畫院運作機制對清代宮廷繪畫的形塑與作用 = The Operating Mechanism of the Painting Academy in the Formation and Function of Qing Dynasty Court Paintings
Journal
國立臺灣大學美術史研究集刊 = TAIDA JOURNAL OF ART HISTORY
Journal Issue
51
Pages
iii-iv+101
Date Issued
2021
Author(s)
Abstract
In the past few decades, studies on Qing court art have turned from the role of individual rulers to court productions as a whole. The present study adopts this approach to propose the "operating mechanism of the painting academy" as a way to further analyze the production of court paintings. Though the word "mechanism" has its origins in the configuration of a particular apparatus, it is now used increasingly to explain phenomena in society and describe the patterns of its internal operations. "Operating mechanism" here refers to the work flow and decision-making process of the painting academy at court. It incorporates the participation and role of both those who executed and controlled the process to clarify the forces behind the formation of the Qing court academic style. As for the operating mechanism, the focus is still on producing drafts, the painting academy system, and its procedures, but it does not stop with the figures and system behind Qing court painting. Rather, it explores the decisions, control, and formation of painting style.To clarify the production of Qing court painting, this study examines four examples: Giuseppe Castiglione's draft for "One Hundred Horses," Shen Yuan's "Up the River During Qingming," the collaborative "Twelve Views of Forbidden Compounds" by Shen Yuan and Ding Guanpeng, and the copperplate prints of "Victory in the Pacification of Dzungars and Muslims." The four span the painting academy of the Yongzheng and Qianlong reigns and vary in format and features. Also connected to the role of Castiglione, they reflect various facets of the painting academy at this time. Among them, "One Hundred Horses" and "Up the River During Qingming" are related in terms of drafting. The other two works demonstrate the coordination, drafting, and stylistic control of the artists. Thus, they manifest the "operating mechanism" proposed in this study. The results show that the ruler still had direct control over titling and visualizing works. The painting academy had a means, as evident in "Twelve Views of Forbidden Compounds," for artists to coordinate their styles, showing the power of self-restraint in this system. As for the battle prints, they exceeded the technical skills of the painting academy and required adaptation, the work flow to procedural controls approximating those in the painting style.
Subjects
Qing court painting academy; Lang Shining (Giuseppe Castiglione); Shen Yuan; battle copperplate prints; collaborative painting; operating mechanism
Publisher
NATL TAIWAN UNIV, GRADUATE INST ART
Type
journal article