清代中期宫廷室内装饰中的民族文化融合研究

Study on the National Cultural Integration in the Palace Interior Decoration in the Mid-Qing Dynasty

从结果与特征来看,清中期宫廷室内装饰风格演变主要是在满族传统“口袋房、万字炕”与汉族传统“套房”形式之间的满汉双向融合,“由满向汉”融合的特征是室内“仙楼”与隔罩的使用,“由汉向满”融合的特征是满族传统炕床演化而来的“宝座床”。从而形成了新的空间装饰形式与陈设布局搭配。从脉络与动因来看,清代宫廷室内装饰风格演变表现出一种“自下而上”的渐变融合进程,清代早期在满族统治阶级上层中间融合已经广泛推广开来;至清代中期在雍正乾隆二帝的直接作用下融合进程发生突变,最终形成宫廷室内装饰满汉融合风格转变的整体结果。

From the perspective of result and characteristic,the evolution of the palace interior decoration style in the midQing Dynasty is mainly the two-way integration of Manchu and Han nationalities between the Manchu traditional“pocket house,Wanzi Kang”and the Han traditional“suite”form.The“Manchu to Han”integration is characterized by the use of interior“Xianlou”and partitions,and the“Han to Manchu”integration is characterized by the“throne bed”evolved from the Manchu traditional Kangs.As a result,a new space decoration form and furnishing layout match is formulated.From the perspective of context and motivation,the evolution of the Qing court’s interior decoration style shows a“bottom-up”gradual integration process,which had been widely promoted among the upper Manchu ruling class in the early Qing Dynasty;until the middle of the Qing Dynasty,under the direct action of the two emperors of Yongzheng and Qianlong,the integration process had a sudden change,and finally formed the overall result of the transformation of the integration style of the palace interior decoration of Manchu and Han nationalities.