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董邦达(1699-1769)字孚存,一字非闻,号东山,浙江富阳人。人们在提及他时,因其画风和清初王原祁似出一门,因此也经常有人将他与王相比较,评价他的画艺为“自王原祁后推为大家”。1除了绘画风格之外,董邦达在乾隆帝时期所获得的职位、身份也与生活在康熙朝的王原祁颇为相似。自雍正十一年(1733)起董邦达为进士,后历任礼部、工部、吏部侍郎(1757-1762),官至礼部尚书,卒谥“文恪”。在他的一生中,董邦达凭借自己高超的画艺而得到乾隆皇帝的一再赏识与重用。和王原祁的经历相似,董邦达也参与了当朝多种宫廷图书的编撰工作,其中有《秘殿珠林》、《石渠宝笈》、《西清古鉴》及《皇清文颖》一百二十四卷等。在乾隆帝执
Dong Bangda (1699-1769) Foo save, the word non-Wen, No. Dongshan, Zhejiang Fuyang. When people referred to him, because of his style and the early Qing Wang Yuanqi resembles a door, so often someone compares him with the king, appraising his painting skills as “since Wang Yuanqi pushed everyone.” 1 In addition to the style of painting, Dong Bangda’s position in the period of Emperor Qianlong was similar to that of Wang Yuan Qi who lived in Kangxi. Since the reign of Emperor Yongzheng (1733), Dong Bangda became a Jinshi, and later served as minister of law, labor department and official department (1757-1762), officer to court of ceremonies, death of Wen Ke. Throughout his life, Dong Bangda won the repeated recognition and reuse of Emperor Qianlong with his superb painting skills. Similar to Wang Yuanqi’s experience, Dong Bangda also participated in the compilation work of various court books in the dynasty. Among them are “Secret Temple Zhu Lin”, “Shiqu Baodi”, “Western Qing Gujian” and “Qing Qing Wen Ying” Four volumes and so on. Emperor Qianlong Executive