乾隆南巡时期京口三山营造中的“图—景”互动与权力运作

The“Image-Landscape”Interaction and Power Operation in the Construction of Jingkou Three Hills during Qianlong’s Southern Tour

京口三山作为重要的风景遗产之一,拥有较为丰富体系的图像与论述。明中晚期在镇江当地士人的自我审视与外来者的他者想象的交融互动中,形塑了京口三山这一地方性风景的多重意义场域。乾隆时期则更注重满清文化身份的建构,对南巡景观游赏与营造活动的分析可部分揭示乾隆重塑文化格局的权力运作方式。研究以京口三山中的焦山营造为焦点,借鉴艺术史分析方法,以图像本身的内证分析为基础,结合题跋、游记、志书等相关文本解读,通过对实景空间与图像空间互动关系的研究,探析焦山“图-景”转译过程中的权力表达与政治意图,指出乾隆采用了复杂的文化延续与修正机制:一方面通过延续已有文化模式,构建与当地汉族精英的文化共识,另一方面通过空间化手段对文化模式进行修正,以巩固自己作为文化引领者的权威地位。

As one of the important scenic heritages,Jingkou Three Hills has a relatively rich system of images and discussions.In the middle and late Ming Dynasty,the interaction between the self-examination of local scholars in Zhenjiang and the imagination of outsiders shaped the multiple meanings of the local landscape of Jingkou Three Hills.While in the Qing Dynasty,Emperor Qianlong paid more attention to the cultural identity of the state,and the analysis of his activities of sightseeing and construction during his Southern Tour can partly reveal the power operation mode of Qianlong's reshaping of cultural pattern.The research focuses on the construction of Jiao Hill of Jingkou Three Hills,draws on the analysis method of art history,based on the analysis of the internal evidence of the image,combined with the interpretation of the inscriptions,travel notes,Chronicles and other relevant texts,and explored the spatial imagination and visual mode implied in the translation process of"landscape-image"of Jingkou Three Hills through the study of the interactive relationship between the real scene space and the image space.The study points out that Qianlong adopted a complex cultural continuation and revision mechanism:on the one hand,he expressed his affirmation of local culture through the continuation of existing cultural patterns,forming a common cultural identity with the local Han literati;on the other hand,he revised and updated the cultural patterns through spatial means,consolidating his authoritative position as a cultural leader.