图像的政治——以两本钱维城《平定准噶尔图》为中心

Image Politics:On the Two Versions of the Pincidation of the Dzungar Regions Created by Qian Weicheng

清代乾隆朝通过勒碑、制图等一系列视觉文化工程,形塑平定准噶尔战事。现存钱维城名下两本《平定准噶尔图》,便是对这次战事的图像塑造。根据既往研究,不免将两者视为“稿本”与“正图”的关系。本文结合两卷尾跋及相关历史文献,考订两本《平定准噶尔图》绘制的具体时间与情境,认为两图皆为钱维城与其弟子合作的“正图”,是对乾隆朝平定准噶尔战事两个重要阶段的图像呈现。钱维城运用江南文人画的方式形塑西北战争场景,暗合了乾隆帝强调的“有征无战、以德服人”的边疆治理政策与“大一统”的历史观,是乾隆朝“文德”视觉形象建构的一部分。

The Emperor Qianlong of the Qing Dynasty documented the victory in the pacification of the Dzungar Regions through a series of visual and cultural projects such as engraving records on stone tablets and creating paintings,including the two existing versions of the Pincidation of the Dzungar Regions created by Qian Weicheng.Previous research inevitably regarded the two paintings as“draft”and“final painting”Based on their postscripts and relevant historical documents,this article examines when and how the two versions were created,and believes that they were both final paintings created by Qian Weicheng and his disciples and demonstrated two important stages in the Dzungar-Qing Wars.Qian Weicheng adopted techniques in literati paintings in the south of the Yangtze River to depict wars in northwest regions,which coincided with the border governance policy of“conquering land without war and civilizing people with virtue”and the historical view of“great unification”emphasized by Emperor Qianlong.The two paintings formed a part of the visual image of Emperor Qianlong's ideal to“civilize people with cultureandvirtue”.