清高宗图像研究

【作者】 丁勤；

【导师】 李福顺；

【作者基本信息】 首都师范大学 ， 美术学， 2009， 博士

【摘要】 清高宗图像是指以清高宗为表现对象的图像体系,是中国古代宫廷绘画体系中最具代表性的帝王图像系统之一。从文献记载来看,帝王形象在人物画中的出现至迟始自周代。目前可见的早期帝王图像,主要是汉代民间纪念性祠墓的留存,以山东武梁祠较为典型。帝王图像所蕴涵的道统和君权意识,反映出时代的政治图景,成为在世俗的社会背景下建立起来的歌功颂德的纪念碑和权力地位的象征,并由此导致其基本模式--朝服类的帝王图像的成型与确立。朝服类的帝王图像具有三大特征:首先,独立的人物存在空间,画面以静态一人为主;其次,对帝王相貌的美化或神化;再者,冠服刻画逼真细腻。此外还有其他帝王图像类型,总体上可分为规谏类、纪实类、行乐类三种。清高宗图像的兴盛,不仅是由社会政治、思想文化意识以及清高宗本身等诸因素所决定,当时社会的经济实力也为之提供了发展条件。清高宗形象在图像中的塑造和表现主要有帝国之君、文殊菩萨转世、隐士三类,各类形象的描绘都涵盖了以下几点共同特征:一、额头宽广饱满:二、双眉修长,多超出眼睛所在的位置:三、鼻梁中正方直,高高隆起;四、双耳丰垂,上达眉峰,下至鼻端,明显大于常人;五、手指纤长,看不出骨节;六、身材匀称挺拔。由此可知画家在塑造清高宗形象的过程中,除了如实描绘对象的主体特征之外,亦同时参用了相术的图像逻辑与理念。并且,清高宗图像在绘制过程中受到更加严格的监督和控制。这种制约不仅来自于宫廷绘画机构内部谨严有序的规制,同时又来自于清高宗本人密切以及全面的关注。清高宗的干预,重点体现在图像内容的选择、绘制人员的安排、绘画技法的使用等方面。清高宗图像的艺术造型,在样式上呈现出无与伦比的丰富性和复杂性,并由此产生了一定的特点和规律:第一,以脸部为正面造型和四分之三侧面造型居多,其中又有各种差异:第二,打破了以往帝王造型样式的单调格局,从正襟危坐扩展到盘腿、单腿蜷缩、双腿交叠或者倚石、倚栏、倚桌……;第三,表现全面,即使姿态相近,也会在服装或者年龄上有所区别。如此众多的图像造型,勾勒出清高宗在人生不同阶段的不同面貌和不同生活状态。其中人物形象、配饰、道具等的位置并非任意填塞、罗列,而是经过了一番精心的处理和安排,一切绘画要素皆以主体人物--清高宗为视觉中心来构建画面,使之显得伟大和突出。清高宗图像在继承传统的同时也进行着创新的尝试,出现了迥异于以往帝王图像的中西合璧的画法。这是运用西画中的科学精神对古老的中国宫廷风的一种改造,尽管具有生硬、不协调的痕迹,却表现出鲜明的时代特征,成为当时引领画坛的风尚潮流。由于皇帝本人的大力介入,清高宗图像已不仅仅是认识和了解清高宗形象以及当时宫廷艺术的重要方面,同时也成为探寻帝国国势与各种社会关系的一个特殊途径,直观地呈现出视觉艺术在阐释观念方面所发挥的奇妙作用。清高宗提倡“以德化民”,并于文字宣传的基础上,进一步强化了图像的德教功能,以展现自己在处理国家事务中散发出的个人的形象魅力。那些对巡狩、献俘与受俘、木兰秋猕等典礼的种种描绘,则反映出礼在乾隆时期已经被当作整合、调适、规范社会秩序与传统、维护国家制度与统一以及联系中央与地方、华夏与夷族、王权与士民的润滑剂。这样一种缜密规整的精心布置,主要目的是使满族统治阶级的思想观念能够长期占据社会意识形态的话语霸权。而清高宗图像中各类象征物的出现,形成了一个具有隐语暗示和象征意义的系统整体,充分显示出清高宗对于至高无上的皇权、“名分”观念以及理想性的象征的极尽心力。清高宗图像在反映当时政治、文化生活的广度和深度上,具有文字所缺乏的直观性与形象性,能够补充文献难以记述的细部与微观,从而成为文字之外的一种更加生动和具体的记录历史的方式。但作为人为的文化建构,画面中的真实已经有别于现实经验世界中的真实,呈现为一种视觉的真实。视觉的真实并非海市蜃楼或者迷象幻影,而是一种属于艺术历史的真实,可以看出清高宗的审美情趣及其权力干涉在绘画媒体上的流布,有助于今人更深层地揣摩和洞悉清高宗的性格及心理状态,并据此分析、解读和透视他的执政观念与相关举措,对正确、全面评价清高宗大有裨益。作为一个十分庞大、复杂而又完整的绘画体系,清高宗图像蕴涵着某种理性的、有意义的选择、设计和构想,无论在造型风格、经验图式、描摹技法上,或者内容选择、创作理念、制作规模等方面都代表着当时官方艺术形态的最高水平,其所产生的影响作用不可忽视。更多还原

【Abstract】 Images of Qing Gaozong,one of the most representative king painting systems in the history of ancient Chinese royal painting,refer to a series of paintings of Qing Gaozong.According to recorded document,the emergence of king image in figural representation came into being from the Zhou Dynasty at the latest.Currently seen ancient king paintings are mainly the remains of folk memorial temples and tombs of the Han Dynasty,represented by the Wuliang Temple.King painting,which contains the Tan consciousness and sense of prerogative that mirror era’s politics,serves as a monument eulogizing merits and virtues,a symbol of rights and status under that temporal social background,which thus lead to the birth of the basic model-king painting of court dress.Three basic features are observed in this kind of king painting.First, unattached space for figural existence,static picture centered on the character;Second,the prettifying and mythicizing of the king’s appearance;moreover,vivid and delicate portray of the court dress.Besides the court dress type,three other types,remonstrating,on-the-spot recording and going on the spree,are classified in general.The prosperity of depicting images of Qing Gaozong depends not only on such factors as social politics,people’s concept and cultural awareness,and Qing Gaozong himself,but also largely on the economic development of that time.Three major kinds of figure molding are included,king of an empire,reincarnation of Manjushri and a hermit,which share the following features.First,wide and plump forehead;Second,slim eyebrows beyond the coverage of the eyes; Third,square nose with bridge just in the middle,straight and bulge;Fourth,chubby and flap ears, up to the eyebrows and down to the nasal tip;Fifth,slim fingers,with the joints cannot seen;Sixth, well-proportioned and erect figure.These features show that the artists had fused the logic and philosophy of anthroposcopy into the image figuring of Qing Gaozong besides faithfully tracing out his typical features.Moreover,the painting processes were under rigid controlling and severe supervision.On one hand,painters had to conform to the restrained rules of royal painting precisely;on the other,Qing Gaozong himself paid close attention to the painting,he chose the picture content,painting skills to use and even the painting staff.The artistic molding of Qing Gaozong is incomparably varied and complicated in style. However,certain common features and painting rules are observed.First,full-face paintings and three-quarter-face lateral paintings are the most common.Second,varied painting patterns compared with previous dull style,from style of straightening one’s clothes and sitting properly only to sitting cross-legged,one-leg crouched,two-legs overlapped,or standing against stone, baluster,table,etc.Third,full-scale portray,same postures,different in clothes or age.Such a diverse image molding successfully sketched Qing Gaozong’s appearance and living condition at different stages of life.Cautiously dress and props choosing and siting,all centered on the depicting of the main figure,aimed to extrude Qing Gaozong’s grandeur and outstanding.While carrying on traditional king painting skills,artists also made innovations by applying the scientific spirit of Western painting into traditional Chinese royal painting in the creation of images of Qing Gaozong.Although traces of angularity and discord were obvious in this merging,it definitely showed era’s characteristics and trend of painting.Thanks to the king’s intervening,images of Qing Gaozong,which are more intuitive,are not only important in knowing and understanding Qing Gaozong and royal art of the time,but also pave a way to study the Qing Dynasty’s national powder and social relations.Qing Gaozong advocated "educating the people with morals" through written propaganda and paintings which showed his figural enchantment in dealing with national affairs.Paintings depicting ceremonies of hunting,offering and receiving captives,and hunting in the Mulan enclosure every autumn mirror Li’s importance in becoming into the lubricant in maintaining social tradition,safeguarding social order,preserving state system,protecting country’s unity,connecting the central authorities and the local,the Han people and minorities,royal power and common people.Such elaborate choices aimed to prominent the ideas and concepts of the Manchu ruling class.Emblems available in images,which stand for Qing Gaozong’s supreme powder,form an integrated system full of implied and symbolic meaning,and show his ideas about status and ideal symbolizing.Images of Qing Gaozong,which are more vivid and intuitive,make up for the disadvantages of document recording in describing details and microcosmic aspects of the political and cultural states of the time,thus become into a method of history recording besides words.However,as a type of artificially cultural constructions,the picture reality,presented as visual reality,differs from reality of the real experience world.Visual reality,which comes from art history,is not mirages or illusions,but reflects Qing Gaozong’s aesthetic taste and his irresistible intervention in painting,is helpful in conjecturing and discerning Qing Gaozong’s character and mental act,in analyzing,interpreting and penetrating his reign concept and interrelated acts,thus paves a way to a correct,full-scale evaluation of Qing Gaozong.As a huge,complicated,complete painting system,images of Qing Gaozong embody certain rational,meaningful choosing,designing and conceiving.Not only in style designing,pattern choosing and painting skills,but also in content choosing,painting conception and scale of making,images of Qing Gaozong stand for the uppermost achievement of the official artistic development of the time,thus,great attention should be paid to its influences.更多还原