乾隆御容画及其空相观——丁观鹏《扫象图》、郎世宁《乾隆观画图》研究

Portraits of the Qianlong Emperor and His Buddhist Philosophy: Study of Sweeping the Elepbant by Ding Guanpeng and The Qianlong Emperor Viewing a Scroll of Painting by Giuseppe Castiglione

《扫象图》是明清时期最为流行的佛画题材之一,乾隆帝收藏晚明丁云鹏《扫象图》轴后,敕令宫廷画家丁观鹏、姚文瀚多次临摹。故宫博物院藏乾隆朝宫廷画家丁观鹏《扫象图》轴、传教士画家郎世宁《乾隆观画图》轴,是在丁云鹏图的基础上新临仿、创作出来的图像,且均属于乾隆御容画。本文在依据如意馆档案、画轴题签等对乾隆帝敕令画《扫象图》梳理史实的基础上,结合画面形式及乾隆朝宫廷绘画制度,探讨了《扫象图》、《乾隆观画图》的作者及后图的年代,并通过对乾隆扫象图赞的解读,分析了二图的宗教意涵。

Sweeping the Elephant is one of the most popular theme for Buddhist religious paintings in the Ming(1368-1644) and the Qing(1644-1911) dynasties. After collecting Sweeping the Elephant by the late Ming painter Ding Yunpeng(1547-after 1628), the Qianlong Emperor(r. 1736-1795)had the painting repeatedly copied by court painters including Ding Guanpeng and Yao Wenhan. As for Sweeping the Elephant by the royal painter Ding Guanpeng and The Qianlong Emperor Viewing a Scroll of Painting by the Jesuit missionary painter Giuseppe Castiglione(Chinese name Lang Shining, 1688-1766) collected in the Palace Museum, they were innovative reinvention of Ding Yunpeng’s work and falls into the category of the Qianlong Emperor’s imperial portrait. Based on records of the archive of the Hall of Fulfilled Wishes(Ruyi guan) and the inscriptions on the scroll, the article combs the Qianlong Emperor’s order for the painting of Sweeping the Elephant, explores the creators of the two paintings and the dating of The Qianlong Emperor Viewing a Scroll of Painting by taking into consideration both the representation and the institution of court painting in the Qianlong reign. Through the interpretation of the inscription eulogizing Sweeping the Elephant, the author also analyzes the religious connotation of the two paintings.