乾隆朝粵海關成做之「廣琺瑯」

Abstract

This article examines the “Guang falang” manufactured at the Guangdong Maritime Customs, and its relationship to the Qing imperial court, as a case study of the operational interactions between the court’s Office of Ateliers (zaobanchu) and local workshops. To lend precision to the heretofore vaguely categorized painted enamel metalwares of Guangdong, the first objective begins by analyzing imperial archives and registers, as well as the products themselves and packaging preserved in the collection of the National Palace Museum, to determine the scope and appearance of Guangdong enamelware from the Qianlong period. It then proceeds to the Guangdong craftsmen and enamelware brought to court in the Kangxi and Yongzheng eras. The second objective examines the relationship between the Imperial Household Department’s Office of Ateliers and the enamelwares manufactured at the Guangdong Maritime Customs, and situates this relationship within the more general interactions between the court and regional ateliers supervised by textile commissioners, salt censors, superintendents of customs during the High Qing. These interactions not only showcase administrative considerations of the efficient use of economic capital and local resources, but also highlight the nature of artistic exchanges between the styles of court and region, which involved conflict and mixing. The primary contribution of the essay is to reattribute as examples of imperial “Guang falang” a group of metal-bodied painted enamelwares that were previously misunderstood to be the products of the imperial Office of Ateliers itself. Distinguishing the stylistic characteristics of imperial “Guang falang” makes it possible to reconstruct a fuller picture of the role that the Guangdong region played in the manufacture of painted imperial enamelware. This in turn reveals the art historical significance of “Guang falang” as a body of evidence that countervails the notion that imperial and export wares were crafted independently of one another. In addition to clarifying their substantive appearance and process of manufacture, examining these wares from the perspective of court-locale interaction provides a basis and reference point for future inquiries into the relationship between center and periphery in the High Qing. (translated by Jeff Moser)

本文旨在釐清粵海關成做的清宮「廣琺瑯」面貌，並進一步觀察清宮與粵海關成做琺瑯之互動關係，以此案例探索清代宮廷造辦處與地方成做機構在工藝製作上的運作模式。第一個目標是藉由分析陸續公布的清宮檔案、清冊，以及國立故宮博物院保存的清宮舊藏木匣及實物，探求乾隆時期清宮造辦處交辦粵海關成做「廣法瑯」之實物範圍，修正我們過去對廣東銅胎畫琺瑯之狹隘認識。並且往前追溯康熙、雍正朝進宮廣匠及廣琺瑯作品的紀錄，作為補充清代早中期廣州地區琺瑯製作的材料。第二個目標則在觀察清宮內務府造辦處與粵海關成做琺瑯之互動關係，並將之放到清盛期宮廷造辦處與地方成做機構之運作脈絡中，進行分析。這之中不但有經濟成本考量、善用地方之工藝資源，更可見到宮廷謹造風格與地方樣式之間的交流（衝突、融合），讓我們見識宮廷與地方互動之豐富層次。 本文主要的貢獻在於，重新定位一批在過去被誤認為清宮造辦處自製的銅胎畫琺瑯，其實是廣東粵海關所成做的清宮「廣琺瑯」作品。而由本研究歸納所得的清宮「廣琺瑯」風格特徵，是重建廣東地區畫琺瑯製作完整面貌的重要材料；清宮「廣琺瑯」的研究也啟發我們重新檢討，宮廷藝術研究或外銷藝術研究向來各自獨立、沒有交集的觀點，思考它們在藝術史發展中的定位。另一方面，從宮廷與地方互動角度來思考的粵海關成做「廣琺瑯」，除了在具體實物風格與運作規制方面皆可作為一材料豐富、具有研究潛力的案例外，還可成為未來深入探究盛清時期宮廷與地方互動之重要基礎或參照對象。