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題名 | 試論清前期宮廷與民間工藝的關係--從國立故宮博物院所藏兩件嘉定竹人的作品談起=Discussion on the Relationship between the Imperial and Folk Decoration Arts from Mid-17th to Mid-18th Century: Two Objects by Chia-Ting Bamboo Carvers in the National Palace Museum |
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作者 | 嵇若昕; | 書刊名 | 故宮學術季刊 |
卷期 | 14:1 民85.秋 |
頁次 | 頁87-116+左6-7 |
分類號 | 999.9 |
關鍵詞 | 封始岐; 施天章; 雕竹伏虎羅漢; 雕象牙山水人物小景; 內務府; 內務府造辦處; Feng shih-ch'i; Shih T'ien-chang; Bamboo tiger-taming lohan; Ivory landscape with figures; Imperial household; The Workshops of the imperial household; |
語文 | 中文(Chinese) |
中文摘要 | 清初在入關之前即設置內務府,順治朝一度廢內務府,清世祖駕崩後,隨即恢復 內務府,康熙十九年在內務府下設造辦處,初期僅為宮中製作家具、服飾及金玉珠寶等器用 ,康熙三十二年始於造辦處內設作坊,擴大成做活計的範疇。 雍正元年內務府造辦處設立庫房,建立檔案,管理步上正軌。在藝術鑑賞能力相當高的怡親 王監督之下,任用一批藝術修養深厚又具管理才能的人指導、管理活計的成做工作,造辦處 的匠役多能發揮所長,盡心承製。在器物製作方面,清世宗往往要求「文雅」,此時內廷工 藝品味在皇帝的提倡下,蘇州地區風格較受重視。清世宗在較多蘇匠成做活計的環境之下, 自不免受到薰陶,而比較喜愛具有文人品味而作工精緻的工藝品。 清高宗登基後不久,逐漸偏好廣東雕刻工藝(尤其牙雕)的繁瑣、精巧、連鏈、活紋、玲瓏 剔透等等特色。乾隆初期承繼前朝內廷原有匠役與工藝風格,但是造辦處匠役在滿足皇帝喜 好的要求下,作品風格丕變。內廷恭造(製)的工藝品,在原有蘇州風格的基礎上,逐漸融 入廣東地區風格。在題材方面,沿承蘇州地區「文雅」的風格,或以山水人物為母題,紋飾 常具故事性,甚至是歷史上重要文人言行;或者是松、竹、梅等等常被畫家入畫的題材。但 是技法上,融入廣東工藝的繁瑣、玲瓏剔透之特色。 國立故宮博物院所藏「雕竹伏虎羅漢」與封始岐所做「雕象牙山水人物小景」就現出前 |
英文摘要 | Before the Manchurians ruled the empire, they had already established the Imperial Household. Although the Shun-chih emperor eliminated it, upon his death, the Imperial Household was restored. Furthermore, in the nineteenth year of K'ang-hsi's rule (1680), the Workshops of the Imperial Household were established in order to provide the palace with furniture, clothing, accoutrements, gold and jade, and various other objects. Thirteen years later (K'ang-hsi 32), the Workshops of the Imperial Household began producing objects, expanding their many fields. But of them all, the emperor preferred enamal ware, including porcelains with painted enamel, Sunghua inkstones, and molded gourd wares. In the early Yung-cheng reign, the Workshops of the Imperial Household built the four storage spaces, established an archive and bagan regulating their operations. The Yung-cheng emperor's taste for objects tended towards elegance and refinement, thus at this moment, the Soochow regional style was most favored. Not long after the Ch'ien-lung emperor ascended the throne, his preference grew for Canton-style carving, especially ivory works, which were delicate, complex, often having parts linked by miniature chains. Objects made in the Workshops of the Imperial Household, originally and fundamentally Soochow in their inspiration, now slowly took on a Canton flavor. We can see the difference in styles in two objects in the National Palace Museum's collection, the "Bamboo Tiger-taming Lohan," probably by a member of the Feng family or Shih T'ien-chang, a student of one of the Fengs, and the "Ivory Landscape with Figures," by Feng Shih-ch'i. While the carving of former work is find, it fully displays the style of the Feng family, who excelled at carving bamboo shoot figures. The latter work, despite its scholarly theme, is characterized by complex carving, manifesting the Ch'ien-lung emperor's taste. These objects tell us how, in the early Ch'ing dynasty, while the emperor's taste dictated which artisans would be brought to court, the artisans transported their regional styles, which in turn influenced the emperor's taste. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。