北京故宮博物院收藏的一組五幅乾隆帝畫像：《是一是二圖》，是清代宮廷繪畫中受到最多關注的組合作品之一，也受到了學者的高度重視。論文對其中兩幅的風格、圖像內容、畫幅尺寸、裝裱形制，與檔案記載詳細對比分析，論述它們的作者、懸掛處所、使用情況、逸樂性等。在此基礎之上，運用乾隆帝詩文集等文獻和相關的器物、繪畫等，嘗試把畫上的每一句題語放入到乾隆帝詩文集的語言原境，和繪畫原來觀看的場景中，對比乾隆內府中與此兩幅畫類似的觀賞對象及其品題詩句，分析這兩幅畫上的題識，審視兩幅畫的功用、意涵，揭示乾隆帝的品賞觀念及其與老莊思想的淵源。總之，論文試圖建構作品當時的歷史情境，從繪畫製作過程和視覺觀看的邏輯入手，探索兩幅《是一是二圖》乃至清代宮廷繪畫新的解讀方式。

The five portraits of Emperor Qianlong, Emperor Qianlong Appreciating Antiques (shi yi shi er tu), in the collection of the Palace Museum in Beijing are among the few Qing dynasty court paintings that have received the most attention, and have been highly valued by scholars. This paper analyzes the styles, content of the images, sizes and mounting forms of these two paintings, compares them in detail with archived documents, and further discusses their authorship, portrait locations, functional usage, and the nature of joyfulness. By referring to literature collections such as the poetry and literature of Emperor Qianlong, relevant artifacts and paintings, this paper aims to place verbatim, the inscribed poem on the paintings into the context of Emperor Qianlong’s original poetry and literature. It also compares the objects and poems which are appreciated by the Emperor as depicted in the paintings to the paintings in Qianlong’s imperial court, analyzes the inscriptions on each, and examines the functions and implications of these two paintings to reveal Emperor Qianlong’s concept of connoisseurship and its connection with the ideas of Laozi and Zhuangzi. In a nutshell, this paper seeks to construct the historical context of the painting at that time and to explore new ways of interpreting Emperor Qianlong Appreciating Antiques (shi yi shi er tu) and even the Qing imperial court paintings, starting from the painting process to the visual effect logic.

乾隆帝; 《是一是二圖》; 功用; 意涵; 品古

Emperor Qianlong; Emperor Qianlong Appreciating Antiques (Shi yi shi er tu); function; implication; appreciating antiques