清代宫廷画珐琅创作与皇权的关系探析

Analysis of the Relationship Between the Creation of Palace Enamel Painting and Imperial Power in Qing Dyansty

宫廷画珐琅作为清代中、西文化技术交流产物,更是宫廷御用造办的典型代表,通过对《康熙满文批奏折》《康熙汉文批奏折》《清宫内务府造办处各成做活计清档》等宫廷文献地再读,发现宫廷画珐琅的研发制作以皇帝个人意志为开端,生产制作地点围绕皇权所在,皇帝审美则通过提出制作要求、览阅画样、器型推荐、成品品评等设计及生产环节渗透到画珐琅作品中。因此,康、雍、乾三朝画珐琅作品各自风格的展现与皇权渗透下的珐琅艺术创作路径密切相关。

As a product of the culture and technical exchange between Chinese and western, The palace enamel painting is a typical representative work of the Qing Imperial household department. Through the reading of “Emperor Kangxi’s Comment in Chinese on Memorials Submitted to Him”, “Emperor Kangxi’s Comment in Manchu on Memorials Submitted to Him”, “Zaobanchu archives of the Qing Imperial household department” and other documents, it is found that the research and development of enamel painting starts from emperor personal will, and production site around the power. The emperor’s aesthetics permeated into the works through design and production links, such as putting forward production requirements, viewing painting samples, recommending instrument types, and evaluating finished products and so on. Therefore, the display of enamel painting works in KANG, YONG, QIAN periods was closely related to the enamel creation path under the infiltration of imperial power.