嘉慶朝詞臣黃鉞（1750-1841）藝壇師友與繪畫研究;Study on the Paintings of the Jiaqing-era Official Huang Yue (1750-1841) and His Artistic Circle

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題名:	嘉慶朝詞臣黃鉞（1750-1841）藝壇師友與繪畫研究;Study on the Paintings of the Jiaqing-era Official Huang Yue (1750-1841) and His Artistic Circle
作者:	李岱玲;Lee, Tai-Ling
貢獻者:	藝術學研究所
關鍵詞:	黃鉞;嘉慶;朱珪;詞臣;臣字款;安徽;姑熟畫派;蕭雲從;Huang Yue;Jiaqing;Zhu Gui;court scholars and ministers;Chen Zih Kuan;Anhui;The Gushou School;Xiao Yuncong
日期:	2024-01-31
上傳時間:	2024-09-19 17:39:38 (UTC+8)
出版者:	國立中央大學
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。因此本文探究黃鉞究竟有何經歷使之培養出足夠的能力，受到嘉慶賞識與時人認同，達到書畫藝事上的公認成就。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，繪畫上亦留下歷史性之實績，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，確認其學習南宗山水之主張，與當時代所見黃鉞繪畫之真實面貌。第四章則探析年節進獻之臣字款冊頁，描繪民物康阜、昇平景色，黃鉞表現出不同於私款山水之個人特色，可見考據思想之注入，最後透過圖像溯源與分析御題，芻議嘉慶對此類圖冊之態度，窺看嘉慶朝宮廷繪畫之一角。 ;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, 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, he maintained friendly relations, 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. Chapter four analyzes New Year tribute pages with inscriptions, depicting prosperity and tranquility. Huang Yue′s distinct style in official works, diverging from private landscape paintings, injects historical context. The study explores Jiaqing′s attitude towards such albums, offering insights into court painting during the era.
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