博采、捉刀或抒意:乾隆帝书画题跋方式探赜  

Research on the Way of Postscripts on Calligraphy and Painting by Emperor Qian

作　　者：孙启 Sun Qi

机构地区：[1]华东师范大学美术学院,上海200062

出　　处：《南京艺术学院学报（美术与设计）》2024年第3期53-60,I0002,I0003,共10页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社科基金艺术学一般项目《明清书画题跋史》(22BF102)阶段性研究成果。

摘　　要：乾隆皇帝对书画的嗜尚,不仅体现在藏品上随处可见的钤印,亦见于其所题就的大量御诗与考据跋文。然今人论及乾隆的题跋行为,往往容易产生其乃随性而为且无规律可循的刻板印象,实则并非如此。本文将依托史料与墨迹,围绕内容类别、画面形式、参与人群、书写手段等展开探讨,分析乾隆皇帝进行书画题跋活动的主要方式。Emperor Qianlong's fondness for calligraphy and painting is not only reflected in the seals that can be seen everywhere in the collection,but also in the large number of imperial poems and textual research postscripts he wrote.However,when people today talk about Qianlong's inscriptions and postscripts,they often tend to have the stereotype that they were random and irregular.In fact,this is not the case.This article will rely on historical materials and ink marks,focus on content categories,picture forms,participants,writing methods,etc.,and analyze the main ways in which Emperor Qianlong carried out calligraphy,painting and inscription activities.

关 键 词：乾隆 书画题跋 宫廷雅集 词臣 代笔 

分 类 号：J206[艺术—美术]