嘉慶朝（1796-1820）詞臣山水的風俗化現象：以董誥（1740-1818）為例

Abstract

嘉慶朝時，詞臣畫家開始繪製以山水襯托風俗人物活動的「風俗化山水」，並透過「集慶冊頁」的形式將這類作品作為獻給皇帝的節慶禮物。這類畫作與過往以山水為主角、並以筆墨強調自然動勢的詞臣進獻山水，在主題、風格與形式上皆呈現顯著差異。本文聚焦這一轉變的主要推手──董誥，探討他如何透過山水結構、物象佈置、與筆墨表現，使山水成為展演風俗人物活動的舞台。董誥與皇帝、同僚、幕賓之間的互動關係，也是本文關注的重心，檢視位極人臣的他，如何在嘉慶朝的文化氛圍中發揮影響力，推動「風俗化山水」成為清宮繪畫的新風格。首先，透過董誥的仕途與交遊，理解他在兩朝政治與文教職責的變化下，與兩位皇帝的書畫互動在內容與頻繁程度上的差異──這可能是導致其改變進獻作品畫風的背景。其次，通過董誥作品的分析，論述他如何脫離其於乾隆朝的正統派山水風格，將風俗活動納入山水畫的表現中，逐步形塑風俗化山水的特徵。而後，進一步探討董誥的同僚與幕賓如何響應其嘗試，促成風俗化山水在宮內的擴張，並觀察這類作品因應不同的重要節令，呈現的多元風俗圖像。

最後，透過檢視風俗化山水與十萬圖的關係，說明嘉慶朝詞臣畫家以集慶冊頁包裝風俗化山水的意涵。這類冊頁既延續了十萬圖作為節慶賀禮的傳統用途，又在風格上融入風俗主題，使得嘉慶朝詞臣畫家在呈現風俗主題時，能降低過往風俗畫在清宮脈絡下同情百姓的勸戒性質。另一方面，嘉慶皇帝透過在風俗化山水上題寫發揚風俗意義的御製詩，顯現他不只是一位理解賢臣心意，並願意在百忙之中賞鑑、回應其畫作的勤勉君王，也是一位深諳地方風俗、關切百姓生活的聖主。

總而言之，本文試圖說明，風俗化山水是在詞臣畫家的積極參與、皇帝觀者的充分回饋下，而得以發展的新宮廷繪畫類型。對於這類繪畫的研究，或許有助於理解過往少有人討論的嘉慶朝繪畫，並從中反思詞臣繪畫在清宮繪畫中的文化與政治意涵。During the Jiaqing reign, the scholar-court officials began to create the" Landscape Paintings with Folk Customs," in which landscape scenes are used as a backdrop for depicting scenes of folk activities. These works were presented to the emperor as festive gifts in the form of "Celebratory Album." These Landscape Paintings with Folk Customs differed significantly from the previous landscape works by scholar-court officials, which emphasized natural movement through brushwork, with landscapes as the central subject. The Landscape Paintings with Folk Customs featureda notable difference in theme, style, and form. This study focuses on the key figure driving this transformation—Dong Gao (1740-1818)—and explores how he used landscape structure, the arrangement of elements, and the brush techniques to turn the landscape into a stage for showcasing folk activities. The interactions between Dong Gao and the emperor, his colleagues, and court officials are also a central focus of this study. It examines how he, as one of the highest-ranking officials, exerted his influence within the cultural atmosphere of the Jiaqing era to promote the" Landscape Paintings with Folk Customs " as a new style of Qing court painting. First, by examining Dong Gao's career and social connections, we can understand how his political and cultural responsibilities evolved across two reigns, and how his interactions with the two emperors in terms of calligraphy and painting differed in both content and frequency level—this may provide the background for the change in the style of the works he submitted. Next, through an analysis of Dong Gao’s works, the study discusses how he moved away from the orthodox landscape style of the Qianlong era and gradually integrated depictions of folk activities into landscape paintings, shaping the features of Landscape Paintings with Folk Customs. Furthermore, the study explores how Dong Gao's colleagues and attendants responded to his efforts, contributing to the expansion of Landscape Paintings with Folk Customs within the palace, while observing the diverse folk images presented in these works during different important festivals. Finally, through the relationship between the Landscape Paintings with Folk Customs and the Ten Myriad in the Qing court, the study explains the significance of Jiaqing-era court painters using Celebratory Album to package Landscape Paintings with FolkCustoms. These album leaves continued the traditional use of"Ten Thousand Images" as festive gifts while incorporating folk themes in their style, which allowed the painters of the Jiaqing era to reduce the advisory nature of traditional folk paintings in the Qing court context. On the other hand, through imperial poetry inscribed on Landscape Paintings with Folk Customs to highlight the significance of folk customs, Emperor Jiaqing demonstrated not only his understanding and appreciation of the intentions of his loyal ministers, but also his role as a diligent monarch who was deeply familiar with local customs and concerned about the lives of the people.In conclusion, this study attempts to illustrate that the Landscape Paintings with Folk Customs emerged as a new court painting style, developed through the active participation of court painters and the ample feedback from the emperor. Research into this type of painting may help deepen our understanding of the less-discussed Jiaqing-era painting and reflect on the cultural and political significance of scholar-court-official painting within the Qing court paintings.