怀抱观古今——乾隆朝仿古绘画风格及其与内府收藏的关系

Embracing the Modern and the Ancient:Relationship between Imitation Antique Paintings and Imperial Collection in the Qianlong Period

清乾隆朝宫廷画院中出现了数量较多、题材多样的仿古画作。就风格而言,这些仿古画作既留心西洋透视学,又保留中国传统画法,呈现出中西融合的画风,以期达到乾隆帝所追求之"全"的境界。就仿画与内府收藏的关系而言,乾隆朝仿古画作的仿画对象大都来自内府所藏。集大成的乾隆朝内府收藏书画,不仅为仿古绘画活动提供了古画资源与临仿对象,更扩展了仿古的视野范围。临仿对象并不限于一家一派,而是十分多样。乾隆朝仿古绘画活动与传统汉文化之间存在着密切的关系。虽然出身于满洲,但乾隆帝所主张临仿的"古",却并非东北满族之古,而是汉文化传统之古。

During the Qianlong period of the Qing dynasty, the Imperial Art Academy produced plentiful imitation antique paintings on various themes. The style of these paintings shows influences of both Western perspective and traditional Chinese painting techniques. Such a fusion of Chinese and Western elements reflects what the Qianlong Emperor was pursuing - ＂completeness＇： The prototypes of these imitation paintings mostly came from the imperial collection. The imitations were not limited to one particular school of painting or genre. The activity of imitating antique paintings during the Qianlong period had close affinity with traditional Chinese culture： as a Manchu emperor, the Qianlong Emperor defined ＂antiqueness＂ to be traditional Han culture, rather than that of the Manchus from northeast China.