乾隆朝宮廷畫家金廷標（？-1767）歷史故實畫研究;The Study of Jin Tingbiao’s (?-1767) Paintings of Historical Stories

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Title:	乾隆朝宮廷畫家金廷標（？-1767）歷史故實畫研究;The Study of Jin Tingbiao’s (?-1767) Paintings of Historical Stories
Authors:	楊婉瑜;Wan-Yu Yang
Contributors:	藝術學研究所
Keywords:	清高宗御製詩;活計檔;歷史故實畫;乾隆;金廷標;Zaobanchu Archives;Qing Gaozong’s poetry;historical stories;Jin Tingbiao;Qianlong Emperor
Date:	2012-01-17
Issue Date:	2012-06-15 19:48:07 (UTC+8)
Abstract:	乾隆朝宮廷畫家金廷標（？-1767），浙江烏程人。乾隆22年（1757）第二次南巡時，金廷標因薦呈《白描羅漢冊》而獲欽用。另藉清宮史料《活計檔》，得知金氏於乾隆32年4月（1767）因病逝世。因此，金廷標宮內供職時間為乾隆22年至32年。此外，在乾隆26年（1761）時，皇帝念及金廷標畫藝好、人又勤慎，將其晉升為一等畫畫人。至於金廷標的畫風探源，本論文透過文獻與圖像示例，藉以討論金氏人物、山水畫風之源，並指出畫家對西方透視技法的掌握。在論述主題方面，據《活計檔》記錄，乾隆多次諭令金廷標創作歷史故實畫；而在《清高宗御製詩文全集》中，亦有諸多題詠金氏歷史故實畫之作，顯見清高宗積極接觸漢文化。然而，細究金廷標歷史故實畫與相關御詩，察覺其中交雜著乾隆對漢族故實的個人見解。鑑此，本論文在金廷標多幅歷史故實畫中，將著重討論兩大主題：其一，描繪女性故實人物的《婕妤當熊圖》與《曹大家授書圖》；其二，依乾隆御詩詩意而繪的《御製用庾信詠畫屏風體詩意冊》廿四幅。關於《婕妤當熊圖》，畫面構圖說明金氏對「婕妤當熊」的理解；而場景配置則透露畫家對史實的想像。值得一提的是，此幅畫上的乾隆題詩，是從滿族皇帝、男性掌權者的觀點，評價西漢元帝與馮媛當熊之舉，展露出乾隆身為清代帝王的自信。至於《曹大家授書圖》，畫家將既往班昭圖例之女史、女師、才女形象，轉為年節歲朝的課子慈母，用以應和乾隆所重視的母教與天倫之樂。《御製用庾信詠畫屏風體詩意冊》廿四幅，畫面依乾隆詩意而繪；而御詩則疊庾信原詩韻腳賦成。尤為注意的是，乾隆詩中引典並非全然地承自庾信原詩，而是經過個人的過濾、篩選，意在形塑賢君形象。再者，此組圍屏廿四幅的陳列地——圓明園內安瀾園染霞樓，頗具象徵意涵。「安瀾」之名，原是乾隆賜予海寧陳氏隅園，寄託平定錢塘潮患之願。後來，乾隆下令將圓明園四宜書屋，依海寧陳氏安瀾園（即隅園）的規模改建，並同樣命名為「安瀾園」。由此觀之，圓明園內的安瀾園，可謂乾隆心繫江南、關懷社稷的具體表現。至若詩畫相成的金廷標圍屏廿四幅，則是公開宣示帝王形象的圖像媒介。總結以上，本論文以金廷標「歷史故實畫」作為研究核心，並搭配乾隆相關御詩的解讀，進而闡述滿族皇帝對漢族歷史故實的個人感觸。藉此，亦可說明金廷標之所以深得皇心，除了畫家本身的多元畫「藝」，更攸關其「南人」身分與「漢族故實」的關連，及其洞察聖意之「才」。Jin Tingbiao (?-1767) was a painter from Wu-cheng (Zhejiang) during the Qianlong reign. During the 2nd Southern Inspection Tour of the Qianlong Emperor (1757), he presented the Outline Drawings of the Luohan《白描羅漢冊》for imperial review, and was summoned to the court as a painter. According to the historical record of the Qing Dynasty, Zaobanchu Archives《活計檔》, it is known that he died in April 1767. Therefore, he served in the court between 1757 and 1767. In addition, the Qianlong Emperor promoted him as a first-rank painter in 1761 owing to his excellent painting skill and work ethic. As for the exploration of Jin Tingbiao’s painting style, the paper examines the literature and paintings to discuss the origin of Jing’s landscape painting style, and to point out the artist’s grasp on western perspective techniques. In the aspect of topic discussion, according to the record of Zaobanchu Archives, the Qianlong Emperor ordered Jin Tingbiao to create historical stories several times; and in Complete Works of the Emperor Qianlong《清高宗御製詩文全集》, there are also many works that praise Jin Tingbiao’s historical stories. Obviously, Qing Gaozong had contact with Han Chinese culture. However, when carefully studying Jin Tingbiao’s historical stories and the Qianlong Emperor’s poetry, it is found that the Qianlong Emperor’s personal perspectives can be seen in the Han Chinese stories. In view of this, in Jin Tingbiao’s many historical stories, the paper will focus on the discussion of the following two topics: (1) Lady Feng Confronts the Bear《婕妤當熊圖》and Ts’ao Ta-ku Teaching《曹大家授書圖》, which depict female story characteristics; (2) Paintings on the Settings the Qianlong Emperor’s Poetry (created based on Yu Xin’s poetry of praising a room divider) of 24 Paintings 《御製用庾信詠畫屏風體詩意冊》, which painted according to the Qianlong Emperor’s poetry. The painting structure of Lady Feng Confronts the Bear describes Jin Tingbiao’s interpretation of “Lady Feng Confronts the Bear”; and the scene configuration reveales the painter’s imagination of the story. It is worth mentioning that the Qianlong Emperor’s poetry on the painting comments on the action of Emperor Yuan of the Western Han Dynasty and Lady Feng Confronts the Bear, from a Manchu emperor, and a male ruler’s perspective, which shows the confidence of the Qianlong Emperor as an emperor of the Qing Dynasty. As for Ts’ao Ta-ku Teaching, the painter turned the nu shi (女史), teacher, and talent of past Ban Zhao pictures into a kind mother educating her child to correspond with the education from mother and family happiness focused on by the Qianlong Emperor. Paintings on the Settings the Qianlong Emperor’s Poetry (created based on Yu Xin’s poetry of praising a room divider) of 24 Paintings, the pictures were painted according to the Qianlong Emperor’s poetry; and the Qianlong Emperor’s poetry is created based on the foot of Yu Xin’s original poem. The thing that requires particular attention is that the Qianlong Emperor’s poetry was not completely cited from Yu Xin’s original poem, but has been personally screened. The purpose is to shape the virtuous emperor image. Furthermore, the display location of this Room Divider of 24 Paintings Set (圍屏二十四幅)——RanXiaLou (染霞樓), AnLan Garden (安瀾園) inside Old Summer Palace (Yuan Ming Yuan) has symbolic significance. The name “AnLan” was originally given to Haining Chen’s Yu Garden (海寧陳氏隅園) to overcome the flooding of Qiantang Tide. Later on, the Qianlong Emperor ordered the reconstruction of Old Summer Palace’s (Yuan Ming Yuan) SiYiShuWu (四宜書屋) according to Haining Chen’s AnLan Garden (Yu Garden), and also named it “AnLan Garden”. Judging from this, Old Summer Palace’s (Yuan Ming Yuan) AnLan Garden can be accepted as the specific presentation of the Qianlong Emperor caring for Jiangnan and the kingdom. Jin Tingbiao’s Room Divider of 24 Paintings Set was used as the media to publicly declare the emperor’s image. To sum up, the paper employs Jin Tingbiao’s “historical stories” as the core of the study, uses the interpretation of the Qianlong Emperor’s poetry, and further describes the personal feeling of the Manchu Emperor on the historical stories of Han Chinese. Through this, it describes the reason for Jin Tingbiao winning the heart of the emperor, in addition to his multiple painting “skills”, also being attributed to his “southerner” identity, and relationship with “Han Chinese stories”, and the “talent” for the insight of the emperor.
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