發(fā)布時(shí)間：2018-05-06 13:25

  本文選題：畫作 + 畫院處�。� 參考：《中央民族大學(xué)》2006年碩士論文

【摘要】：本文在綜合分析《欽定大清會(huì)典事例》、《欽定總管內(nèi)務(wù)府現(xiàn)行則例》、《內(nèi)務(wù)府造辦處各作成做活計(jì)清檔》、清人筆記、傳教士書簡、清畫史、畫論及前人研究成果的基礎(chǔ)上，擬從“機(jī)構(gòu)”和“畫家”兩個(gè)層面，探討清前期宮廷繪畫機(jī)構(gòu)的建制和管理。“機(jī)構(gòu)”層面，分三個(gè)階段論證了清前期宮廷繪畫機(jī)構(gòu)從畫作、畫院處到如意館的變遷，同時(shí)對(duì)前人在這一領(lǐng)域未涉及及有紕漏的問題進(jìn)行了探討和澄清；“畫家”這一層面主要是從清前期宮廷畫家的納選、待遇、賞罰、職能、培養(yǎng)、衣食住行、人際關(guān)系等多方面進(jìn)行分析，進(jìn)一步探討當(dāng)時(shí)宮廷繪畫機(jī)構(gòu)的管理和運(yùn)作。 通過以上兩個(gè)層面的研究，本文得出結(jié)論：清前期宮廷繪畫機(jī)構(gòu)經(jīng)歷了一個(gè)動(dòng)態(tài)的演變過程�？怠⒂簳r(shí)期，由畫作統(tǒng)管整個(gè)宮廷的繪畫創(chuàng)作；乾隆元年至二十年，畫作的職權(quán)范圍不斷縮小，畫院處成為此時(shí)期的專門機(jī)構(gòu)，負(fù)責(zé)協(xié)調(diào)和管理眾繪畫處的運(yùn)作；乾隆二十年以后，絕大多數(shù)優(yōu)秀的宮廷畫家和主要的宮廷繪畫活動(dòng)都逐漸集中于如意館，由它在事實(shí)上擔(dān)負(fù)起管理宮廷繪畫事務(wù)的職能。此時(shí)期的宮廷畫家雖然擺不脫御用的工作性質(zhì)，，卻擁有較活躍的工作氛圍；他們的社會(huì)地位雖然不高，但從衣、食、住、行諸方面來看，卻享有較豐厚的物質(zhì)待遇；他們的工作環(huán)境雖然不盡人意，但其工作本身卻得到了統(tǒng)治者的支持和關(guān)心；對(duì)學(xué)生的培養(yǎng)雖然都是從內(nèi)府包衣中選拔，但
[Abstract]:This paper is based on a comprehensive analysis of the "examples of the Qing Dynasty in Qinding", the "current Code of principles" of the General Administration of Internal Affairs, the "work done by the Ministry of Internal Affairs", the notes of the Qing Dynasty, the brief books of missionaries, the history of Qing paintings, the theory of painting and the achievements of previous studies. This paper discusses the establishment and management of court painting institutions in the early Qing Dynasty from the two aspects of "organization" and "painter". At the level of "organization", it demonstrates the changes of the court painting organization in the early Qing Dynasty from painting, painting school to Ruyi Pavilion. At the same time, it discusses and clarifies the problems that the former did not involve in this field. "Painter" is mainly from the early Qing Dynasty court painter selection, treatment, reward and punishment, functions, training, clothing, housing and human relations, and other aspects of the analysis, further explore the court painting institutions at that time management and operation. Through the above two levels of research, this paper draws a conclusion: the court painting institutions experienced a dynamic evolution in the early Qing Dynasty. During the period of Kang, Yong, the painting was in charge of the whole palace painting creation; from the first year to twenty years of Qianlong, the scope of authority of the painting was continuously reduced, and the painting institute became the special organization of this period, which was responsible for coordinating and managing the operation of the painting office. Twenty years after Qianlong, the vast majority of outstanding court painters and main court painting activities were gradually concentrated in Ruyi Pavilion, which in fact assumed the function of managing court painting affairs. The court painters of this period had a more active working atmosphere, although their social status was not high, they enjoyed rich material treatment from the aspects of clothing, food, housing and travel. Although their working environment is unsatisfactory, their work itself is supported and concerned by the rulers.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：K249

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