由《墨妙珠林》集冊看乾隆初期對漢文化傳統的整理
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2014
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乾隆十至十三年間（1745-1748），乾隆皇帝製作了一套名為《墨妙珠林》的巨幅冊頁集。全套共有十二冊，分別由十二位畫家按「二十四」之數演繹而成的主題進行繪製。《墨妙珠林》不僅尺幅巨大、畫幅眾多，十二項主題內容更具有類書「天、地、人、物」之分類特性，應當是套別有用心之作。本文以《墨妙珠林》為核心，藉由作品本身的基礎討論，將發現乾隆選擇了當朝一時之選的製作團隊，製作眾多與乾隆、清廷密切相關的主題；其再利用康雍朝漢籍編纂的成果作為對開文字，《墨妙珠林》彷彿是一套以視覺方式所製作之「類書的類書」，也展現出乾隆總集文化成果的野心。而透過《活計檔》的爬梳，更發覺到另一套乾隆元年畫片集《墨妙珠林》的存在，從而連結起二本《墨妙珠林》間的可能關係。加之二套作品皆有著龐大單元組合為一體的特性，前者是舊有畫片的整理；後者則是新製的視覺物品，從中得以窺探到乾隆上位之初，如何從整理既有集合的建立，邁向系統化創造物與收藏的過程。因此，二本《墨妙珠林》將是一個具體微縮的案例，用以觀察乾隆初期的收藏之道，以及康雍乾三帝對漢文化的歷時性整理過程。
Momiao Zhulin is the large collection of album leaves which was made during early Qianlong period in 1745-1748. This work consisted of twelve albums was made by twelve painters according to “twenty-four”-related subjects. Momiao Zhulin is not only huge in dimension but also in the number of units, and its twelve subjects have the characteristic of traditional Chinese encyclopedia in structure, the relationship of heave, earth, man and object (tian di ren wu). This thesis focuses on the work Momiao Zhulin, and its relation to other works in Qing palace. A careful examination of Momiao Zhulin reveals that the painters who Qianlong commissioned were the most outstanding candidates at that time, and its subjects mainly connected to the emperor and Qing court. Moreover, Qianlong used the achievement which Kangxi and Yonzheng had systematically arranged the Han books as the left text of the work. In this way, Momiao Zhulin as if it was a “miniature encyclopedia” made by the visual way. And it also shows Qianlong’s ambition in assembling Qing grand cultural enterprise. Furthermore, according to the Imperial Household Archive, we found another Momiao Zhulin which was collected in 1736, early before the previous one. These two works have the same name, while the former one which is made by Qianlong’s idea; the latter which consists of old pictures mounting on leaves. Through the two works as a concrete illustration, we can understand how Qianlong arranged old collections and systematically created a new one in early reign. Therefore, Momiao Zhulin is a good example to see Qianlong’s collecting way and the overall process of the codification of Han cultural tradition by Manchu emperors, Kangxi, Yongzheng and Qianlong.
Momiao Zhulin is the large collection of album leaves which was made during early Qianlong period in 1745-1748. This work consisted of twelve albums was made by twelve painters according to “twenty-four”-related subjects. Momiao Zhulin is not only huge in dimension but also in the number of units, and its twelve subjects have the characteristic of traditional Chinese encyclopedia in structure, the relationship of heave, earth, man and object (tian di ren wu). This thesis focuses on the work Momiao Zhulin, and its relation to other works in Qing palace. A careful examination of Momiao Zhulin reveals that the painters who Qianlong commissioned were the most outstanding candidates at that time, and its subjects mainly connected to the emperor and Qing court. Moreover, Qianlong used the achievement which Kangxi and Yonzheng had systematically arranged the Han books as the left text of the work. In this way, Momiao Zhulin as if it was a “miniature encyclopedia” made by the visual way. And it also shows Qianlong’s ambition in assembling Qing grand cultural enterprise. Furthermore, according to the Imperial Household Archive, we found another Momiao Zhulin which was collected in 1736, early before the previous one. These two works have the same name, while the former one which is made by Qianlong’s idea; the latter which consists of old pictures mounting on leaves. Through the two works as a concrete illustration, we can understand how Qianlong arranged old collections and systematically created a new one in early reign. Therefore, Momiao Zhulin is a good example to see Qianlong’s collecting way and the overall process of the codification of Han cultural tradition by Manchu emperors, Kangxi, Yongzheng and Qianlong.
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墨妙珠林, 集冊, 乾隆, 康熙, 清宮收藏, 文化事業, Momiao Zhulin, album leaves, Qianlong, Kangxi, collection in Qing palace, cultural enterprise