爱新觉罗氏早期宫廷肖像艺术发展考论(1583—1661)

A Research on the Early Development Stage of the Aisin-Gioro Clan’s Court Portraiture (1583-1661)

晚明时期的满族并没有肖像艺术传统,从清太祖起兵直到清世祖逝世,爱新觉罗氏宫廷肖像艺术经历了从无到有的发展历程。清太祖早年并不重视肖像艺术,直到晚年才开始给予赞助。为清太祖工作的宫廷肖像画家甚至没有留下姓名。清太宗把肖像艺术融入官修史书,重视提高宫廷肖像画家的社会地位,巩固了清初的宫廷肖像艺术传统。在多尔衮和清世祖统治时期,宫廷肖像艺术在风格上实现了明代宫廷和江南肖像艺术的有机融合,宫廷肖像画家的专业水平进一步提升。从明末清初的文化史、政治史视角切入,结合风格分析法,考察爱新觉罗氏早期宫廷肖像艺术的基本发展脉络与特点。

Manchu had no tradition of portrait a person who is still alive in the late Ming Dynasty.From the Qing Emperor Taizu’s dispatching troops to unify Manchu to the death of the Qing Emperor Shizu,the Aisin-Gioro Clan’s court portraiture experienced a process from scratch to development.The Qing Emperor Taizu did not attach importance to portraiture in his early life,but began to sponsor it in his twilight years.And the court portrait painters who worked for the Qing Emperor Taizu did not even leave their names.Court portraiture was added to official history books during the Qing Emperor Taizong’s reign.The Qing Emperor Taizong attached great importance to improving the social status of court portrait painters,and consolidated the artistic tradition of court portraiture in the early Qing Dynasty.During the reign of Dorgon and the Qing Emperor Shizu,the court portraiture realized the organic integration of the Ming Dynasty court and Jiangnan portraiture in style,and the professional level of court portrait painters was further improved.From the perspective of the cultural and political history of the late Ming and early Qing period,and combining with the style analysis method,this paper investigates the basic development context and characteristics of the early development stage of the Aisin-Gioro Clan’s court portraiture.