懋勤淵鑑---康熙時期宮廷刻帖活動研究

清聖祖（愛新覺羅．玄燁，1654-1722；1661-1722在位）沖齡繼位，開啟了長達一百三十多年康雍乾盛世的先聲，是中國歷史上文治武功成就最高的君主之一。後世史家謂康熙一生「雖曰守成，實同開創」。康熙朝的諸多舉措，為清皇朝奠下規範性基礎，尤對其後乾隆時期的文教政策更是影響深遠。史上的宮廷刻帖活動，繼兩宋發起之後，直到清代才又再度盛行。但兩宋宮廷刻帖以摹勒內府所藏書法名蹟為主，清代則將重點放在複製刊刻帝王書蹟。康熙二十九年（1690），將內務府原名「文書館」的單位改稱「御書處」，專事刻拓御筆法帖，此後直至道光二十三年(1843)裁撤併入武英殿修書處為止，御書處職掌一直以收存皇帝御筆親書為主，旁及摹搨御筆書蹟，與受命刻拓各類法帖，成為史上唯一專責刻帖，並統御數處專門作坊，具有相當規模的官方刻帖單位。盛清康熙(1662-1722)、雍正(1723-1735)、乾隆(1736-1795)三代，內府刊刻法帖數量堪稱史上之冠。清代的內府刻帖活動極其活躍，所刻類型，包含帝王御筆書蹟、內府所藏歷代書法名蹟、重定翻刻古代名帖，與本朝臣工書蹟等。據中國第一歷史檔案館藏《奏報武英殿空閒庫存放列聖御筆及臣工所書石刻折》，光緒七年(1881)時整理原先在｢御書處房後迤南，西華門內西南角樓下排列」的帖石。當時統計帖石數量，有｢列聖御筆及臣工所書，共計大小石刻三千九百二十六塊」。這還不含其他嵌入各處園林宮殿廊壁的帖石數量，反映了清代空前絕後的宮廷專門刻帖單位御書處刻石業績之驚人！然而，至今卻甚少研究專論清代宮廷的刻帖活動與現象。不但負責此項工作的御書處，相關研究一直零散夾雜在武英殿修書處或其他清代中央官刻圖書主題之間；且因御書處與武英殿修書處位名稱近似，執掌性質亦有通同，極易混淆。學界對清代帝王刻帖現象的探究，除對乾隆時期欽定法帖的單一介紹外，也尚未試圖更進一步做出較完整的研究論述。近年乾隆時期藝文活動吸引學界諸多關注，但乾隆皇帝(1711-1799)文治方面的種種作為和政策方針定向，卻早在康熙一朝，即有明顯契機可循。在乾隆時期刊刻多部以考證精詳，刻工繁複，品目多樣聞名於世的多部大型法帖前，清代內府宮廷刻帖活動，其實早在康熙時即已啟動，且逐步建立了原則體例。相對於乾隆朝刻帖標準操作流程的幾近完備，康熙朝宮廷刻帖，尚能考察到草創階段的演進過程。康熙朝的宮廷刻帖活動在製作的重點上有一極大的轉彎，最早的刻帖，僅是留置於內廷的書法通史性質大部頭叢帖，後來出品的主流，卻是對外賞賜，宣揚皇帝個人書學文筆等涵養的御筆法帖。本研究欲透過文獻考察與作品分析，結合檔案資料，整理康熙年間宮廷刻帖活動，探究背後政治意圖，與對乾隆朝文化事業的關聯影響，經由觀察法帖製作脈絡與選帖編排，解讀皇帝個人藉由法帖書籍，將御筆御製文流傳天下的情況，以及清代帝王利用漢族傳統對御筆的尊崇，刻意以皇帝明星身分，利用刻帖大量複製御筆書蹟賞賜，以做為攏絡士人，安定天下的手段。

關鍵字

康熙皇帝；書法；刻帖；御書處；御筆；法帖；御製文

並列摘要

The Qing emperor Shengzu (Xuaye,1654-1722;r. 1662-1722)had the reign name Kangxi. On the throne for 61 years, which opened The Golden Age of the Qing dynasty for more than a hundred and thirty years. He was one of the emperors with the highest cultural and military achievement in Chinese history. Historians view Kangxi emperor as the pathfinder of the Qing dynasty. Many of the Kangxi emperor’s Political strategy policies have set down Normative basis for the successors. Especially had great influence on his grandson, emperor Qianlong. Song and Qing are the only dynasties initiated court modelbooks (fatie) of calligraphic works carving in Chinese History. Song dynasty court modelbooks of calligraphic carving focused on making copies of those famous royal collections. While Qing dynasty focused on making copies of emperors’ calligraphy works. 1690, the Kangxi emperor commanded Yù shū chù (御書處) to make imitations, and engravings of the emperor’s calligraphy works. Till 1843 cut down the staff and merge into the Printing Institute in Wuying Palace, Yù shū chù took the responsibility of keeping Emperor’s own brush works, taking orders to make imitations, and engravings of kinds of modelbooks, that becomes the only court workshop of making imperial modelbooks. The Qing dynasty, especially during the Kangxi, Yongaeng, Qianlong era issued the most amount imperial modelbooks of Chinese history. Due to the participation of emperor themselves, the court modelbooks engraving activities were extremely dynamic. The types of Qing dynasty court modelbooks includes the emperor’s own calligraphy works, famous royal collections, proofreading and reprinting those ancient modelbooks, and works of those courtiers who excel in calligraphy. According to Ch'ing Palace Memorials collected in The First Historical Archives of China, there were 3926 pieces stones of modelbooks while sorting out those modelbook stones in the southwest part of thw forbidden city. This really reveals the astonishing workload of Yù shū chù. However, there are still few articles of Qing dynasty court modelbooks engraving activities and Yù shū chù. This study is about the Qing dynasty court modelbooks engraving activities beginning during Kangxi era, the influences on Yongaeng, Qianlong era, and Yù shū chù.