清代內繪鼻煙壺圖繪研究

Abstract

本文聚焦清代內繪鼻煙壺圖繪，採用資料統整、風格分析法以及文化研究的 方式來進行討論。內繪鼻煙壺主要有京（北京）、冀（河北）、魯（山東）、粵 （廣東）等流派，本文研究的時間是清中晚期，即嘉慶朝（1796-1820）始，到 宣統朝（1909-1912）為止，以京派為主，內繪畫家包括：周樂元、葉仲三、馬 少宣、丁二仲等人；取樣的標準是公立博物館及專門研究者所藏共206 件內繪鼻 煙壺作品。 經本文探討，可知內繪鼻煙壺主要選用玻璃材質製壺坯，經過掏膛等多項工 序製成，而清代玻璃生產地點，有山東博山、廣東廣州，以及內廷玻璃廠，正和 內繪鼻煙壺流派若合符節。內繪鼻煙壺畫家所使用的背畫工藝，則是十八世紀時 由歐洲人帶至廣東的技巧。內繪鼻煙壺是中西文化交流之下的產物，結合多項工 藝技術與書畫藝術。分析內繪鼻煙壺的款識，可以發現藝術家選擇引用的題材主 要是文人詩詞或文學作品；內繪鼻煙壺圖繪，可分為器物文字、人物、植物、動 物、花鳥、山水等類，不少直接取樣自民間畫譜。內繪鼻煙壺無論在題材選擇、 繪畫風格和內容意涵，顯透出內繪家及其贊助者的好尚，主要和文人繪畫有所關 聯。

This thesis discusses the paintings of inside-painted snuff bottles in the Qing Dynasty, using the methods of data integration, style analysis and cultural studies. The painters of inside-painted snuff bottles formed Beijing school, Hebei school, Shandong school. This thesis focus on the period from Jiaqing reign (嘉慶, 1796-1820) to Xuantong reign (宣統, 1909-1912) ,especially the works of Beijing school, the painters included: Zhou Leyuan (周樂元), Ma Shaoxuan (馬少宣), Ye Zhongsan (葉仲三), and Ding Erzhong (丁二仲), etc. Samples are 206 pieces of inside-painted snuff bottles from possessions of public museums and specialized investigators. Inside-painted snuff bottles were made by glass with evisceration processes. The sites of glass production in Qing dynasty were Boshan (Shandong), Guangzhou, and the palace. They were accord to the schools of inside-painted snuff bottles. Painters of inside-painted snuff bottles had to use a technique called “back painting,” which the Europeans brought to Canton in the eighteenth century. Inside-painted snuff bottles were products of cultural exchange, combined several kinds of crafts and arts. Inscriptions of inside-painted snuff bottles were poems and articles quoted from literati and literature. The pictures of inside-painted snuff bottles can be divided into implements and characters, portraiture designs, plant designs, zoomorphic designs, flower and bird designs, and landscape designs. After analyzing them, we can find that both the painting styles and the meanings of illustrations revealled the taste of painters and their sponsors, and were associated with “literati painting” (文人畫, wenrenhua).