继承与创新:文渊阁彩画的复合母题与多重隐喻  

Inheritance and Innovation: The Motifs and Multi-Implication of the Polychrome Decorative Patterns on Wenyuange Palace of the Forbidden City

作　　者：蒋雨彤 李路珂[1] 杨红[2] Jiang Yutong;Li Luke;Yang Hong

机构地区：[1]清华大学建筑学院 [2]故宫博物院古建部

出　　处：《故宫博物院院刊》2025年第4期87-103,158,共18页Palace Museum Journal

基　　金：“十三五”国家重点研发计划“明清官式建筑营造技艺科学认知与本体保护关键技术研究与示范”(项目编号:2020YFC1522400)之子课题“彩画作营造技艺科学认知”的阶段性成果。

摘　　要：文渊阁是清乾隆年间营建的“四库七阁”中唯一位于紫禁城内的藏书阁,兼具文化和礼仪功能,蕴含深厚的政教内涵。文渊阁外檐和前廊彩画作为显著的视觉元素,是使用者感知空间的重要媒介,而天花之上隐秘的脊步彩画则构成整体空间的象征性意涵。本文以文渊阁现存彩画为研究对象,通过纹样溯源与形式分析,探讨“江洋海水”“龙马负图”和“海屋添筹”三大彩画基础母题的图像特征,指出三种母题的创新与融合形成了多重意义结构;同时,通过剖析文渊阁仪典相关的历史文献,揭示建筑彩画在仪式场景中的视觉功能,解读了其对“十八学士登瀛洲”这一母题的暗示。此外,结合明间脊步上乾隆时期彩画原物的色彩、形式和图像空间,提出彩画中楼阁的多重属性。The Wenyuange Palace as the only one of the ‘seven storehouses and four libraries’ constructed inside the Forbidden City during the period of Emperor Qianlong(乾隆) of the Qing dynasty is embodied with political and educational connotations as well as cultural and ceremonial functions. The polychrome decorative patterns under the eaves and on the front corridor are impressive visually for the users to sense the space of such a brilliant palace, the patterns hidden on the ridges over the ceiling mean the spatial context whereas. With the main motifs such as ‘oceans and waters’(江洋海水), ‘a creature with mysterious river map on the back’(龙马负图) and ‘pavilions by fairy hills and a crane with chips in its mouth’(海屋添筹), the thesis includes: both inheritance and innovation work jointly making the patterns multi-meaningful in presentation and composition by their sources and modes. Secondly, the architectural polychrome patterns playing visually in ceremonial occasions. Thirdly, interpreting the motif of ‘eighteen scholars ascending Yingzhou’(十八学士登瀛洲) thematically. Finally, it points that the multiple roles of painted pavilions are stressed by color, design and imagery space of the original decoration patterned on the ridge beams of Emperor Qianlong(乾隆) period.

关 键 词：文渊阁 彩画 海屋添筹 龙马负图 十八学士登瀛洲 

分 类 号：J218.6[艺术—美术]