乾隆朝铜胎画珐琅制作地辨别的再思考

A More Reflection upon the Provenance Identification of the Painted Enamel Decorated Copperware with Qianlong’s Reign Mark

清代的珐琅彩,在康熙与雍正两朝皇帝的研创推展下,于乾隆朝得以集前朝之大成,极致发展。铜胎、瓷胎、玻璃胎等珐琅彩,此时都呈现出华丽精致的样貌。随着文献史料与实物的整理公布,乾隆朝宫廷和地方的互动不断引起研究者的关注。在此背景下,区辨作品来自于中央或地方,既是根本,也是激发更进一步讨论的基础。以乾隆朝铜胎画珐琅而言,学界已能从作品的风格和款识,分辨其制作地。然而,故宫博物院所藏"胡思明"款鼻烟盒的产地与制作脉络,似乎与前述研究成果略有扞格。本文以为,细致讨论现有的区辨指标,从风格和制作传统两方面来扩大其解释效度,当有机会将"胡思明"款鼻烟盒纳入现有的解释脉络,使中央、地方风格交流的面貌更为清晰。

The Qianlong’s period attained the peak in processing the painted enamel porcelain in all ways inheriting and developing the traditional craftsmanship of previous dynasties, copper, china, glass wares painted with refined enamel decoration coming out. Following the publication of the literature and real objects, the interactions of craftsmen, techniques, design, motifs and other aspects between the Qianlong’s court and local producers become the concern among the scholars. The provenance of a painted enamel ware usually could be identified by style and inscription, however, the snuffbox with the characters ‘Hu Siming( 胡思明)’ of the Palace Museum in Taibei was an exception, which is formally named ‘the ‘Copper-bodied Silver-inlaid Painted Enamel with Western Figures’(Yín Qiàn Tóng Tāi Huà Fà Láng Xī Yáng Rén Wù Bí Yān Hé in Chinese pinyin). The thesis therefore suggests redefining the styles and traditional craftsmanship from a broader perspective, which is possibly applied to covering the sort of painted enamel wares like the ‘Hu Siming’ snuffbox into the existing system. The case demonstrates how the Cantonese style plays a role in the court production of the painted enamel wares through interaction and exchanges between the central and local makers.