乾隆官窯研究：做為聖王的理想意象

A Study of Qianlong Official Wares and the Ideal of a Sagacious Ruler

余佩瑾(Yu, Pei-chin)

指導教授 ： 謝明良

國立臺灣大學/文學院/藝術史研究所/博士(2011年)

https://doi.org/10.6342/NTU.2011.01897

摘要

本論文擬以乾隆朝的官窯瓷器作為研究觀察的基礎素材，從中探討在以帝王為中心的產造與典藏脈絡中，乾隆皇帝如何透過他賦予當朝及古代官窯的種種想法，來呈現他思及做為聖王的理想。
所謂聖王理想，如果從施政理念著眼，可以在《清高宗御製詩文集》中發現乾隆皇帝陳述其追隨古代聖王腳步的想法。亦即：「自昔聖帝明王以堯舜為極」，以及「夫子歷論堯舜禹湯武王授受之旨」等，而得知他其實是繼承康熙和雍正兩位皇帝以二帝、三王作為施政楷模的理念。但是在這二帝、三王之中，我們又從其探討「允執厥中」意義時特別指出：「故大舜之執兩用中，非大舜自用其中也。彼兩端之間自有其一定不移之中，而舜適用之，會眾善於一心而無已。」以及他也以「舜明於庶物，察於人倫，由仁義行，非行仁義也」作為篇名，闡述舜之所以成為聖王的理由。就連為其個人居所命名時，亦不忘將之比附至大舜，所謂：「余有書屋數間，清爽幽靜。山水之趣、琴鶴之玩，時呈於前。菜圃數畦，桃花滿林，堪以寓目，顏之曰樂善堂者，蓋取大舜樂取於人以為善之意也。夫孝弟仁義乃所謂善也，人能孝以養親，弟以敬長。仁以恤下，義以事上……。是故大舜聖人也，猶存虛受之心，聞一善言，若決江河。」由此可見，乾隆皇帝因推崇大舜，故不時將大舜提出來以作為自勉效法的對象。
那麼與此理念相符，展現於文化事業上的企圖心，正是盡其可能地運用各種手段，賦予他所經手處理的產造和典藏，成為一個足以與聖人德行相通的規模。除此之外，因特重大舜，為追慕「夫大舜之取諸耕稼陶漁之善」的事蹟，影響所及，讓乾隆皇帝在產造脈絡中，遂遠比康熙和雍正兩位皇帝更加重視陶瓷一項。特別是因乾隆皇帝格外關注官窯瓷器的品質、燒造經費和運作機制等，不僅讓乾隆皇帝推動官窯產燒的本身具有呼應大舜「河濱遺範」的典範；同時因乾隆皇帝也將官窯產燒出來的當朝製品當作典藏品來加以收藏，故讓當朝製品在透過和清宮舊藏歷代名窯並陳的典藏方式中，份外顯得身價不斐。
另一方面，為加強陳述其追溯聖人德行的想法，乾隆皇帝遂於清宮舊藏瓷器上加刻御製詩。讓一個舊典藏因有御製詩的加注，而重新擁有全新的意涵。這層意涵透過他在御製詩中有關「我於重華窺其義」和「土硎之德」的陳述，而流露出乾隆皇帝也將典藏陶瓷看成是同樣具有宣揚 「河濱遺範」的一種途徑。從中不僅呈現出乾隆皇帝個人對於「河濱遺範」獨到的詮釋，同時也通過該批古陶瓷所具備如同個人品牌的御製詩標記，而讓他經手組裝和重建出來的清宮典藏具有不凡的意義。最後再透過這層意義的推廣與宣揚，讓坐擁古代與當朝瓷器的乾隆皇帝，完全能夠運用典藏來追求「希賢、希聖、希天之意」的理想，而此理想的最高境界，除了與古聖人相輝映之外，亦有形塑其正面形象，加強推廣他思及做為一位聖王的積極意義。

關鍵字

乾隆官窯 ； 聖王 ； 陶冶圖冊 ； 唐英 ； 畫琺瑯 ； 洋彩 ； 陶瓷典藏

並列摘要

This essay uses research and observations from the production of official porcelains during the Qianlong reign in the Qing dynasty as a foundation for study to explore tendencies in the firing and collecting of porcelains based on imperial taste at the time. This study attempts to demonstrate how the Qianlong Emperor expressed his thought and practice concerning the ideal of a “sagacious ruler.”
The so-called “sagacious ruler,” if viewed from the perspective of political ideal, can be found in the Qianlong Emperor’s statements about his ideas of following in the footsteps of the sagacious rulers of antiquity. In his anthology of poetry, for example, Qianlong praises the “Two Emperors” (Yao and Shun) and “Three Kings” (Yu, Tang, and Wen) of high antiquity as enlightened rulers. From such discussions, we learn that Qianlong was actually following the preceding Kangxi and Yongzheng Emperors in fulfilling the political ideal set forth by the “Two Emperors and Three Kings.” Qianlong even went on to discuss the reasons why Shun should be considered a sagacious ruler, paying respect to him even in the naming of one of his studios. With such reverence for Shun, it is no wonder that Qianlong would often single him out as a model for emulation.
The Qianlong Emperor used as many ways as possible to turn his idea into a reality through cultural enterprises, endowing the production and collection of arts and crafts under his control as a model for communicating the virtues of ancient Chinese sages. With the emperor’s particular reverence for Shun, especially in terms of his legendary achievement in ceramics, the influence was far-reaching, leading the Qianlong Emperor to focus on the production of porcelains far more than the Kangxi and Yongzheng Emperors. Of note is Qianlong’s special attention to the quality of official porcelains, expenditures of firing, and mechanisms for operation. Not only did Qianlong promote the firing of porcelains to emulate the “remaining model” of Shun, he also viewed the products of imperial kilns of the time as collectibles. The result was that these porcelains were included in the system of collection and display for antique pieces at the Qing court collection, indicating the extraordinary value with which they were viewed.
Furthermore, to reinforce the Qianlong Emperor’s stated idea of emulating the virtues of the ancient sages, he also had his poetry engraved on porcelains in the old collection of the Qing court. Imbuing an antique with the added meaning of imperial poetry gave it completely new significance. This level of attached importance is seen in Qianlong’s description of the virtue and import behind the objects, thereby revealing the path by which he praised and emulated the models of antiquity using the court collection of ceramics. In doing so, not only did Qianlong express his unique personal interpretation of the “remaining model,” this group of ancient ceramics with imperial poetry can be viewed as the emperor’s personal mark, giving the reorganization and reformation of the Qing court collection special significance. Finally, the promotion and dissemination of this significance allowed Qianlong to make full use of the court collection of ancient and contemporary porcelains in pursuing the significance behind the ancient sages, virtuous rulers, and Heavens. The highest realm to which the Qianlong Emperor achieved in his ideal not only allowed the brilliance of the ancient sages to shine through, it also helped form his own positive image to reinforce the promotion of his thought and his actively becoming a sagacious ruler himself.

並列關鍵字

Qianlong official wares ； sagacious ruler ； Illustrated Album of Pottery ； Tang Ying ； painted enamelware ； yangcai ； collection of ceramics

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