乾隆朝《大閱圖》相關圖像之研究

Abstract

本論文以乾隆朝（1735-1796）清宮製做的大閱圖像為中心，試圖描繪出乾隆如何以大閱圖像來建立其帝國形象。清代皇帝十分重視大閱禮的舉行，在關外時期就有大閱的記錄。但是製作與大閱相關的圖像卻是在乾隆時期才被大量製作，其中包含一套四卷《大閱圖》卷、兩件絹本《乾隆皇帝大閱圖》軸、一件油畫本《弘曆騎馬像》，以及由皇室宗親弘旿製作的《閱武樓閱圖》與大臣製作並上呈的《南巡盛典》中的〈閱武〉，值得注意的是，在大閱圖像製作的同時，鹵簿圖像的繪製也是在同一時期被製作，如《大駕鹵簿圖》卷。有趣的是，由乾隆皇帝主導製作的《大閱圖》卷，有很大一部分圖示來源是參考自歷代的鹵簿圖像─即強調展示與陳列的特性。本文即以這批描繪大閱相關的圖像，梳理其圖像製作與脈絡，以及乾隆皇帝所要展示的帝國武功形象。This thesis focuses on the Qianlong Court (1735-1796), trying to describe how Qianlong used the image to establish the imperial martial. However, the images related to the production of Da Yue were produced in large quantities during the Qianlong period. They included the "The Grand Review"(大閱圖), two of the "Emperor Qianlong Reviewing Troops"(乾隆皇帝大閱圖), and oil painting "A Portrait of Emperor Qianlong on Riding", and the "閱武" in the “Na xun cheng dian” (南巡盛典)produced by the Kao Chin. At the same time, the drawing of the lǔ bù tu (鹵簿圖)was also produced in the same time. Interestingly, a large part of the "The Grand Review " volume produced by Emperor Qianlong is based on the image of the lǔ bù tu from the previous generation. This article uses this batch to depict the relevant images of "The Grand Review ", to sort out the image production and context, and the image of the imperial martial arts that the Emperor Qianlong wants to display.