文化競技：超越前代、媲美西洋的康熙朝清宮畫琺瑯

Cultural Contending: Kangxi Painted Enamelware as Global Competitor

施靜菲(Ching-Fei Shih)

《民俗曲藝》 182期 (2013/12) Pp. 149-219

摘要

清宮畫琺瑯是康熙晚期受到西洋畫琺瑯啟發，於清宮內務府造辦處建立琺瑯作坊製作的一個新藝術品類（包括至少四種不同的材質，銅胎、玻璃胎、瓷胎與宜興胎）。經由康熙皇帝親自指導，引進相關原料及技術，努力實驗後成功製作出具有代表性的皇家畫琺瑯作品。本文從具體的風格出發，探討清宮畫琺瑯中的西洋因素，釐清隱藏、模仿到表現自我風格等不同階段之風格展現。在此基礎之上由相關脈絡考察，康熙朝宮廷如何透過畫琺瑯之製作、陳設與賞賜，來與各國進行文化對話與競技，欲與前代的五彩、西洋的畫琺瑯一較高下之政治企圖。

關鍵字

畫琺瑯 ； 五彩 ； 康熙 ； 清宮 ； 造辦處

並列摘要

The importation of painted enameling from Europe spurred the development of painted enamels at the Qing court during the late Kangxi era. The Enameling Atelier of the Office of Imperial Manufactories applied the new art form to at least four distinct media (bronze, glass, porcelain, and Yixing stoneware). Guided personally by the emperor, the atelier diligently experimented with new raw materials and technologies to create the distinctive category of imperial painted enamel. By reexamining the Western-style elements and documentary evidence of painted enameling at the Qing court, this paper argues that use of painted enameling by the imperial ateliers did not merely stem from what previous studies have interpreted as the imperial fascination with a new art form, but was in fact a serious attempt on the part of Emperor Kangxi to surpass the painted enamels of Europe and the traditional overglaze-enameled porcelains developed in the Ming dynasty.

並列關鍵字

painted enamel ； overglaze-enamel ； Kangxi ； Qing court ； imperial household workshops

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