[{"data":1,"prerenderedAt":94},["ShallowReactive",2],{"subject-zun-zhe":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3841,"zun-zhe","尊者","尊者画高清赏析","精选中国历代尊者题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg",0,4,[14,47,65,81],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":40,"size":41,"collection":42,"collections":43,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","明","丁云鹏","天津博物馆","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n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。\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。”",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38,39],"高清","国画","书画","名画","立轴","白描","工笔","水墨","人物","宗教","松树","竹子","石头","植物","童子","念珠","长袍","纸本","52.8x117.8","山水画精选",[42,44],"水墨画精选",11,"795548",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":59,"material":60,"size":61,"collection":62,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":46},290031,"gong-yang-zun-zhe-yi-ming-290031","供养尊者","不详","佚名","藏地不详","此作线条简劲古拙，以铁线描勾勒衣纹，沉稳凝练，将僧衣朴实质感晕染得浅淡柔和。结跏趺坐莲台的尊者身覆偏衫，头带圆光，面容沉静肃穆，正施印调伏身侧祥龙，静定威仪尽显。\n\n背景淡绘山石佛塔，意境清寂空灵，祥龙灵动蜷曲，与高僧禅定之态形成动静对照，禅意悠长。整体画风古雅内敛，笔意虽简，却将高僧的慈悲气度与龙天护法的供养意境烘托到位，尽显清净庄严之感。",[23,24,25,27,32,56,57,31,58,7],"佛教","设色","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddff795c33178d8e99b01466c94130ac.jpg","未知","Xcm*Xcm","",[],3,{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":53,"description":71,"tags":72,"thumbUrl":79,"material":60,"size":61,"collection":62,"collections":80,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":46},236029,"di-shi-er-bi-na-zha-la-ba-ha-la-zhui-za-zun-zhe-ding-guan-peng-236029","第十二毕那楂拉拔哈喇缀杂尊者","清","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》。",[26,24,25,73,32,31,7,74,75,76,77,29,57,78],"清代","袈裟","圆光","坐具","手持器物","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4607db41dcd297cdc6c5911656f5cf6.jpg",[],{"id":82,"slug":83,"title":84,"dynasty":18,"author":52,"museum":53,"description":85,"tags":86,"thumbUrl":91,"material":60,"size":61,"collection":62,"collections":92,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},278020,"shou-shan-shi-yi-shou-niu-shu-na-bo-si-zun-zhe-tu-yin-yi-ming-278020","寿山石异兽纽戍那波斯尊者图印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[78,87,88,89,90,32,7],"篆刻","玉石","雕刻","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05e06e33b8a63a404bccf82e23a9244e.jpg",[],"BDBDBD",1777535761232]