| 摘要: | 黃鉞（1750-1841）歷仕乾嘉道三朝，官至尚書、軍機大臣，曾任《石渠寶笈三編》校閱，逝後追加太子太保銜，入祀賢良祠。雖不顯名於今之畫史，但從古籍傳略可知，其藝文造詣受嘉慶皇帝宸賞，時人「比之董華亭」，或視之為「藝林總持」，於嘉慶朝繪畫佔有一席之地。然而能取得上述稱譽之黃鉞，實際上父母早逝，半生貧苦，屢試不第，至不惑之年才得取功名。除此之外，目前關於黃鉞之研究皆指出其交遊並不廣闊。但一位畫家與鑑賞家的養成，背後需付出之大量的時間與資源，非短時間內可一蹴而就，而聲名之建立亦仰賴諸多元素而成。因此本文旨在探究黃鉞得以培養能力之真實經歷，受到嘉慶賞識與時人認同之確切原因，達到書畫藝事上公認成就之重要實績，由此反映之黃鉞於嘉慶朝畫史的可能定位。
本文第一章聚焦黃鉞至嘉慶朝為止之生平與藝壇交遊，重新梳理文獻，了解其曾創鏡湖畫社，與安徽地方藏家、藝文名流交好，使之嘉慶四年重返官場前已積累一定之創作與鑑賞經驗。回朝後亦與師輩重臣、官場同僚友好，留下諸多廣為傳閱之應酬畫作，從中可見畫名建構的過程。第二章則著眼君臣關係，認識帝師朱珪與黃鉞自身藝文才能對嘉慶賞識重用之深遠影響，並確立其於回朝之初即因書法受到重用，繪畫上亦留下具歷史價值之圖卷，知曉史書稱譽並非諛詞。第三章論黃鉞私款繪畫，釐清畫史與研究紛紜雜誤，確認黃鉞繪畫之真實面貌，學習南宗山水之主張與思想。另透過爬梳文獻了解過往對其畫風的錯誤認識，應與太平天國後黃鉞傳世作品大減相關。第四章則探析黃鉞歲時令節進獻之臣字款冊頁特色，認識其圖冊描繪之民物康阜、昇平景色，畫面表現出不同於私款山水之個人獨特風格，可見考據思想之注入與民間傳統圖繪之影響，最後透過圖像溯源與御題分析，芻議嘉慶對此類圖冊之態度，探討冊頁創作之目的與緣由，藉此窺看嘉慶朝宮廷繪畫之重要一角。;Huang Yue (1750-1841), a Chinese artist of the Qing Dynasty, had a distinguished career in bureaucracy spanning the reigns of three emperors: Qian, Jia, and Dao. He held the positions of minister and Grand Councilor and made significant contributions as a proofreader for the specialized book “Shiqu Baoji Sanbian.” This work meticulously documented calligraphy and paintings from diverse dynasties within the Qing imperial collection. Posthumously, Huang was honored as the "Grand Tutor for the Crowned-Prince" and listed among the virtuous in the Temple Of The Virtuous.
While not widely recognized in contemporary art history, Huang's artistic prowess garnered high praise from Emperor Jiaqing. References and publications from his time offer insights into Huang's influence, with comparisons to Dong Qichang and recognition as a prominent figure in the artistic circle.
Huang's journey to success was marked by challenges – early parental loss, persistent poverty, and academic struggles until his forties. Research indicates limited efforts to expand his networks. How Huang Yue cultivated his talents within such constraints, achieving high acclaim and approval from Emperor Jiaqing and contemporaries, becomes a noteworthy inquiry.
Chapter one explores Huang Yue's life and artistic connections up to the Jiaqing era, delving into his role in establishing the Jinghu Painting Society and fostering relationships with Anhui collectors and literary figures. This chapter reconstructs historical context, revealing experiences before his return to officialdom in the fourth year of Jiaqing, enriched with artistic insights. Post-return, his friendly relations with mentors, senior officials, and colleagues, leaving behind widely circulated social paintings, illuminating the process of constructing his artistic reputation.
Chapter two focuses on the dynamics between rulers and officials, emphasizing the profound impact of the Emperor's Teacher Zhu Gui and Huang Yue's artistic and literary talents on Jiaqing's appreciation and patronage. It establishes that Huang Yue was recognized early on for his calligraphy, leaving a historical legacy in painting, challenging conventional praise as mere flattery.
Chapter three clarifies misconceptions in art history research, addressing Huang Yue's private paintings. Confirming his adherence to Southern School landscape painting, it unveils authentic facets of his art during that period. Also addresses misconceptions about his painting style, likely related to the decrease in surviving ii works after the Taiping Rebellion.
Chapter four analyzes tribute pages with inscriptions, depicting prosperity and tranquility. Huang Yue's distinct style in official works, diverging from private landscape paintings, injects historical context. Lastly, by tracing the origins of these images and analyzing imperial themes, it discusses Emperor Jiaqing's attitude towards such paintings, clarifying the purpose and reasons behind these creations, offering insights into court painting during the era. |
