Abstract
摘要:
〈盛清宮廷中的「仙工」奇器與多寶格〉
本計畫定位為兩年期專題研究計劃,旨在探討清宮收藏及製作的「仙工」奇器與多寶格所隱含的東西工藝技術與概念交流,來看盛清宮廷的科技與工藝發展。因為材料多寡的關係,討論會多集中在乾隆時期。
本研究與過去研究最大不同之處在於,計畫將清宮的「仙工」奇器與多寶格兩個課題放在一起討論,提出一個新的切入視野,希望能對清宮的工藝運用及收藏有所突破。兩個課題的交疊之處有兩重:一是小巧的「仙工」奇器經常被收入多寶格中(不論是西洋的奇工舶來品,或是清宮造辦處自製的「仙工」活計或鏇做的象牙作品,都是多寶格中的常客);二是許多多寶格之設計暗藏機關或本身就是具有特殊展示裝置的奇器。兩者其中之連繫,還或許是揭開乾隆皇帝對這兩類物品態度的重要關鍵,也是本計畫的中心假設,即圍繞乾隆皇帝的「仙工」奇器與多寶格,將深不可測、不可思議的技藝收藏在一個閣屜中,陳設在不對外公開,對內、私密性質之空間中(清宮中的多寶格主要集中在養心殿陳設)。
隨著清宮相關檔案的陸續公布,將檔案與實物連結的工作就不斷在進行當中,然而相對於機械式或平面的一對一連結,使用檔案來了解收藏、陳設與製作脈絡可讓相關研究變得更為立體。從實物出發的角度,除了與西洋工藝技術及科技知識的交流外,我們發現乾清宮與養心殿陳設與收藏的文物除了珍貴、希罕外,更具有獨特的性質(新發現的材料與技術vs.深不可測的技藝/公vs.私),配合相關的文獻、歷史脈絡,導出有意義的觀察,期望與其他領域的學者可進一步對話。
Abstract: The ‘immortal’s works’ and the ‘cabinet of curiosity’ in the Qing Court from 1662 to 1795
This research project aims to investigate the complex of cultural meaning for the making and collecting of ‘immortal’s works’ and the ‘cabinet of curiosity’ in the Qing court from 1662 to 1795. In addition to previous discussion on the unexpectable merits of handicrafts, this study will try to detect their further value from the insight of exchange of technology between East and West. Due to the uneven proportion of data, there will be more discussion on Qianlong era. This project will try to link the ‘immortal’s works’ and the ‘cabinet of curiosity’ together for discussion and thus provide a new perspective to investigate the making and collecting handicrafts in the Qing court. There lies two reasons for the linkage:
1. Small objects of the ‘immortal’s works’ (including Western and Local ones made in Chaobanchu) were often placed into the ‘cabinet of curiosity’.
2. Many ‘cabinet of curiosity’ themselves are sort of ‘immortal’s works’ as their designs show the ingenuity of hidden mechanisms.
The hypothesis of this research lies in the private and intimate spaces for the emperors, where the ‘immortal’s works’ and the ‘cabinet of curiosity’ were stored and displayed. According to database, most of the ‘cabinet of curiosity’ are originally placed in the Yangxin Palace 養心殿, the emperor’s studio. While this entire group of ‘cabinet of curiosity’ was moved to Taiwan in 1950 following the relocation of the National Palace Museum. Scholars at the Palace Museum Beijing have recently made public three near-identical Qing court inventories (Chenshe dang陳設檔 - dated 1835, 1875 and 1902) confirming their original location. Following the publications of thousands of related files Qing court, the linkage between objects and texts are continuously undertaking. It, however, tends to fall into a mechanical one to one format without promoting further arguments. The present studies will based on the solid objects to investigate these two categories in the Qing court from a wider view of intercultural studies between Europe and East Asia and the perspective of visual and material culture. In addition, the kunstkammer practice and concept in the Europe, especially the Holy Roman Empire, will also be considered when we study the scientific technology and arts in the Qing court. In addition, the present project is part the joint project
This joint project combines five sub-projects and try to investigate the
meeting and interaction of visual and material culture in Early modern Europe and
East Asia. We hope to study our individual topics through intensive discussionand construct a new framework to understand the visual and material culture between Europe and East Asia. The research result will certainly promote the intercultural studies in the studies of global history.
Keyword(s)
清宮
交流
「仙工」
奇器
多寶格
Qing Court
interaction
‘immortal’s works’
‘cabinet of curiosity’