Graduate Institute of Art History, National Taiwan University國立臺灣大學藝術史研究所陳葆真2017-09-082018-05-292017-09-082018-05-292010-03http://ntur.lib.ntu.edu.tw//handle/246246/281793http://doi.org/10.6541/TJAH.2010.03.28.04http://ntur.lib.ntu.edu.tw/bitstream/246246/281793/1/0028_201003_4.pdfThis paper deals with the representational problems of four paintings, The New Year Celebration (Suizhaotu), Entertaining in Snow (Xuejing xingletu), Entertaining on the New Year (Suizhao xingletu), and Entertaining on the Lantern Festival (Yuanxiao xingletu), which all show Emperor Qianlong (1711-1799) and many children celebrating the Chinese New Year. Four issues to be discussed regarding these paintings include: 1. a brief comment on recent research of them; 2. their respective datings, representational characteristics, and iconographical relationships; 3. the reality of the figures shown in the paintings and their iconographical implications; and 4. the interactions between Emperor Qianlong and his children in real life. In the first part of this paper, the author, based on stylistic analysis and historical documents, discovered that these paintings were executed respectively in 1736, 1738, 1746, and probably 1750. Among these paintings, The New Year Celebration deserves special attention because its iconographical details served as archetype for those in the three other paintings through different degrees of modifications. Also, this painting pictorially suggests the event of Emperor Qianlong’s secret decision on selecting Prince Yonglian, his second son, to be the heir apparent in 1736. Moreover, these four paintings done from 1736 to 1750 sequentially show an increasing number of children; that reflects the emperor’s wish for ever-growing off-springs in the imperial family. In the second part of this paper, the author, through investigations of historical documents, describes how Emperor Qianlong educated his sons, his interactions with them, and his final decision on choosing Prince Yongyan (Emperor Jiaqing), his fifteenth son, as his successor in 1773.本文主要討論四幅描寫乾隆皇帝和許多孩童在新年期間團聚的圖畫：《乾隆帝歲朝圖》、《乾隆帝雪景行樂圖》、《乾隆帝歲朝行樂圖》、和《乾隆帝元宵行樂圖》等。文中所要討論的問題有四，包括：1、這四幅作品的研究概況；2、這四幅圖的圖像表現特色、相互關係、和成畫年代；3、主要圖像的紀實性和意涵；4、乾隆皇帝與諸皇子間的親子互動等。在本文的第一部份中，作者運用風格分析、配合相關史料，觀察各圖的結果，得知這四幅作品在圖像上的相關性與個別的成畫年代為：《乾隆帝歲朝圖》成畫在先，約作於乾隆元年（1736）；《乾隆帝雪景行樂圖》次之，成於乾隆三年（1738）；《乾隆帝歲朝行樂圖》又次之，成於乾隆十一年（1746）；《乾隆帝元宵行樂圖》為最後，約成於乾隆十五年（1750）左右。在圖像的關連性方面，作者認為《乾隆帝歲朝圖》中的人數最少，只有十二人；這群人物圖像成為祖本，後來三幅都依它而在人數上、造形上、和位置上，加以調整與變化。在圖像的意涵方面，作者認為《乾隆帝歲朝圖》與乾隆皇帝在乾隆元年密立永璉為嗣君的事情有關；而這四幅同一主題的畫中表現了孩童人數越來越多的現象，反映了乾隆皇帝期盼多子多孫的心境。在本文的第二部份中，作者從相關的史料方面去探索乾隆皇帝對諸皇子的教育情形，和最後擇立皇十五子永（顒）琰為嗣君的曲折過程。24556294 bytesapplication/pdf清高宗乾隆皇帝清仁宗嘉慶皇帝乾隆帝歲朝圖乾隆帝雪景行樂圖乾隆帝歲朝行樂圖乾隆帝元宵行樂圖Qing GaozongQing JenzongEmperor QianlongEmperor JiaqingSuizhaotuXuejing xingletuSuizhao xingletuYuanxiao xingletujournal article10.6541/TJAH.2010.03.28.04http://ntur.lib.ntu.edu.tw/bitstream/246246/281793/1/0028_201003_4.pdf