Abstract:

Both Emperors, Huizong and Qianlong, maintain a reputation as artists, collectors, and art patrons. As this paper will try to show, collecting ancient objects, however, became a decisive element of their mode of rulership. In Imperial China, collecting was early tied to the notion of ordering the world by setting out a microcosmic image of it represented by the very objects that were collected. Ancient bronze vessels or jade objects allowed for an imaginative yet powerful appropriation of a foregone past that was idealized as a golden age setting an example for the present day. As the visual embodiments of a virtuous reign Imperial art collections were closely linked to both antiquarianism and aestheticism alike, which allowed for the Emperor to set up his reign on the basis of Confucian morals and aesthetic equivalence.

徽宗与乾隆两位皇帝都享有艺术家、收藏家和艺术资助者的美誉。我的这篇研究报告将讨论的是古代器物收藏问题,以及这种活动变为具有统治地位的时尚风潮的决定性因素。在中国帝制时代,收藏活动与用微观图像表现出的中国人关于有序世界的概念密切关联,恰能体现这一思想的器物就会被收藏。制作和收藏古代青铜器和玉器表现出对更早的过去,即能为今天树立榜样的被理想化的黄金时代的一种再现。由于皇家艺术收藏的视觉体现与尚古风潮和唯美主义都有着密切的联系,因此皇帝可以在儒家道德和美学同等基础上建立自己的统治。


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