本研究以17-18世纪清代早中期的清供题材绘画（通称“清供图”）为中心，特别关注雍正-乾隆年间宫廷制作的清供题材绘画的特殊性。清供图是明清时期的吉祥画之一，它是清代清玩风气深化和祈福文化盛行的产物。清供题材绘画将花卉和各种古器物与花果蔬菜一同绘制，形成了一种独特的画作题材。其结构与瓶花图相似，并且与西洋静物画相似。清供图的典型素材是古代用作花瓶的器物以及具有节令性的花卉和蔬果。清供图是一种反映明清时期文人兴趣的视觉艺术，其中包括文房清玩、玩赏和爱好的主题。通过清供图上描绘的器物可以了解到清供图是在文人文化传播的过程中形成的绘画主题。这是因为清供图所描绘的主要器物与从版画出版技术发达的明代开始大量出版的文房清玩书籍的项目一致。因此，应该从清供品、文房清玩品等的组合的角度来理解清供图，而不是简单地把它视为明代以前瓶花图、蔬果图、花卉画的组合。 然而，尽管清供题材的研究具有如此重要性，但由于中国绘画史研究的趋势以山水画为中心，对于清供题材的研究并没有得到充分的展开。清供绘画作为吉祥画的一种因之前不是画坛的主流而被排除在绘画史研究之外，其意义常常被认为是由简单的吉祥意义引申出来的，或者清供题材只被视为绘画创作中的一个要素备受关注。至于清供题材的研究，大部分仅限于明代的陈洪绶、清代的吴昌硕等个人画家的作品，或是以清代金石学为中心进行考察，以及通过对清供题材的运用对个人创作的影响等，仅停留在初级水平的概括上，而且大部分的研究主要以明代为中心进行。 本文旨在通过具体的实例——《聚瑞图》、《瓶花图》和《岁朝图》，探讨雍正帝和乾隆帝如何利用清供题材的绘画表达其皇权意志。本文将研究这些作品中如何利用清供题材，呈现出皇帝的政治思想和文化社会意义。本文不仅关注这些作品的传统吉祥象征意义，更重要的是从政治角度深入研究这些画作的制作目的和功能。此外，清供题材不仅在绘画领域广受欢迎，还在建筑、陶瓷、刺绣等多种艺术领域中被广泛应用。这使得研究可以扩展到工艺美术领域，增加了本文的研究价值。 此外，清供题材不仅局限于中国绘画史，还在其他艺术形式如工艺美术作品中出现，并在韩国、日本、东南亚等地区也存在类似使用相同素材绘制的情况。因此，这些研究具有跨越地域、文化和创作媒介的重要性。进一步研究绘画内容与创作时代的关联性可作为未来研究的课题。
This study focuses on the genre of Qinggong paintings in the early to mid-18th century Qing Dynasty, particularly examining court-produced Qinggong paintings during the reigns of Emperor Yongzheng and Emperor Qianlong. Qinggong paintings are a type of auspicious painting from the Ming and Qing periods that depict various objects alongside flower vases. They share similarities with flower-and-vase and Western still-life paintings. Typical subjects include ancient vessels used as vases, as well as seasonal flowers and fruits. Qinggong paintings reflect the interests of literati during the Ming and Qing periods, encompassing themes of scholarly pursuits and appreciation. By studying the depicted objects, it is evident that Qinggong paintings emerged as a painting subject during the transmission of literati culture, aligning with the contents found in publications on literati objects and pastimes.Despite the significance of Qinggong subjects, they have received limited research attention due to the dominance of landscape painting in Chinese art history. Auspicious paintings have been excluded from mainstream art historical research, and their significance has often been simplified or seen as a minor aspect of painting creation. Existing studies have primarily focused on individual artists such as Chen Hongshou from the Ming Dynasty or Wu Changshuo from the Qing Dynasty, or explored the influence of Qinggong themes on artistic creations, with a limited focus on the Qing Dynasty.This paper aims to investigate how Emperors Yongzheng and Qianlong utilized Qinggong themes in their paintings to express their imperial authority. Specifically, it examines the works "Juiruitu(聚瑞图)", "Pinghuatu(瓶花图)" and "Suichaotu（岁朝图）" to explore the political ideologies and cultural significance embedded in these artworks. The research moves beyond traditional auspicious symbolisms to delve into the intended purposes and functions of these paintings from a political perspective.Furthermore, Qinggong themes extend beyond painting and are popular in various art forms such as architecture, ceramics, and embroidery. Considering the association with applied arts, this research has the potential to contribute to the field of decorative arts. Additionally, Qinggong themes emerged from the foundation of Ming and Qing culture, rooted in the literati‘s appreciation of objects and pastimes. As a highly favored genre of painting across social strata and artistic domains, studying visual materials related to qinggong themes provides insights into the distinctive features of the Qing Dynasty.
