摘要
帝后像是清代宫廷绘画中的主要组成部分,但并没有得到国内美术史界的重视。笔者希望通过对康熙帝肖像画相关问题的探究.引起更多的学人对清代帝后像加以关注。本文是在整理故宫博物院现藏的康熙帝肖像画的基础上,运用文献资料,初步对史籍中记载的这些画作的绘制者加以考辨。进一步勾勒出清初宫廷画家进行创作的工作程序。此外,借助梳理御制诗文,指出康熙帝对绘画的淡漠态度。揭示了其肖像画数量不多的原因.并探求了其行乐图极少的缘由。文中指出康熙帝肖像画受西方绘画的影响实则微乎其微,而且康熙时期的帝后肖像画创作既是清代宫廷肖像画的转型期又是定型期。
Portraits and emperors and their consorts were the main component of Qing palace portraiture hut these works have never been accorded importance by Chinese art historians, Through a study of questions related to the portraits of the Kangxi Emperor, the author hopes to interest more scholars in the subject of imperial portraiture. On the basis of his cataloGuing of all the portraits of the Kangxi Emperor in the Palace Museum collection, the author uses documentary sources to determine the painters of these works and then explains the relationship between the painters who served the court at that time and who adhered to principles of artistic verisimilitude and the portraits of the Kangxi Emperor, advancing our knowledge of the creative process subscribe to by Qing court painters. The author also makes a thorough examination of the poetry and pi'ose of the Kangxi Emperor in order to delineate the indifference of the emperor towards, revealing why there are so few extant portraits, as well as paintings documenting his 'leisure activities' (xingle-tu). The author explains why there is almost next to do influence of Western painting in the portraits of this emperor. The article includes by clarifying how the Kangxi period would herald a turning point in the development of imperial portraiture within Qing palace painting.
出处
《故宫博物院院刊》
北大核心
2004年第1期40-57,共18页
Palace Museum Journal
