乾隆朝蘇州城市圖像：政治權力、文化消費與地景塑造

王正華

doi:10.6353/BIMHAS.200512.0115

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P115 - 184

人文学 > 历史学

DOI： 10.6353/BIMHAS

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乾隆朝苏州城市图像：政治权力、文化消费与地景塑造

Reshaping Suzhou: Political Power, Cultural Consumption, and the Making of Local Sites in the Cityscapes of the Qianlong Period

王正华(Wang Cheng-hua)

近代史研究所集刊； 50 期 (2005 / 12 / 01) ， P115 - 184

繁体中文 DOI： 10.6353/BIMHAS.200512.0115

《盛世滋生图》；《南巡盛典》；苏州年画；城市图像；政治权力；文化消费；地景塑造； Chinese cityscapes ； eighteenth-century Suzhou ； the Southern Tour ； political power ； cultural consumption ； the making of sites ； Chinese urban history

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摘要 │ 参考文献 (129) │ 被引用文献 (17) │ 国际计量

摘要〈TOP〉

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Focusing on the cityscapes of Suzhou made during the reign of Emperor Qianlong (r. 1736-95), this article discusses how paintings and woodblock prints constructed a new image of the city by shaping and reshaping specific sites. In the late Ming period, Suzhou was famous for its scenic spots around the area of Lake Tai. Even though such time-honored sites as Tiger Hill (Huqiu 虎丘) and Stone Lake (Shihu 石湖) remained common subjects in eighteenth-century images of Suzhou, they were now portrayed not only in terms of their natural beauty but also as landmarks through an emphasis placed on architecture. More importantly, conspicuous in eighteenth-century cityscapes of Suzhou is its infrastructure, including city gates and bridges that formed the nexus of transportation and business transactions. Along with the emergence of man-made landmarks, Suzhou was transformed through art into a city that demonstrated good governance and thus a symbol of imperial glory. Suzhou, as the cultural center of the Jiangnan area, gained unprecedented political meaning in the symbolic system of the Qing regime. The cityscapes examined here can be categorized into three groups, focused on the long handscroll Ever Growing Population under the Prosperous Reign (Shengshi zisheng 盛事滋生). This is a court painting which takes Suzhou as its subject and Qianlong as its primary viewer to commemorate the emperor's Southern Tour to the city. In addition, I examine two groups of woodblock prints that were initiated respectively by local government and print shops. The former group of prints was produced under the supervision of local officials to glorify Qianlong's Southern Tour, while the latter was sold as commodities for Chinese New Year's decorations. These cityscapes produced by different sources point to a unified representation of Suzhou , in which we can see how elements of political power and cultural consumption were entwined in the transformation of the city's image. Both the handscroll and the commercial prints are rendered in a style obviously influenced by the West, producing an image of Suzhou marked by an unprecedented sense of spaciousness and 'orderliness. The Western technique of painting became one of the key factors which crystallized the close interaction between the court in Beijing and the major cities in Jiangnan. It is very likely that the personal taste of Emperor Qianlong played an important role in this interaction. However, political considerations should also be taken into account. This article also argues that the issue of Sinification should not be simplified, because even Suzhou, a center of Han culture in late imperial China, was infused with foreign cultural elements. This investigation pushes us to reflect upon the much-debated issue of the political nature of the Qing regime. After a decade of academic focus on the frontiers of the Qing Empire, it is time for us to shift our attention to the role of Inner China with a fresh eye.

参考文献 ( 129 ) 〈TOP〉

Raw.ki, Evelyn S.(2003).Re-imagining the Ch-ien-lung Emperor: a Survey of Recent Scholarshi.故宫学术季刊,21(1),1-29.
连结：
王正华(2002)。女人、物品与感官慾望：陈洪绶晚期人物画中江南文化的呈现。近代中国妇女史研究，10，7-57。
连结：
陈韵如(2005)。时间的形状－《清院画十二月令图》研究。故宫学术季刊，22(4)，103-139。
连结：
赖惠敏(2003)。乾隆朝内务府的皮货买寅与京城时尚。故宫学术季刊，21(1)，101-134。
连结：
赖惠敏(2004)。清乾隆朝的税关与皇室财政。中央研究院近代史研究所集刊，46，53-103。
连结：

被引用文献 ( 17 ) 〈TOP〉

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