永璥的交游与书画鉴藏

The Acquaintance and Art Collection of Yongjing

清代皇室书画活动在乾隆时臻于鼎盛,乾隆本人博雅崇文、身体力行,推动了书画艺术的发展。从《秘殿珠林》《石渠宝笈》等大型书画著录的编纂,到宫廷画院名家云集、佳作频出,无不显示宫廷内部书画鉴藏、创作活动繁荣昌盛的局面。对此,今人研究成果丰硕,然而对于宫廷之外皇族成员书画创作与鉴藏活动的研究却显得异常薄弱。活跃于乾隆时期的鉴藏家辅国公永璥,即是清代书画史、鉴藏史研究中长期被忽略的人物。本文从考索永璥交游入手,以文献与作品结合,梳理出永璥的交游轮廓与收藏情况,并在此基础上对永璥的收藏活动和鉴赏水平进行初步探讨。这对研究游离于权力核心之外的皇族成员的生活方式和文化成就有积极的意义。

Imperial painting and calligraphy in the Qing dynasty peaked in the Qianlong reign. He promoted the development of arts by personally participation. Compilation of art catalogues such as Mi Dian Zhu Lin[秘殿珠林]and Shi Qu Bao Ji[石渠宝笈]and gathering of famous painters showed the prosperity of art in the palace. There have been substantial research achievements regarding this subject. However, research on the artistic creation and appreciation of subordinate royal members is rather insufficient. For example, Duke Yongjing, one of great royal connoisseurs during the Qianlong reign, has been long neglected by researchers of Qing dynasty calligraphy and painting. By combining historical documents and artworks, the author investigates Yongjing＇s social circle and personal collections. The research of Yongjing＇s art appreciation has a promotive effect on discussing the lifestyle and art activities of imperial family members who were not in power.