Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102312
Title: 董邦達與乾隆朝巡幸地景畫—以盤山圖繪為中心的研究
Dong Bangda and Topographic Landscapes of Qianlong Inspection Tours: Focusing on the Paintings of Mount Pan
Authors: 王正華
Wang, Cheng-Hua
吳佳燕
Wu, Chia-Yen
Keywords: 董邦達
乾隆
巡幸
地景畫
盤山
Dong Bangda
Qianlong
inspection tours
topographic landscapes
Mount Pan
Issue Date: 2015
Abstract: 清代宮廷山水畫中,有一類作品專門描繪帝王巡幸所經之地,包括行宮與周遭景致,甚至還有地方名勝以及人跡罕見之地,這些作品均屬地景畫的表現類型,呈現出高度實景性質,於建築的描繪也大多細膩,但畫面上罕見人跡,也不描繪巡幸隊伍或地方風俗,更未涉及宮廷儀制與事件描述。這類作品多為帝王敕命製作,由具備詞臣身份的畫家繪製,不僅如此,作品多配有御製詩句,而詩句內容也以描述地景為主。這類作品數量龐大卻未見專文討論,因此,本文以乾隆朝詞臣董邦達的盤山系列圖繪為主軸,採用其所繪製的《田盤勝概》十六開冊頁、《盤山十六景》卷、《欽定盤山志》中的〈圖考〉四十幅,以及《雕紫檀龍紋多寶格》中收納的《御製靜寄山莊八景詩圖》冊八開等作品為主要材料,將之定位為「巡幸地景畫」的類型,談論其中的風格來源、製作與使用脈絡。 乾隆身為帝王,不僅一生中三十二度巡經盤山,更在山上營建行宮,親自為各處宮宇景點命名。董邦達身為乾隆朝前半的重要詞臣,曾多次奉命遊覽盤山,過程中必須圖繪盤山並參與纂修《欽定盤山志》。君臣之間不僅有互動,雙方更在盤山文化產出的過程中扮演了「共同創作者」的角色。本研究針對乾隆朝盤山圖繪進行全面性的整理,深入了解董邦達的地景畫範式與風格的影響力,透過種種盤山書寫與圖繪,來定位乾隆朝盤山的意義與使用,了解乾隆加之於盤山的新面貌,以及其所欲營造的王道氣象。 「巡幸地景畫」於帝王與詞臣而言,並不僅僅是單純任務交付與奉命完成而已,在帝王巡幸過程中,詞臣扈從身旁,除了與之詩文應和、探尋勘景、即景作詩、即景作畫之外,扈從巡幸本身就具有強烈的政治意涵。對乾隆而言,當其出巡之際,詞臣能於成群結隊伴於身旁,便意味著「王道之治」的成功,使得詞臣心悅臣服。「巡幸」一方面可鞏固疆土,另一方面也是天下太平的象徵,而巡幸地景畫就是體現帝王統治天下成功的最佳證明。
There is a particular kind of landscape paintings that depicting the temporary palaces, famous sites, and remote places during Qianlong’s inspection tours. Those were topographic landscapes, which were close representations of the buildings and natural scenery, excluding depictions of people, stories, imperial ceremonies and folk customs. These paintings accompanied by the poems written by Qianlong emperor, were made by scholar-court officials and commanded by the emperor. This thesis focus on the group of paintings defined as “topographic landscapes of inspection tours,” especially the paintings of Mount Pan made by Dong Bangda. The Qianlong emperor had been to Mount Pan for 32 times. He built a temporary palace on Mount Pan, which named Serene Lodging Mountain Resort(靜寄山莊). Dong Bangda was one of the most important scholar-court officials during the Qianlong’s reign, who had been to Mount Pan several times and depicted the views during the trips because of Qianlong Emperor’s commands. So that I focus on Dong Bangda’ s paintings, such as album of the Great Views of Mount Pan, handscroll of Sixteen Views of Mount Pan, images in the Qin ding Panshan zhi (Gazetteer of Mount Pan) and album of Imperial Poetry on the Serene Lodging Mountain Resort with Paintings, discuss how these paintings were made and used, as well as the particular style used by Dong Bangda. Through these paintings, we notice the change of Mount Pan and how the Qianlong emperor defined and used this place to show his statecraft.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=%22http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060167007T%22.&%22.id.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102312
Other Identifiers: G060167007T
Appears in Collections:學位論文

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