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標題: | 清代乾隆朝宮廷如意研究 A Study of the Ruyi Scepter in the Qianlong Court |
作者: | Lu Sun 孫璐 |
指導教授: | 施靜菲(Ching-fei Shih) |
關鍵字: | 乾隆皇帝,如意,儉樸,蠲賑,乾惕,孝道,歲朝圖, Emperor Qianlong,Ruyi Scepters,Frugality,Disaster Relief,Qian-Ti,Filial Piety,Pictures of the Chinese New Year celebrations, |
出版年 : | 2018 |
學位: | 碩士 |
摘要: | 如意,在清代宮廷中是一類十分常見的陳設品,但它在清宮中得以流行的原因,能否籠統歸結為統治者對吉祥寓意的喜好是值得深究的。因為乾隆皇帝有詩云:「期如意豈易如意」、「雖圖語告吉,艱致兆頻祥」。也就是說,他清楚地了解,陳設或把玩如意,并不能令自己事事稱心如意。乾隆朝是如意發展的重要階段,製作數量大增,使用方式也有所增加。本文透過細讀《國朝宮史》和清高宗八十多首詠如意御製詩,發現乾隆皇帝對於在何種場域中,該使用何種風格的如意,其實有頗為清晰地認識。乾隆皇帝作為天下人的孝道表率,將風格華麗重雕鏤的如意用於祝壽活動,以物品之貴重顯示對母后的恭敬。風格樸雅而不重雕鏤的如意,則是乾隆皇帝在歲朝時節賦詩題詠的常見對象,它們象徵著清朝皇帝躬行節儉的家法,也被賦予祈禱雨旸時若、五穀豐登、民無饑饉,以佑清朝國祚永延的願望。
與以往研究最為不同的是,本文突破傳統扁平化、單一化詮釋如意意涵的方式,經由对特例如意風格與意涵的诠释,擴大至探究乾隆朝宮廷如意的意義網絡,並試圖建立如意與乾隆朝實際統治政策間的關係——注重討論在吉祥寓意背後,乾隆皇帝為實現美好願景,所施行的「實政」工作。當他面對天災不斷和史無前例激增的人口難題時,一方面以如意常態化地表達,與敬天思想有關的祈雨願望,另一方面也承祖宗之制,堅持愛民國策和蠲賑之政。最後,本文結合《易經》和乾隆朝的詩學潮流,嘗試解釋乾隆皇帝詠如意御製詩中蘊含的「乾惕」思想,并以「清乾隆御製養心殿銘紫檀錯金如意」作實物證據,同時乾隆皇帝在位的幾十年間,將推行蠲賑之政當作新年歲朝時節的首要政務,即是居安思危、乾惕思想的表現。 期望本研究,可以在雅俗標準之外,提出理解乾隆皇帝藝術品味的新角度;也對乾隆朝宮廷吉祥文化,進行更深入的探討。 The Ruyi scepter is a prized ornament frequently displayed in the imperial court of the Qing Dynasty. But its popularity may not have accrued entirely from the Emperor’s desire for blessings & good fortune, for the Emperor Qianlong has lamented in his poem “ Will my Ruyi truly grant me what I desire…despite its auspicious narrative, hardship abounds…” The Qianlong Emperor clearly understood that his favorite object d’art might not always bring forth good luck. But still, the Qing Dynasty was an important stage in furthering the development of the Ruyi scepters, during which their production increased significantly, and the ways in which the Ruyi scepters are being used in Qing courts became more well-defined. A careful reading of the “History of Imperial Courts of the Qing Dynasty” as well as some eighty scrolls of poems that depicted those Ruyi’s made for the royals, revealed that Emperor Qianlong was careful in the proper and more sophisticated choice of ruyi scepters to match the correct occasion. Setting himself as the model of filial piety, Emperor Qianlong preferred the highly ornamented scepter to show his respect during the celebration of his mother’s birthdays, whereas during the New Year celebrations, the Ruyi scepter being used was elegant but simplistic, to symbolize the frugal family values of the Qing emperors. The latter also conveyed the royal court’s well wishes of good weather for many plentiful harvests that would rule out all famines, and endowed the blessing for eternal prosperity of the Qing Empire. This study paper attempts to break away from the conventional method of interpreting the Ruyi scepters in a literal sense, by exploring the significance of the Ruyi scepter indirectly through its web of tacit implications on the prevailing ruling policies during the Qianlong Dynasty --- testing the real meaning behind the auspicious facade of this traditionally prized symbol-of-power, which the Emperor Qianlong utilized in many non-traditional ways to realize his new visions and grand policy. When faced with natural disasters and population growth problems, how the Emperor symbolically used the Ruyi to support his prayers for good weather and for good harvests, recalling his father Kangxi’s state policy of embracing-the-citizens through betterment of their livelihood and disaster relief, that reflected further on the enhanced importance of the Ruyi scepters in people’s minds. Finally, this paper tries to amalgamate certain aspects of I’Ching (The Book of Changes) and the poetry cultures of Qing Dynasty during the Qianlong period, to explore the emperor’s personal philosophy of “Awareness for Risks & Hardships” (“Qian-Ti”) that was embodied in the Emperor’s own poetries about “Ruyi’s for Royalties”, a philosophy that had primarily guided his methods of governance. This research study endeavors to provide a new angle for understanding the artistic penchant of the Emperor Qianlong outside the basic norms of that period, as well as identifying the unique culture of auspicious practices that were prevalent in the imperial court of the Qianlong dynasty. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/69903 |
DOI: | 10.6342/NTU201800545 |
全文授權: | 有償授權 |
顯示於系所單位: | 藝術史研究所 |
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