,"collection":30,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":94},275871,"bai-yu-bo-re-bo-luo-duo-xin-jing-ce-yi-ming-275871","白玉般若波罗多心经册","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。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[25,71,302,88,7,87,303,51,138,304,305,293],"木质","荷","册","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec559b4a541a8cd827e4616fb103a2.jpg",[],10,{"id":310,"slug":311,"title":312,"dynasty":40,"author":19,"museum":20,"description":289,"tags":313,"thumbUrl":315,"material":74,"size":75,"collection":30,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":35},275303,"bi-yu-miao-jin-yun-long-wen-bian-qing-wu-she-yi-ming-275303","碧玉描金云龙纹编磬-无射",[293,314,7,87,88,25],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff869c71bbd4f53f68ec900cccdb1af4a.jpg",[],8,{"id":319,"slug":320,"title":321,"dynasty":40,"author":19,"museum":20,"description":322,"tags":323,"thumbUrl":328,"material":74,"size":75,"collection":30,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":94},261622,"bai-di-fan-hong-cai-miao-jin-yu-wen-gai-wan-yi-ming-261622","白地矾红彩描金鱼纹盖碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[24,26,324,325,326,7,327],"盖碗","金鱼","矾红彩","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aaea11cc22597c453d6655a518c648e.jpg",[],7,{"id":332,"slug":333,"title":334,"dynasty":40,"author":19,"museum":20,"description":69,"tags":335,"thumbUrl":338,"material":74,"size":75,"collection":31,"collections":339,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":340},258988,"yi-xing-yao-zi-sha-hei-qi-miao-jin-cai-hui-fang-hu-yi-ming-258988","宜兴窑紫砂黑漆描金彩绘方壶",[46,336,24,7,327,236,140,56,337,25],"紫砂","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff334f3c4318308da149811d77034a7.jpg",[31],"F48FB1",{"id":342,"slug":343,"title":344,"dynasty":345,"author":19,"museum":20,"description":82,"tags":346,"thumbUrl":348,"material":74,"size":75,"collection":30,"collections":349,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":108},228518,"long-qing-long-xiang-yu-mo-yi-ming-228518","隆庆龙香御墨","明",[86,88,87,347,84,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0eed22f6c2c39f9f3b110d940c5cc7.jpg",[],{"id":351,"slug":352,"title":353,"dynasty":345,"author":19,"museum":20,"description":82,"tags":354,"thumbUrl":356,"material":74,"size":75,"collection":30,"collections":357,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":108},228499,"yong-le-guo-bao-mo-yi-ming-228499","永乐国宝墨",[347,86,87,88,7,355],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a5e618b9a1e1ef8cbd2630ce10e7e3.jpg",[],{"id":359,"slug":360,"title":361,"dynasty":40,"author":19,"museum":20,"description":362,"tags":363,"thumbUrl":365,"material":74,"size":75,"collection":30,"collections":366,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":108},275852,"bi-yu-qian-long-yu-bi-li-dai-di-wang-si-dian-yu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