徐揚《墨法集要圖說》之研究
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2018
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本論文聚焦於徐揚在乾隆四十一年(西元1776年)所作的《墨法集要圖說》，此卷長卷是依據乾隆皇帝改訂明代沈繼孫《墨法集要》後的版本所繪製。文中首先分析徐揚《墨法集要圖說》中繪製的二十一張圖示，並將徐揚《墨法集要圖說》放入清宮相類的製作中討論。徐揚《墨法集要圖說》中所描繪的內容及圖像與清宮所製作的《耕織圖》及《陶冶圖》頗為相似，但又略有所別。徐揚《墨法集要圖說》以長卷的形式呈現，且在圖示中附有細部的工具圖像，這是過去清宮在同類型的製作中從未出現過的情況。
第二個部分回到乾隆朝編纂《墨法集要》時的撰書脈絡，檢索乾隆皇帝如何修訂這本前代的書籍，使之成為當朝的墨書。更透過《四庫全書》的編纂架構，以及其中收錄其他墨書的狀況，進一步說明乾隆朝如何定義《墨法集要》作為一本具實用性質的書籍，最後將追索乾隆朝所製作的眾多版本中何為徐揚《墨法集要圖說》的前身。
第三個部分由圖示乃至於實物分析徐揚《墨法集要圖說》與各本所繪製墨模的實際面貌。透過研究發現，乾隆朝改訂的《墨法集要》所繪製的墨模，確實與前代的墨模形制有所不同，而這個差異也是乾隆朝在製墨技術上的一項革新。最後回到徐揚《墨法集要圖說》中的墨模圖，圖示中將墨模的紋樣特地指向《淳化軒墨》的形制，而這塊《淳化軒墨》確實在乾隆朝有所製作，由此更近一步解釋徐揚《墨法集要圖說》與淳化軒的關係。
This thesis is focused on the Xu Yang's "mo fa ji yao tu shuo" in the forty-first year of emperor Qian Long (1776 A.D.). The volume was drawn according to the emperor Qian Long's revised version of Shen Jisun's "mo fa ji yao" in the Ming dynasty. In this thesis, we analyze the twenty-one graphs of "mo fa ji yao tu shuo" drawn by Xu Yang at first, and then discuss the similar productions of the Qing courts in comparison with Xu Yang's "mo fa ji yao tu shuo". The contents and graphs depicted by Xu Yang's "mo fa ji yao tu shuo" are quite similar to the "gentlewoman paintings" and "tao ye paintings" produced by the Qing courts, but they are slightly different to some extent. Xu Yang's "mo fa ji yao tu shuo" was presented in the form of a long scroll, and the graphs illustrated the tools images in detail. The results have never appeared in the same type of production at the Qing courts. The second part of this thesis is back to the context of the "mo fa ji yao tu shuo", which was edited in the Qian Long dynasty, and probing how emperor Qian Long revised this book of the previous generation to be a contemporary ink book. Through the compilation skeleton of "siku quanshu" and the status of recording other ink books, it further illustrated how the Qian Long dynasty defined the "mo fa ji yao" as a book of practical nature. In the end, we will investigate into many versions produced in the Qian Long dynasty, and explore which one is the predecessor of "mo fa ji yao tu shuo" drawn by Xu Yang. The third part is from the illustrations to objects together with the actual appearances of other Ink models to examine the "mo fa ji yao tu shuo" drawn by Xu Yang. In this study, we discover that the ink models drawn by the revised "mo fa ji yao" of the Qian Long dynasty is indeed different from those of the previous generation. This discrepancy is also an innovation in the ink-making technology of the Qian Long dynasty. We eventually return to the illustration of ink models in Xu Yang’s "mo fa ji yao tu shuo" that he changed the patterns on the ink models into "ink of chunhua xuan inscription". This "ink of chunhua xuan inscription" was indeed produced in the Qian Long period, and hence it can be further demonstrated the relationship between the "mo fa ji yao tu shuo" and "chunhua xuan".
This thesis is focused on the Xu Yang's "mo fa ji yao tu shuo" in the forty-first year of emperor Qian Long (1776 A.D.). The volume was drawn according to the emperor Qian Long's revised version of Shen Jisun's "mo fa ji yao" in the Ming dynasty. In this thesis, we analyze the twenty-one graphs of "mo fa ji yao tu shuo" drawn by Xu Yang at first, and then discuss the similar productions of the Qing courts in comparison with Xu Yang's "mo fa ji yao tu shuo". The contents and graphs depicted by Xu Yang's "mo fa ji yao tu shuo" are quite similar to the "gentlewoman paintings" and "tao ye paintings" produced by the Qing courts, but they are slightly different to some extent. Xu Yang's "mo fa ji yao tu shuo" was presented in the form of a long scroll, and the graphs illustrated the tools images in detail. The results have never appeared in the same type of production at the Qing courts. The second part of this thesis is back to the context of the "mo fa ji yao tu shuo", which was edited in the Qian Long dynasty, and probing how emperor Qian Long revised this book of the previous generation to be a contemporary ink book. Through the compilation skeleton of "siku quanshu" and the status of recording other ink books, it further illustrated how the Qian Long dynasty defined the "mo fa ji yao" as a book of practical nature. In the end, we will investigate into many versions produced in the Qian Long dynasty, and explore which one is the predecessor of "mo fa ji yao tu shuo" drawn by Xu Yang. The third part is from the illustrations to objects together with the actual appearances of other Ink models to examine the "mo fa ji yao tu shuo" drawn by Xu Yang. In this study, we discover that the ink models drawn by the revised "mo fa ji yao" of the Qian Long dynasty is indeed different from those of the previous generation. This discrepancy is also an innovation in the ink-making technology of the Qian Long dynasty. We eventually return to the illustration of ink models in Xu Yang’s "mo fa ji yao tu shuo" that he changed the patterns on the ink models into "ink of chunhua xuan inscription". This "ink of chunhua xuan inscription" was indeed produced in the Qian Long period, and hence it can be further demonstrated the relationship between the "mo fa ji yao tu shuo" and "chunhua xuan".
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《墨法集要圖說》, 徐揚, 《墨法集要》, 乾隆皇帝, 墨, 墨模, 淳化軒, mo fa ji yao tu shuo, Xu Yang, mo fa ji yao, emperor Qian Long, ink, ink models, Chunhua Xuan