山川焕彩：再议王原祁的应制山水与清宫院画

Glamorous Landscape:A Reconsideration of Wang Yuanqi’s Imperially Commissioned Landscapes and The Qing Court Paintings

“四王”画风与清宫院画之关联,在21世纪再度成为学术研究的焦点。这一研究的活络气象与清宫画史研究视野的拓展有关,特别是近年来以帝王为主导角色的思考,乃至对宫廷制造之功能意义的探索等。是以,原被贬抑为宫廷画家应制之作的清宫院画,于今日学界不断获得新的关注。本文延续此思考方向,希望重新思索与评价“四王”风格于清宫所扮演的角色。本文将集中探讨王原祁与清宫的互动成果,检视王原祁的宫廷经历如何影响其绘画创作,并说明这样的调整与变化于清宫艺术中的关键意义。本文研究的王原祁臣字款作品以台北故宫博物院藏画为主,共计十八组件。文中梳理了此批作品的形制与尺幅,并指出其中超过150厘米以上的大幅作品之独特构图设计。整体而言,王原祁此类应制山水,一有传达山水中的现世感的特色,二有构造画面的推远效果,三则透过设色强化山水中的块体结构感和光线效果。可见,王原祁的应制山水有其独特的价值。

The links between the ‘Four Wangs’ and the Qing court paintings has became a highlight among the academia once more in the 21st century as the result of the expanding vision of the Qing Dynasty painting history, especially the issues referring to the emperors playing as the leading role in the production of paintings in the court workshops. The once degraded imperially commissioned works of the Qing court are drawing more attention from the academic field in such context. So the thesis reviews the relations between the ‘four Wangs’ and the Qing Court paintings in style focusing on the interaction between Wang Yuanqi and the Qing court regarding his court experience and his imperially commissioned works as well as the meaning of the changed painting style in the history of Qing court art through the cases study of 18 articles of paintings with ‘servitor’s signature’(the paintings sealed with Chinese character ‘臣’) in the collection of the Palace Museum in Taibei in form and size, and the composition of the over-sized works as large as 150cm. In general, these imperially commissioned works are featured as follows: the works express the secular concept through the mountain-water landscapes. Second, they are high-and-far sense of vision reflected in the composition. Third, both the shape of mountain and water and the light effects are highlighted with intensive colors and inks.