清代宫廷《清明上河图》的资源与生产

Resources and Production of Along the River During the Qingming Festival in the Qing Dynasty Court

据《内务府造办处各作成活计清档》等文献记载,清代宫廷至少绘制过12本《清明上河图》。本文从客观性的视觉资源和一般性的功能需求两个方面,探讨清代宫廷盛行《清明上河图》的原因。清宫《清明上河图》创作的繁荣,首先基于其丰富的收藏,广义的宫廷视野中至少曾存在过11本前人绘制的《清明上河图》,它们在客观上影响了清宫版本的面貌。清宫绘制的《清明上河图》中,有近半数为高度不过一拃的缩本,不可否认作为鸿篇巨制的清院本应是有着特殊意涵的作品,但更多清宫版本的出现,则与清盛期供皇帝玩赏消遣的百什件的时兴有关。

According to literature records,at least 12 pieces of Along the River During the Qingming Festival[清明上河图]were painted at the Qing dynasty court.This article examines the reasons for the prevalence of the theme at the Qing court from both the objective visual resources and the general functional needs.The prosperity of the Qing court’s creation of Along the River During the Qingming Festival was based firstly on its rich collection—at least 11 pieces of the theme drawn by previous artists existed in the broad vision of the court,which objectively influenced the appearance of the Qing court version.Over a half of the Qing court versions were reduced ones with width no more than 16 centimeters.As a great masterpiece,the painting undeniably had special connotations,and the emergence of diverse versions in the Qing court was related to the prevalence of Baishijian(百什件,assorted miscellaneous pieces)which was appreciated by the emperor for pleasure and enjoyment in the heyday of the Qing dynasty.