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萬曆朝的宮廷繪畫與政治—以〈出警入蹕圖〉與慈聖款佛畫為例=Paintings and Politics in the Wanli Court: A Study on Imperial Procession Departing from and Returning to the Forbidden City and Buddhist Paintings Commissioned by Empress Dowager Cisheng |
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| Author |
何嘉誼 (著)=Ho Ka-Yi (au.)
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| Source |
故宮學術季刊=The National Palace Museum Research Quarterly
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| Volume | v.39 n.2 冬季號 |
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| Date | 2021.12 |
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| Pages | 77 - 127 |
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| Publisher | 國立故宮博物院 |
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| Publisher Url |
https://www.npm.gov.tw/
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者單位: 香港中文大學藝術系 |
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| Keyword | 明人畫出警圖=Imperial Procession Departing from the Forbidden City; 明人畫入蹕圖=Imperial Procession Returning to the Forbidden City; 明神宗=Wanli Emperor; 定陵=Dingling; 宮廷繪畫=court painting; 慈聖皇太后=Empress Dowager Cisheng; 宮廷佛畫=Buddhist painting of the imperial court |
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| Abstract | 萬曆時期（1573-1620）宮廷繪畫的現存作品，以國立故宮博物院的〈明人畫出警圖〉與〈明人畫入蹕圖〉（兩卷將合稱為〈出警入蹕圖〉），以及數件上有明神宗（1563-1620；1572-1620 在位）生母慈聖皇太后（1545-1614）款印的佛畫作品較為人所知。由於少見對萬曆朝宮廷繪畫製作情形的文獻記載，因此雖留有畫蹟，但學者仍未深入探究這群作品的政治意義與風格特徵。本文即藉由申論〈出警入蹕圖〉所繪事件之特殊性，以及繪畫於萬曆朝的製作與觀賞慣例，追索作品可能的製作與使用脈絡。以慈聖名義繪造的多件佛畫作品，為建立萬曆朝宮廷繪畫藝術特徵提供了其他例證。本文亦藉由比較〈出警入蹕圖〉與慈聖款佛畫於人物畫法與裝飾細節上之差異，與對宮史文獻的研究，探討明代宮廷繪畫的多元監工機制。
Imperial Procession Departing from the Forbidden City (Chujing tu) and Imperial Procession Returning to the Forbidden City (Rubi tu) (both hereafter abbreviated as Imperial Processions), now at the National Palace Museum, Taipei, and Buddhist paintings impressed with the seals of Empress Dowager Cisheng (1545-1614) provide rare evidence of the court paintings produced during the Wanli reign (1573-1620). Due to the lack of textual records indicating the commission and production of court paintings in the Wanli reign, scholars have not yet fully explored the political implications and artistic features of this group of paintings. This study, therefore, investigates the political significance of the event documented in the Imperial Processions and the conventions of commissioning and viewing paintings at the Wanli court to discover the historical contexts in which these paintings were produced and used. The Buddhist paintings commissioned by Empress Dowager Cisheng provide supplementary evidence to reconstruct the artistic features of Wanli court painting. This study also examines the differences in the use of painting modules and decorative features between the secular and sacred paintings of the Wanli court and identifies the different institutes supervising painting production at the Ming court as documented in textual records. |
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| Table of contents | 一、前言 78
二、萬曆十一年春祭謁陵的政治意義 81
三、〈出警入蹕圖〉的贊助者與製作時間 88
四、萬曆朝宮廷繪畫的風格特徵 95
五、結語 107
引用書目 109 |
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| ISSN | 10119094 (P) |
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| Hits | 291 |
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| Created date | 2022.04.07 |
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| Modified date | 2023.12.21 |
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