【作品基本信息】
| 作者 | 丁观鹏 |
| 品名 | 十二禁御图之太簇始和图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.04MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1918×3136 |
| 尺寸（CM） | 16.23×26.55 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
基本数据
| 藏品类型 | 绘画 |
| 品名 |
清丁观鹏画太簇始和 轴 Peace for the New Year |
| 分类 | 绘画 |
| 作者 | 丁观鹏;Ding Guanpeng |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 179.3×108.4 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 丁观鹏 | 本幅 | 臣丁观鹏恭绘 | 楷书 | |
|
印记： 臣丁观鹏、恭画 |
|||||
| 题跋 | 清高宗 | 本幅 | 行书 | 青帝权衡物纽芽。春台温盎乐羲车。仙蓂七叶人为日。宝胜三珠玉是花。膏泽平铺葱岭雪。祥光浓迭赤城霞。试灯阛阓闻箫鼓。暂许金吾不禁哗。新春试笔之作。 | |
|
印记： 干、隆 |
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印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 宝笈三编 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 嘉庆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 山水 | 春景 | |
| 次要主题 | 山水 | 奇石 | |
| 次要主题 | 山水 | 云 | |
| 次要主题 | 人物 | 仕女 | |
| 次要主题 | 人物 | 孩童 | |
| 次要主题 | 人物 | 圉人 | |
| 次要主题 | 人物 | 商贩 | |
| 次要主题 | 人物 | 货郎 | |
| 次要主题 | 人物 | 行旅 | |
| 次要主题 | 人物 | 百姓 | |
| 次要主题 | 树木 | 寒林．枯树 | 枯树 |
| 次要主题 | 树木 | 松 | |
| 次要主题 | 树木 | 竹 | |
| 次要主题 | 树木 | 柏 | |
| 其他主题 | 花草 | 梅（白．红．蜡梅） | 红梅 |
| 其他主题 | 花草 | 牡丹 | |
| 其他主题 | 走兽 | 马 | |
| 其他主题 | 走兽 | 骡．驴 | |
| 其他主题 | 走兽 | 牛 | |
| 其他主题 | 走兽 | 羊 | |
| 其他主题 | 走兽 | 狗 | |
| 其他主题 | 走兽 | 猴 | |
| 主要主题 | 建筑 | 宫殿 | |
| 主要主题 | 建筑 | 台阁 | |
| 次要主题 | 建筑 | 房舍 | |
| 次要主题 | 建筑 | 店铺 | |
| 其他主题 | 建筑 | 亭 | |
| 次要主题 | 建筑 | 桥 | |
| 次要主题 | 建筑 | 庭院 | |
| 次要主题 | 建筑 | 栏杆 | |
| 次要主题 | 建筑 | 篱笆、围墙 | 围墙 |
| 次要主题 | 建筑 | 城墙 | |
| 其他主题 | 建筑 | 牌坊 | |
| 其他主题 | 建筑 | 戏台 | |
| 次要主题 | 车 | 人力车 | |
| 次要主题 | 车 | 兽力车 | |
| 主要主题 | 节令与二十四节气 | 年节 | 太簇始和 |
| 其他主题 | 器用 | 家具（屏风） | 家具（桌、椅） |
| 其他主题 | 器用 | 饮食器 | 瓶 |
| 其他主题 | 器用 | 花器 | 盆栽 |
| 其他主题 | 器用 | 乐器 | |
| 其他主题 | 器用 | 童玩 | |
| 其他主题 | 器用 | 宗教器用 | |
| 其他主题 | 器用 | 伞 | |
| 其他主题 | 器用 | 灯笼 | |
| 次要主题 | 人物 | 侍从（侍女、童仆） | 侍女 |
| 次要主题 | 人物 | 表演者、杂耍艺人 | 杂耍 |
| 其他主题 | 佛道人物 | 僧（和尚、尼姑） | 和尚 |
| 其他主题 | 器用 | 灯(宫灯) | |
| 其他主题 | 树木 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 界画 | |
| 皴法 | |
| 人物衣纹描法(匀称线条) |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈三编（养心殿），第二册，页889 |
| 收藏着录 | 故宫书画录（卷八），第四册，页122 |
| 收藏着录 | 故宫书画图录，第十三册，页137-138 |
| 内容简介（中文） |
丁观鹏(约活动于1708至1771或稍后), 顺天(今北京)人. 乾隆朝擢升为一等画画人, 擅长运用明暗设色与焦点透视法. 此图属于十二月禁御图之一, 画正月初七各处悬灯结彩. 以紫禁城建福宫(西花园)之延春阁为画中主体, 四角攒尖顶, 正中覆琉璃宝顶. 园中其它建筑积翠亭、敬胜斋、吉云楼、惠风亭、静宜轩尚有单檐歇山、硬山、勾连搭卷棚、圆攒尖、四角攒尖等样式, 屋面满覆各色琉璃瓦, 有区别等级作用. 门窗采步步锦式样, 梁柱上绘旋子彩画. |
| 内容简介（英文） |
Ting Kuan-p’eng was a first-rank painter under the Ch’ien-lung Emperor and specialized in Western techniques of shading and perspective. This work, one of the imperial activities from the 12 lunar months, represents the 7th day of the 1st month, when colored lanterns are hung everywhere. This, in fact, is also a faithful view of part of the Forbidden City, including the city wall and streets beyond. The main building in the lower left, for example, is the Yen-ch’un Pavilion with its four-cornered, pyramidal roof topped by a round ornamental tile. The rolltop roof buildings to the lower right represent the Ching-i Hall. Tiles indicate differences in rank. Windows and doors are in the official style, and the lintels are delicately patterned. |
| 内容简介（中文） | 原属十二禁御景图轴之一。所谓的十二禁御景图轴，根据活计清文件文献记录，是乾隆帝在乾隆十三年（1748）七月初九，交下御制十二个月诗十二首，命丁观鹏、余省、沈源、周鲲等四位画家，依据诗意作画。这十二件作品，又以十二律命题。十二律本为音律单位，因一年十二个月各有配对的音律，因此十二律也被用在十二个月份的区别上。「太簇」即对应元月。此画即元月之时，建福宫的赏灯景象。 |
| 内容简介（英文） | This painting was originally one of a set of twelve hanging scrolls illustrating scenery of the Forbidden City. This set, according to documentary evidence from archival records of the Ch’ing court, was made at the request of the Ch’ien-lung Emperor (r. 1736-1795), who ordered on the ninth day of the seventh lunar month of 1748 that four artists (Ting Kuan-p’eng, Yu Sheng, Shen Yuan, and Chou K’un) do paintings based on his composition of twelve poems on each of the months. These twelve works were also known as the “Twelve Semitones.” The twelve semitones originally were units of pitch in traditional Chinese music, and due to their number, one was assigned to each of the months, hence the use of the semitones for naming the months. The semitone “T’ai-ts’u” was traditionally paired with the first month, so the title of this work in the original Chinese reads, “Peaceful Start of T’ai-ts’u,” here referring to the Chinese New Year. |
| 内容简介（中文） |
※建福宫花园概述※ 宝亲王弘历于雍正五年大婚之后，迁居于干清宫西二所，即位之后，此地因是「龙潜福地」升为重华宫。乾隆四年下谕将西四、五所及其以南的狭长地带，渐次构为建福宫花园，以为几余游憩之地。《内务府奏销文件》另有记载，乾隆六年十二月官员上奏：「四所、五所挪在东边盖造…新建工程即照烫胎样式盖造。」下令：「趁石塘现在开采，此项石料（青白石），即于今冬办运，明春兴建。」由此得知此园始肇于乾隆七年，修建时间虽如御制〈建福宫赋〉所言：「未费司农之帑，何劳庶民之攻，经之营之，募千夫而齐力，如松如竹，阅数月而成功。」但室内装修一直持续。建福宫花园初期仅有延春阁、静怡轩、敬胜斋、凝晖堂、积翠亭、吉云楼、玉壶冰等建筑，依西墙而盖的碧琳馆、妙莲华室、慧曜楼，都为后来添建，乾隆二十三年所有的建筑工程基本完成。 建福宫花园殿阁亭轩高低错落有序，以游廊相连，缀以湖石花木，呈现江南花园灵活多变、丰富多彩的特点。因庭院占地面积所限，建物尺寸相对较小。〈画太簇始和〉所绘包括惠风亭、静怡轩、吉云楼、敬胜斋、延春阁、玉壶冰及假山上积翠亭，设置棋桌石墩。屋顶各覆以黄、紫蓝、绿色琉璃瓦，以区分等级；槅扇门窗装修采官式样式，外檐彩绘色彩丰富，实地实绘建筑组群与金碧山水互相辉映，正是清代皇家园林的代表。 建福宫花园深受乾隆皇帝的喜爱，曾经多次为作诗赋词。乾隆三十六年营建宁寿宫花园，即以此园作为造园样本。从乾隆到光绪皇帝，都将众多珍玩宝物藏于建福宫花园。末代皇帝溥仪《我的前半生》书中描述到：「满屋都是堆到天花板的箱子…这是当年乾隆皇自己最喜爱的珍玩。」溥仪计划清点宫内文物，却引起宫监因盗窃宝物惧罪纵火。一九二三年敬胜斋不慎失火，十多处建筑连同无数珍贵文物剎时化为灰烬，仅残留各殿柱础、台基及惠风亭与迭石堆山。事后据内务府报告：「烧毁金佛二千六百六十五尊，字画一千一百五十七件，古玩四百三十五件，古书几万册。」二000年北京故宫在中国文物保护基金会，及古建专家学者合作之下，开始进行建福宫花园废址修缮工程，历时共费五年，终于二00五年底竣工。丁观鹏〈画太簇始和〉所绘保存建福宫花园的设计原貌，遂成为此项重建工程不可或缺的图像材料。 款识：「臣丁观鹏恭绘」。 钤印：「臣丁观鹏。恭画。」 (20100407) |
| 内容简介（英文） |
※Garden of the Palace of Established Happiness※ After Hongli (Prince Bao) celebrated his wedding in the fifth year of the Yongzheng Emperor’s reign (corresponding to 1727), he moved into the Second Western Abodes of the Qianqing Palace. And after he assumed the throne in the Qianlong reign, this site as the home of the present emperor was elevated in status to the Chonghua Palace. A Qing memorial also states that in the fourth year of his reign (1739) Qianlong ordered the Fourth and Fifth Western Abodes along with a strip of land to its south to be built as the Palace of Established Happiness, with its gardens serving as a place for leisure. In early 1742 officials memorialized to the throne that new construction to the east of these abodes proceed according to models, upon which the Qianlong Emperor ordered that marble be quarried and transported by winter so that construction could begin in spring of that year. This indicates that building began in Qianlong’s seventh year (1742), and, though construction was completed in a few months as indicated in the emperor’s poem on the palace, interior decoration continued for some time. In its early stages, the palace gardens only included the Yanchun Pavilion, Jingyi Building, Jingsheng Studio, Ninghui Hall, Jicui Belvedere, Jiyun Tower, and the Yuhubing (Bilin Lodge, Miaolianhua Chamber, and Huiyao Tower built along the west wall were all later additions). Thus, basic construction was not completed until the 23rd year of Qianlong’s reign (1758). (20100407–E1) |
| 内容简介（英文） |
The buildings in the Garden of the Palace of Established Happiness, with their orderly roof height, are connected with corridors and embellished with lake rocks as well as various trees and plants, revealingthe nimble variety and plenty of a Jiangnan southern garden. Due to limited space in the Garden, the buildings there are by necessity relatively small. Depicted in Ding Guanpeng’s “Peace for the New Year” is the Huifeng Belvedere, Jingyi Building, Jiyun Tower, Jingsheng Studio, Yanchun Pavilion, Yuhubing (and Jicui Belvedere on top of the artificial mountain in the foreground, the stone chessboard table and stools also appearing off to the side. The roofs are covered with yellow, purplish-blue, and green glazed tiles to distinguish their different status. Doors and windows are ornamented with lattice patterns and the outer eaves richly painted, the decorative buildings echoing the golden blue-green colors of the landscape in the painting, making this a representative example of a Qing imperial garden. (20100407–E2) |
| 内容简介（英文） |
The Garden of the Palace of Established Happiness was a favorite of the Qianlong Emperor, who often composed poems on it. In 1771 he also had the Garden of the Palace of Tranquility and Longevity (Ningshou) modeled after it. The Qianlong to Guangxu Emperors all stored their treasured collections of objects at the Garden of the Palace of Established Happiness. Even the last emperor of China, Puyi, wrote in his memoirs that the buildings were filled to the roofs with cases of the Qianlong Emperor’s most precious objects. When Puyi planned to conduct an inventory, however, palace eunuchs allegedly feared that pilfering of the collection would be exposed and set fire to the complex. Therefore, in 1923 the Jingsheng Studio went up in smoke, and more than a dozen other connected buildings along with their innumerable treasures all were reduced to ashes, leaving only the columns and foundations along with the artificial mountain. According to a report prepared by the Im
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