清代宫廷与苏州玉作审美文化的互适——由造办处档案所见

The Mutual Adaptation of Aesthetic Culture Between the Court of Qing Dynasty and Suzhou Jade Works——From the Archives of the Imperial Workshop Office

清代宫廷玉作手工艺技术在雍正、乾隆时期日益精进,对玉器的审美意趣也在此时形成了宫廷文化特色。清造办处《各作成做活计清档》详实地记录了雍正、乾隆时期玉器作坊的制造内容,其中苏州织造和苏州玉匠不仅给宫廷玉作带来技术上的革新和发展,还将明清时期苏州玉作蕴含了独特江南人文底蕴的审美文化带入宫廷,与雍容华丽的宫廷玉作审美并行交融。清代宫廷玉作审美文化在北方政治中心与南方经济文化中心的沟通交流中不断相互调适,实际上也成为清帝国实力的展示窗口和盛世文化的风采体现。最终形成了融合南北、极具代表性的宫廷苏式玉作审美文化。

The handicraft techniques of imperial jade in the Qing Dynasty became increasingly refined during the reign of Emperor Yongzheng and Qianlong, and the aesthetic interest of jade also formed its characteristics of imperial culture during that period. The Archives of the Imperial Workshop Office in the Qing Dynasty recorded in detail the manufacturing contents of jade workshops during the reign of Emperor Yongzheng and Qianlong. The weaving and jade craftsmen from Suzhou not only brought technical innovation and development to the imperial jade works, but also brought the jade works of Suzhou in the Ming and Qing Dynasties contain the unique aesthetic culture of Jiangnan into the imperial court, thus blending with that of imperial jade works characterized by majesty and magnificence. The aesthetic cultures of jade works in the Qing Dynasty constantly adjusted to each other in the exchanges between the northern political center and the southern economic and cultural center. In fact, it also became the display window of the strength of the Qing Empire and the embodiment of the prosperous culture. Finally, the typical aesthetic culture of imperial Suzhou-style jade works, which integrates the north and south, took shape.