王原祁《西湖十景圖》研究 —清宮正統派地景畫的產生及政治意涵
Abstract
《西湖十景圖》目前藏於遼寧省博物館，由康熙朝著名的詞臣畫家王原祁所繪。如果與地圖對照，《西湖十景圖》標註的地名，似乎反映西湖十景的真實位置。展開畫卷，景點先是西湖東北側的「錢塘門」，畫家像是沿著西湖岸繪製各岸景觀，以逆時鐘的方向環繞，如同環湖行走，觀者逐一遊覽各個景點，最後回到出發地，沿途美景即形塑了這幅長卷山水。《西湖十景圖》在王原祁的作品中顯得特殊，因為它不僅是畫家現存的山水長卷裡，少數具有實景元素的創作，也是臣字款作品中，罕見的長卷形式。王原祁選用透過傳統名家的風格去詮釋地景，更為了符合皇室喜好而重組構圖及設色。
本篇研究分成三個面向，闡述《西湖十景圖》具有的政治意涵。首先筆者分析《西湖十景圖》畫卷的圖像來源。王原祁不只挪用董其昌以來的仿古山水描繪地景之外，同時借鏡歷代西湖圖像及中國輿圖的傳統。即便董其昌山水畫並不重視實景，但王原祁仍試圖採取其他圖繪傳統，促使畫作貼近「真實」的西湖地理，觀者可辨識景點的所在位置。其次討論製作《西湖十景圖》的歷史脈絡，康熙皇帝在南巡過程中，對西湖的觀感從負面轉變為正向積極的，此際《西湖十景圖》反映康熙朝新的景觀建設和文化意象。王原祁地景作品有別於清初流行的明遺民地景畫，日後這類正統派地景畫受到皇帝重視，在清宮佔有一席之地。促使王原祁在《西湖十景圖》之後，仍為皇帝創作多幅巡幸地景及行宮繪畫。文章最後以《西湖十景圖》為主軸，探討王原祁正統派地景畫的影響力。《西湖十景圖》是清宮制景文化的開端，繪畫不只是日後清宮修築西湖景觀建設的基本藍圖，又乾隆南巡時曾為畫中的重要景點立碑，並圖繪紀念。另一方面，《西湖十景圖》構圖影響清宮的長卷地景創作，仿古概念也延伸到乾隆朝的正統派地景畫。此外王原祁正統派地景畫的收藏狀況，也說明乾隆如何透過正統派風格和共通主題，傳達兩代祖孫情誼，象徵對康熙宮廷大業的繼承。
透過《西湖十景圖》的研究，本文希望重申王原祁的重要性。奠定於康熙的品味及思想，王原祁為清宮帶來新型態的地景畫。《西湖十景圖》傳達出清帝對江南政策的文化態度轉變，其正統派地景畫作品之影響更延至乾隆朝。
Currently in the Liaoning Provincial Museum, China, Ten Views of West Lake (Xihu shijing) by the scholar-official painter Wang Yuanqi (1642-1715) is a painting long neglected in the study of Wang’s art. This long handscroll starts with a depiction of one city gate of Hangzhou, where West Lake is located. Then, it proceeds to present the views of the west, south and east sides of the lake, as if taking the viewer on a lakeshore walk. Of Wang’s oeuvre, Ten Views of West Lake is a very special piece since the painter rarely makes topographic landscape paintings. By employing the stylistic features traditionally developed by literati painters, Wang conveys political meanings in his interpretation of the landscape of West Lake. Furthermore, the composition and colors of the painting demonstrate different stylistic traits from those generally seen in Wang’s works, likely changed to meet the taste of the Kangxi emperor (r. 1662-1722). This thesis aims to explore the political significance of Ten Views of West Lake from three aspects. First, I will analyze the iconographical sources of this handscroll painting. Not only did Wang Yuanqi follow the teaching of Dong Qichang and apply the ancient style in his depiction of the West Lake, he also appropriated the long-term traditions of the West Lake landscape paintings and geographical maps in China. Despite the fact that the incorporation of the later is much in conflict with Dong’s idea of landscape painting, these elements were adopted by the artist in the attempt to make the scenery more “real.” The following analysis then examines the historical context of the work, arguing that Ten Views of West Lake shows the new cultural image of the West Lake promoted by the Kangxi emperor. Different from the topographic landscapes drew by the Ming Loyalists, Wang Yuanqi’s orthodox works were in a dominant position in the court during the early Qing period. Receiving the compliment from the Kangxi emperor, the artist later became a major court painter and was assigned to depict famous tour sites and imperial palaces. My final discussion focuses on the significant influence of Wang Yuanqi’s topographic Landscapes in the Orthodox School in the Qing court. As an important reference, the handscroll serves as a fundamental blueprint for the later imperial constructions along the West Lake. Another influence of this painting is that its composition effected the development of landscape painting in the format of a handscroll in the Qing court. Last, by looking into the Qianlong emperor’s collection of Wang Yuanqi’s orthodox topographic landscapes as well as his own orders of similar works in the same style, I seek to demonstrate the artist’s works as the symbolical cord that not only establishes an intimate relationship between the Qianlong emperor and his grandfather Kangxi, but also validates the legacy of these prominent rulers. This study examines different political aspects of Ten Views of West Lake in hope of rediscovering the importance of Wang Yuanqi in the Qing court. The handscroll painting conveys the emperor’s new cultural attitude towards his ruling in the Jianian region. Catering to the taste and ideology of the Kangxi emperor, Wang Yuanqi brought a new kind of topographic landscape art in the Qing court, and the influence of his works continued until the Qinalong period.
Currently in the Liaoning Provincial Museum, China, Ten Views of West Lake (Xihu shijing) by the scholar-official painter Wang Yuanqi (1642-1715) is a painting long neglected in the study of Wang’s art. This long handscroll starts with a depiction of one city gate of Hangzhou, where West Lake is located. Then, it proceeds to present the views of the west, south and east sides of the lake, as if taking the viewer on a lakeshore walk. Of Wang’s oeuvre, Ten Views of West Lake is a very special piece since the painter rarely makes topographic landscape paintings. By employing the stylistic features traditionally developed by literati painters, Wang conveys political meanings in his interpretation of the landscape of West Lake. Furthermore, the composition and colors of the painting demonstrate different stylistic traits from those generally seen in Wang’s works, likely changed to meet the taste of the Kangxi emperor (r. 1662-1722). This thesis aims to explore the political significance of Ten Views of West Lake from three aspects. First, I will analyze the iconographical sources of this handscroll painting. Not only did Wang Yuanqi follow the teaching of Dong Qichang and apply the ancient style in his depiction of the West Lake, he also appropriated the long-term traditions of the West Lake landscape paintings and geographical maps in China. Despite the fact that the incorporation of the later is much in conflict with Dong’s idea of landscape painting, these elements were adopted by the artist in the attempt to make the scenery more “real.” The following analysis then examines the historical context of the work, arguing that Ten Views of West Lake shows the new cultural image of the West Lake promoted by the Kangxi emperor. Different from the topographic landscapes drew by the Ming Loyalists, Wang Yuanqi’s orthodox works were in a dominant position in the court during the early Qing period. Receiving the compliment from the Kangxi emperor, the artist later became a major court painter and was assigned to depict famous tour sites and imperial palaces. My final discussion focuses on the significant influence of Wang Yuanqi’s topographic Landscapes in the Orthodox School in the Qing court. As an important reference, the handscroll serves as a fundamental blueprint for the later imperial constructions along the West Lake. Another influence of this painting is that its composition effected the development of landscape painting in the format of a handscroll in the Qing court. Last, by looking into the Qianlong emperor’s collection of Wang Yuanqi’s orthodox topographic landscapes as well as his own orders of similar works in the same style, I seek to demonstrate the artist’s works as the symbolical cord that not only establishes an intimate relationship between the Qianlong emperor and his grandfather Kangxi, but also validates the legacy of these prominent rulers. This study examines different political aspects of Ten Views of West Lake in hope of rediscovering the importance of Wang Yuanqi in the Qing court. The handscroll painting conveys the emperor’s new cultural attitude towards his ruling in the Jianian region. Catering to the taste and ideology of the Kangxi emperor, Wang Yuanqi brought a new kind of topographic landscape art in the Qing court, and the influence of his works continued until the Qinalong period.
Description
Keywords
王原祁, 正統派山水, 地景畫, 西湖十景, 康熙朝, Wang Yuanqi, Topographic Landscapes, Orthodox School, Ten Views of WestLake, Kangxi Reign