清代宮廷藝術研究在近十年來，逐漸從聚焦於帝王個人角色轉向宮廷產製層面。本文擬以「畫院運作機制」為研究視角，藉之解析宮廷繪畫製作實態。本文所稱「運作機制」正是指宮廷畫院內特定的工作流程與決策過程，並將執行者、控制者等參與角色均納入檢視，試圖釐清形塑清宮畫院畫風的內在作用力。在運作機制的思考中，雖同樣關注畫稿製作、畫院制度、作業流程等，但並不止於清宮畫院的人物與制度之分析，更要探討其中如何決策、如何控制、產製並形塑畫風。 

本文選以郎世寧《百駿圖稿本》、沈源《清明上河圖》、沈源與丁觀鵬等人合繪《十二禁籞景》、《平定準噶爾回部得勝圖》銅版畫等四個案例進行說明。這些案例跨越雍正、乾隆朝畫院，在類型上各有特色卻又與郎世寧角色相關，能呈現出此階段畫院運作的不同面向。其中，郎世寧《百駿圖稿本》與沈源《清明上河圖》與圖式之創樣有關；後兩組《十二禁籞景》、戰圖銅版畫等則可觀察畫家內部的協調、畫稿之創制與風格控制等層面，能有效地呈現雍正、乾隆朝「運作機制」之相關實況。經此檢視，可知帝王主導力仍受制於畫題、圖式。而畫院內有視覺手段之傳遞，在《十二禁籞景》可見畫家們彼此協調、收束風格的製作實況，呈現出機制中的自我控管力量。至於戰圖銅版畫的生產則超出清宮畫院技藝範圍而更添變因，從工作程序、流程控管等都能左右畫風。

In the past few decades, studies on Qing court art have turned from the role of individual rulers to court productions as a whole. The present study adopts this approach to propose the “operating mechanism of the painting academy” as a way to further analyze the production of court paintings. Though the word “mechanism” has its origins in the configuration of a particular apparatus, it is now used increasingly to explain phenomena in society and describe the patterns of its internal operations. “Operating mechanism” here refers to the work flow and decision-making process of the painting academy at court. It incorporates the participation and role of both those who executed and controlled the process to clarify the forces behind the formation of the Qing court academic style. As for the operating mechanism, the focus is still on producing drafts, the painting academy system, and its procedures, but it does not stop with the figures and system behind Qing court painting. Rather, it explores the decisions, control, and formation of painting style. 

To clarify the production of Qing court painting, this study examines four examples: Giuseppe Castiglione’s draft for “One Hundred Horses,” Shen Yuan’s “Up the River During Qingming,” the collaborative “Twelve Views of Forbidden Compounds” by Shen Yuan and Ding Guanpeng, and the copperplate prints of “Victory in the Pacification of Dzungars and Muslims.” The four span the painting academy of the Yongzheng and Qianlong reigns and vary in format and features. Also connected to the role of Castiglione, they reflect various facets of the painting academy at this time. Among them, “One Hundred Horses” and “Up the River During Qingming” are related in terms of drafting. The other two works demonstrate the coordination, drafting, and stylistic control of the artists. Thus, they manifest the “operating mechanism” proposed in this study. The results show that the ruler still had direct control over titling and visualizing works. The painting academy had a means, as evident in “Twelve Views of Forbidden Compounds,” for artists to coordinate their styles, showing the power of self-restraint in this system. As for the battle prints, they exceeded the technical skills of the painting academy and required adaptation, the work flow to procedural controls approximating those in the painting style.

清宮畫院; 郎世寧; 沈源; 戰圖銅版畫; 合筆畫; 運作機制

Qing court painting academy; Lang Shining (Giuseppe Castiglione); Shen Yuan; battle copperplate prints; collaborative painting; operating mechanism