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据《清内务府造办处档案总汇》记载,乾隆二十三年至四十四年(1758～1779年)间,乾隆皇帝共下令画过四幅“孔雀开屏”大画。其中前三幅为郎世宁与中国画家合作绘制,最后一幅为贺清泰仿郎世宁作品。经过档案与实物对比,发现四幅“孔雀开屏”大画中,有两幅保存至今,一幅为故宫博物院的《清人绘弘历阅孔雀开屏图》,作者为郎世宁、金廷标;一幅为台北故宫博物院的《孔雀开屏图》,作者为郎世宁、金廷标、方琮。本文比较了两幅绘画的异同,分析了乾隆皇帝的审美趣味和喜爱“孔雀开屏”这一题材的原因,并依照《清档》记载的张贴地点,根据圆明园管理处绘制的“廓然大公”和“别有洞天”盛时平面图,以及故宫博物院所存建筑烫样,阐述了“孔雀开屏”通景画和建筑环境的密切关系。
According to the Record of Consolidating the Archives of the Qing Government Office, from the 23rd to the 44th years of Qianlong (1758-1779), Emperor Qianlong ordered a total of four paintings of “Peacock”. The first three of them were written by Castiglione in collaboration with Chinese painters, and the last one is He Qingtai’s imitation of Franciscan works. After comparing the archives with the real ones, we found that there are two preserved in the four paintings of “Peacock Opening Screens”, one for the Palace Museum, One for the Taipei National Palace Museum “Peacock open screen”, the author is Castiglione, Jin Tingbiao, Fang Xuan. This article compares the similarities and differences between the two paintings, analyzes the reasons for the aesthetic taste and favorite “Peacock” theme of Qianlong emperor, and according to the place posted in Qing dynasty, according to the “ The outline of Grand Duke ”and“ Another Cavendish ”“ Sheng Tian plan ”, as well as the building preserved by the National Palace Museum hot sample, elaborated “ Peacock ”Tong scenery and the close relationship between the built environment.