制造乾隆:近代西方绘制乾隆帝画像考  

Making Qianlong:An Examination of Western Portraits of Emperor Qianlong

作　　者：高子倩 Gao Ziqian

机构地区：[1]上海交通大学人文学院

出　　处：《国际汉学》2024年第6期78-85,152,共9页International Sinology

摘　　要：18世纪末,乾隆帝在西方成为中国文化的代表人物。马戛尔尼使团制图师亚历山大曾多次绘制乾隆帝画像,画面的改动体现了艺术创作与政治需求间复杂的调和历程。19世纪初,乾隆帝的形象出现简化、弱化的倾向,人像的空间位置由“在场”转向了“悬置”。由于缺乏画面背景与装饰,观者被迫将所有注意力集中在乾隆帝画像上,这使得人像只能按照观者的既定认知被解读。19世纪中期,随着殖民活动的扩张,西方人逐渐取得了世界领域内的主体性与话语权。乾隆帝形象发生分裂,在一些画家笔下出现了妖魔化、女性化倾向,而在另一些画家笔下则出现了理想化、浪漫化倾向。从摹仿现实到改造历史,造作乾隆帝画像消解了中国的历史神圣性与文化自主权,近代西方由此掌握了对他性民族的终极阐释权。At the end of the 18th century,Emperor Qianlong became a representative figure of Chinese culture in the West.Alexander,the draughtsman of the Macartney Mission,painted the portrait of Emperor Qianlong multiple times,and the changes in the images reflect the complex process of reconciling artistic creation with political needs.In the early 19th century,the image of Emperor Qianlong tended to be simplified and weakened,with the spatial position of the portrait shifting from being present to being suspended.Due to the lack of background and decoration,the viewer had to focus all their attention on Emperor Qianlong’s portrait,which was thus interpreted according to the viewer’s understanding.In the mid-19th century,with the expansion of colonial activities,Westerners gradually gained subjectivity and discourse power in the world.The image of Emperor Qianlong became split,with demonization and feminization tendencies appearing in some painters’works,while idealization and romantic tendencies appeared in the works of other painters.From imitating reality to transforming history,the creation of Emperor Qianlong’s portraits eliminated China’s historical sacredness and cultural autonomy,and modern Western society thus gained the ultimate interpretive power over other nations.

关 键 词：乾隆画像 中国想象 形象建构 东方主义 图像叙事 

分 类 号：K207.8[历史地理—历史学]