「超蹤互印」：乾隆皇帝的獅子林園

Abstract

本論文聚焦乾隆皇帝的兩座獅子林園與其周邊生成之物質文化。元至正二年（1342），元代臨濟宗高僧天如維則禪師弟子集資為其師於姑蘇城中建寺並園林一座命名為「師子林」。這座禪寺的附園成為文人雅集場所，其中拜訪者便包括元四大家之一的倪瓚。清初，獅子林園景色移異不復當初，傳稱為倪瓚與趙原合作的〈獅子林圖卷〉（1373）進入清宮收藏。乾隆皇帝在第二度南巡（1757）時，得知獅子林園仍在蘇州舊址，便前往旅遊，對傳為倪瓚設計的這座園林無限傾倒。隨後，乾隆皇帝在北京以及熱河複製了這座園林。乾隆三十六年（1771），乾隆皇帝在圓明園附園長春園的東北角仿建了一座獅子林園。三年後，乾隆皇帝又在承德避暑山莊東南角再次仿建一座，名曰「文園獅子林」。然而，在第六次南巡時（乾隆四十九年，1784）獲徐賁的〈獅子林圖冊〉（1374），乾隆皇帝才發現倪瓚並不是蘇州獅子林的主人、園中疊石亦非倪瓚設計。再者，除了收藏與建園，圍繞獅子林周邊還有作詩、寫字、仿畫、掛畫，製碑、匾、扇、墨、玉冊、貼落等等多樣的活動配合，形成一個頗為豐富的宮廷獅子林文化。前人研究較為關注乾隆皇帝的兩座園林與蘇州獅子林和倪瓚原作的關係，相較於此，本論文企圖從園林、詩、書、畫、玉冊等多元媒材了解乾隆皇帝的獅子林的各種面向，考察各個獅子林文化產品的生成與使用脈絡，並論證乾隆皇帝製造的各個版本各有其用途，並且互相補充、印證。本文分四個章節，第二章討論元明蘇州文人塑造的獅子林文化景觀以及乾隆皇帝對蘇州獅子林園的改造，第三章從建造長春園獅子林與熱河文園獅子林看乾隆皇帝對地景的進一步轉化，以及乾隆皇帝在不同時間和狀況下根據他的不同需要持續調整他的園林敘事。第四章討論乾隆皇帝在御園和文園獅子林重建的清閟閣。將清閟閣重建為物質空間的舉動本身與中國文人習慣以文字書畫紀念古蹟的方式不同，是清宮極具特色的行為。第五章將討論集中在製作於乾隆六十一年（1796）的〈獅子林八景詩〉玉冊，並將此冊放置於一批在乾隆帝結束漫長的統治之際製作的玉冊脈絡中，看乾隆獅子林建設的定位。本章也將檢視這些玉冊的陳設地，意即玉冊與特定空間的對應關係，從此了解清宮將功績物質化於實體空間的作法。

This thesis focuses on the Qianlong Emperor’s two Lion Grove Gardens (Shizilin) and their material culture. In the second year of the Zhizheng reign (1342), disciples of the eminent Linji Chan master Tianru Weize commissioned the construction of a monastery and an accompanying garden in Suzhou named "Lion Grove". The garden became a gathering place for literati, among whom was Ni Zan (one of the Four Yuan Masters). By the early Qing period, the landscape of Lion Grove had changed significantly. During this time, Lion Grove Handscroll, attributed to Ni Zan and Zhao Yuan, was acquired by the Qing imperial collection. During his second Southern Tour (1757), the Qianlong Emperor learned that Lion Grove existed at its original site in Suzhou and visited the garden. Enthralled by what he believed to be a garden designed by Ni Zan, he proceeded to replicate it in both Beijing and Rehe. In the thirty-sixth year of his reign (1771), Qianlong constructed a replica of Lion Grove in the northeastern section of Changchunyuan, an auxiliary garden of the Yuanmingyuan. Three years later, he built another replica in the southeastern corner of the Chengde Summer Resort and named it Wenyuan. However, during his sixth Southern Tour (1784), the Qianlong Emperor acquired Xu Ben’s Album of Lion Grove (1374), which led him to realize that Ni Zan had neither owned Lion Grove nor designed its rockeries—ten years after the completion of Wenyuan. Beyond collecting paintings and building gardens, Emperor Qianlong’s engagement with Lion Grove extended to composing poetry, calligraphy, and paintings, as well as commissioning stele inscriptions, plaques, fans, inkstones, jade albums, and tieluo, all of which contributed to a rich court culture centered on Lion Grove. Previous scholarship has primarily focuses on the relationship between Qianlong’s two gardens and the Suzhou Lion Grove or Ni Zan’s painting. Instead, this thesis explores the multiple facets of the Qianlong Emperor’s Lion Grove through various media. It examines the creation and utilization of these cultural artifacts, arguing that each version of Lion Grove produced under Qianlong’s direction served distinct purposes while complementing one another. This study is divided into four chapters. Chapter Two discusses the cultural landscape of Lion Grove as shaped by Yuan and Ming literati, as well as the Qianlong Emperor’s reconstruction of the Suzhou Lion Grove. Chapter Three examines the transformation of the landscape through the construction of Changchunyuan’s Lion Grove and Wenyuan Lion Grove in Rehe, demonstrating how Qianlong continually adjusted his narratives in accordance with specific time and space. Chapter Four analyzes the Qianlong Emperor’s reconstruction of the Qingbi Pavilion within the Changchunyuan’s and Wenyuan Lion Grove, arguing that transforming the Qingbi Pavilion into a physical space rather than commemorating it through textual or pictorial records—a conventional literati practice—was a distinct feature of Qing imperial culture. Chapter Five focuses on the Jade Album of Eight Scenic Views of Lion Grove (Shizilin bajing shi), produced in the sixty-first year of Qianlong’s reign (1796), situating it within a broader series of jade albums made at the end of his long reign. This chapter also examines the spatial arrangement of these jade albums, considering how their display within specific locations reflects the Qing court’s practice of materializing imperial achievements.