A Study On The Collection Activities Of The "Famous Room For Paintings" In The Qianlong Palac

On the basis of the related documents,archives,paintings and the analysis on all kinds of materials,this thesis aims to thoroughly analyze the system and idea of the connoisseurship and collection in the Qianlong court by researches on those rooms of the palaces named after the paintings.Trying to analyze in the specific historical situations,it has the following conclusions:The system and idea of the connoisseurship and collection in the Qianlong court was established on the original management system of the civil officials and the imperial court.The Qianlong Emperor was the leader of the connoisseurship and collection of the paintings in the court.The poet-ministers(Cichen)in the Southern Study(Nan shufang)and officials of the Hall of Diligence(Maoqin dian)were the main participants in the connoisseurship and collection of paintings and calligraphy.The mounting workshop and the case workshop in the court undertook the tasks of the mounting of the paintings.The court eunuchs assumed the responsibility of the daily maintenances and safeguard.The Qianlong court perfected the system of appraisal,textual researches,classification,mounting and store of the paintings,and formed the mature mechanism of the connoisseurship and collection of paintings,which ensured the activities of the connoisseurship and collection of paintings.The interests and the evaluation views of the Qianlong court directly influenced the activities of the connoisseurship and collection of paintings.The Qianlong court preferred the taste of the literati,which was different from the relatively influential opinions on painting appraisals by Dong Qichang of the Ming Dynasty.It was fairly similar to those of Su Shi in the Song Dynasty and Wang Shizhen in the Ming Dynasty,who promoted the principle of a comprehensive expressions and the encouragement of Confucianism.For the Qianlong Emperor and his poet-ministers,their motive for painting appraisal was happiness and cultural cultivation,while the Qianlong court also attached importance to the promotion of the Confucianism and tried to establish the image of the Qianlong emperor as the sage-king.The Qianlong court followed the way of painting appraisal by the literati and scholars and concentrated its efforts to establish an image of scholar appraisal.It carried forward and developed the appraisal culture of the Han from the Tang and the Song Dynasties.The features of the connoisseurship and collection of paintings in the court was closely related to the status of the Qianlong Emperor as the Manchu dominator and his imitation and respect to the culture of connoisseurship and collection of the Han scholars.The Qianlong court collected paintings not only for the entertainment but also for interpretation of the classic stories and education with paintings.Therefore,the Qianlong court emphasized the textural researches and did not ignore the collection of the fake and the copies in order to form a complete collection,which also valued collecting and handing on the paintings from generation to generation.Although there were a lot of errors in the connoisseurship and collection of the Qianlong court,the Qianlong court established the richest collection of paintings with careful attitude on the connoisseurship and low standards for collecting.The Qianlong court got the then talent and the excellent workmanship for the paintings’ appraisal,preservation,and mounting.From the perspective of the development in the history of painting connoisseurship and collection,the connoisseurship and collection of the Qianlong court objectively protects the important handed-down cultural heritage of the Chinese people.