乾隆朝官窯像生瓷研究

Abstract

本論文以國立故宮博物院、北京故宮博物院收藏之乾隆朝官窯像生瓷為研究中心，並根據乾隆朝《各作成做活計清檔》及《宮中進單》等文獻，爬梳乾隆官窯像生瓷器的產造脈絡。 本研究突破前人研究多半依照清人朱琰《陶說》對乾隆官窯像生瓷進行分類的論點，分別從三個角度探索乾隆朝官窯產造的像生瓷。 首先探索乾隆官窯像生瓷的起源： 由中國的「餖飣」風俗觀之，中國自唐宋以來即有以 果物、食品作為觀賞用途的擺設，這些擺設有時為模仿生物外觀製作的象形食物，稱作「看果」、「看食」。 明代亦有以工藝品代之者，乾隆官窯像生瓷作品中，包含了許多栩栩如生的粉彩像生花果作品，即由此風俗演變而來。這些像生花果，不僅僅只是室內陳設，也經常作為皇帝致贈皇太后、皇后的高級禮品。 其次，本研究討論乾隆朝官窯像生瓷器中所包含的西洋要素；由於乾隆皇帝對於西洋傳教士所帶來的博物誌興致盎然，檔案中亦可見其收集貝類標本的記錄，這恰可對應乾隆官窯像生瓷海螺作品的生產。而在乾隆官窯像生瓷的釉色及造形部份，透過傳教士郎世寧帶來的 透視畫法，和他多次參與清宮畫琺瑯、陶瓷產製等活計製作的過程，可推敲出，這種模擬物表的釉色起源係來自西洋的「錯視」技法。 最後，以同樣具有像生意象的蒙藏風格仿木釉瓷器，探索這些仿木釉器在乾隆皇帝信仰生活中的使用脈絡，和它們背後所代表，乾隆作為一名滿族統治者的民族認同。

From the late sixteenth century through the eighteenth century, there was a trend of pursuing trompe l’oeil effect on the surfaces of decorative objects. During the seventeenth to eighteenth century, the Imperial Workshop （造辦處） has already provided immense numbers of eye-deceiving art crafts for Kangxi, Yongzheng and Qianlong emperors, official wares included.Different from his grandfather and fathers’ official wares, the refined trompe l’oeil official wares of Qianlong period revealed Qianlong emperor’s preferences in several aspects, including his interests of the fancy optical illusion interior decoration to his religious life, even his own Manchu identity. Based on the observation of the official wares with trompe l’oeil effect produced in the Qianlong era, and by using the Archives of Imperial Workshop (養心殿造辦處各作成做活計清檔) and other related historical data, this thesis consists of three parts: (1) To trace the origins of the Qianlong trompe l’oeil official wares: Passed down from Tang to Qing dynasty, an old custom was known as“Dou-ding”(餖飣). “Dou-ding”meant displaying food or fruit on the table as decoration. During the late Ming dynasty, real dish was gradually replaced with colored substitutes made of other materials. Thus, the fruit-shaped Qianlong trompe l’oeil official wares made for decorating purpose could be originated from this tradition. (2) To clarify the Western elements from these official wares: Since Qianlong fancied the new knowledge of natural history brought by the western missionaries, he not only collected the illustration album 'Rich and Varied Products of the Sea' (海錯圖冊),but also put seashell specimens in his cabinet of curiosities. The remaining Qianlong official wares of life-like seashells could be considered as the representation of Qianlong’s real shell collection.In the meantime, Giuseppe Castiglione, an Italian Jesuit painter who mastered the skill of perspective and trompe l’oeil painting, has also participated in design of the handicrafts in the Qing court, such as painted enamels. Castiglione might have taken part in the production of trompe l’oeil official wares as well. (3) To explore the context of how Qianlong emperor used these trompe l’oeil official wares in his daily life: As a devout Tibetan Buddhist, Qianlong often used Tibetan style bowls with wooden colored glaze in Buddhism ceremonies. On the other hand, Mongolian style cylindrical teapot with wooden colored glaze, so called Mdong-mo (多穆壺), can be regarded as the spiritual symbol nomadic life of the Manchus. Qianlong could have reminded himself of his own Manchu identity by using a porcelain Mdong-mo pot.