本文試圖再探索康熙手書原蹟再現臺灣所提供的文化與政治的新意涵，以補充筆者2013及2017二文未盡之處。包括「御書」文物播遷情境資料的追溯；「御書」本身書寫元素細節始透露的「書風」的建構與來源追溯；「御書」背後「書寫者」的書寫情境及選擇的圖像形式等等的文化政治意涵，特別是作者身為滿族及滿漢皇帝的複雜族群與政治身分的多元糾結、從滿人幼教轉向漢儒學及書法背後所涉及的，政治複雜身分的有意無意間的自主行為的轉化，以及「御書」從「原始使用情境」向「御匾」的「傳播使用情境」的圖像轉化與使用時空情境的變遷。其「原始使用情境」，是伴隨著史無前例的對孔子的儒學的高規格的禮敬儀式，因為原蹟的出現，以及皇帝書寫時間所面臨或掌控的政治情境及文化情境的相互參證，包括「平定臺灣」的「戎」的行為與首度「南巡」伴隨首度「東巡」親幸闕里的「祀」系列行為的關係得以更彰顯。同時，原蹟與各地複製間的關係所涉及的政治性符號化、規格化問題等等現象，也因為原蹟的出現，得以實證論述，並再議原蹟再現，對臺灣臺南孔廟御匾制度的不絕如縷現象所可能提供的新視角，及御書所涉及的康熙的漢化與否議題的論辯。

To complete the arguments in the author’s former papers in 2013 and 2017, this work explores the cultural and political meanings of the reappearance of the Kangxi Emperor’s original calligraphy of the “Exemplar Teacher for a Myriad Generations” in Taiwan. This study has three purposes: first, to clarify the transformation of visual images from the imperial brush to the imperial plaque; second, to trace the style of calligraphy; and third, to reconsider the cultural context and political intention of the writer, the Kangxi Emperor, who were tangled in ethnic contradiction and shifted from Manchu education to Confucianism. The original usage context of the imperial brush was accompanied by an unprecedented high-standard ritual ceremony for Confucius. With the reappearance of the original calligraphy, on the one hand, we can understand the connection between the “military conquest (戎)” of Taiwan and the “ritual activities (祀)” in the first “Southern Inspection Tour” and “Eastern Inspection Tour.” On the other hand, we can discuss the symbolization and standardization of the imperial plaque copies by comparing them with the imperial brush. This discussion, in turn, also sheds new light on the continuance of imperial plaques at the Temple of Confucius in Tainan and the sinicization of the Kangxi Emperor.

御書; 御匾; 萬世師表; 經筵; 日講

imperial brush; imperial plaque; “Exemplar Teacher for a Myriad Generations”; jingyan 經筵; rijiang 日講