Wen hua shi ye xia zhi Kangxi nan xun yan jiu: yi "Xing Lu sheng dian" ji "Kangxi nan xun tu" wei zhong xin

M.Phil.As the Kingdom of Tungning ended, the former Ming forces completely collapsed, ushering in a new era of the Qing regime. Kangxi Emperor (1654-1722, r. 1662-1722) then planned a significant national event, which is called The Emperor Kangxi’s Southern Inspection Tour (Kangxi nanxun) in the history of the Qing dynasty. During the tours, he visited Queli for Confucian pilgrimage, monitored the water projects along river channels, and allowed tax exemption. These pioneerings work were recorded and laid the foundation for The Emperor Qianlong’s Southern Inspection Tour (Qianlong nan xun).Kangxi’s first two tours to the south resulted in two cultural products commemorating the grand event. An official book entitled The Grand Ceremony of an Imperial Visit to Shandong Province (Xing Lu shengdian), which was compiled by Yanshengong (Kong Yuqi, 1657-1723) after The Emperor Kangxi’s Southern Inspection Tour in 1684. The book included various forms of writing by the Emperor and several officials, revealing Kangxi’s attitude towards Confucian culture. The Emperor Kangxi’s Southern Inspection Tour Scrolls (Kangxi nanxun tu), was drawn after The Emperor Kangxi’s Southern Inspection Tour in 1689. It was created by a printing group of Jiangnan painters and court painters led by Wang Hui (1632-1717). These two cultural products originated from the tours to the South were not only historical records, but also became a symbol of the memories of the times.This thesis attempts to explore the significance of Kangxi’s Southern Inspection Tour from a cultural perspective. Through analyzing the background and production process of the scrolls and the book, we can understand how these two classics created the collective memory of the Southern Inspection Tour and discover the development of the field of cultural production in the High Qing period concerning related texts, poetry, prose and letters.After Kangxi, the Emperor Qianlong (1711-1799, r. 1736-1795) imitated the above classics to compile and draw two other cultural products –Magnificent Record of the Southern Tour (Nanxun shengdian) and The Emperor Qianlong’s Southern Inspection Tour Scrolls (Qianlong nanxun tu), which indeed indicate the significance of Kangxi’s Inspection Tour. Therefore, The Grand Ceremony of an Imperial Visit to Shandong Province and The Emperor Kangxi’s Southern Inspection Tour Scrolls are prefaces that cannot be overlooked in the study of the High Qing period.隨着臺灣明鄭時期終結，前明勢力徹底土崩瓦解，滿清政權迎來新的一頁。於盛清伊始之際，康熙皇朝策劃了一場清朝歷史上極其耀眼的國家盛事──康熙南巡。康熙皇帝作為清代首位巡幸江南地區的帝皇，行幸間的種種舉措，如親謁闕里祭孔、閱視河工、蠲免錢糧等，不僅是史冊上重要的記述，同時奠下了清帝南巡的雛型，成為後來乾隆南巡的依據。 康熙南巡於清代的意義毋庸置疑，但其能不限於史書的記載，走進時人後世的文化記憶中，所依憑的不單是康熙皇帝超越前人的創舉，更重要的是康熙南巡所獨有，且為世所認知的象徵物。康熙首兩次南巡結束後分別衍生了一項 文化產物，用以紀念南巡盛事，即康熙二十三年南巡後所編纂的官 修典籍 《幸魯盛典》，及康熙二十八年南巡後所繪製的皇家長卷《康熙南巡圖》，此兩項文化產物因源於南巡，於紀念帝主行跡的同時，自然而然地亦成為了承載南巡回憶的象徵之物。本研究試圖從文化視野探討康熙南巡的意義，藉着剖析《幸魯盛典》與《康熙南巡圖》兩項南巡文化產物的產生背景與過程，了解此一典一圖是如何譜寫出世人所共知的南巡文化記憶，並以與之相關的詩文尺牘相輔，尋索於盛清歷史下康熙朝文化場域的發展形態。由衍聖公孔毓圻總裁編纂 之 《幸魯盛典》 ，記載着康熙初次南巡 親謁闕里的事跡，當中康熙帝、衍聖公以至群臣不同形式的書寫，皆為認知滿族帝皇康熙對儒家文化重視的憑證，揭示出康熙朝於儒家文化上的取態。至於 《康熙南巡圖》 ，為清康熙年間畫壇巨擘 王翬 率領一眾江南畫家及宮廷畫師共同繪製，是清代畫史上宮廷與民間首次大型的藝術合作，畫卷內的圖像世界記錄着康熙南巡的行跡，畫卷外的現實世界又反映着康熙朝藝術場域的變更。《幸魯盛典》與《康熙南巡圖》所折射出的不只是康熙南巡之事，亦 蘊含 着康熙 朝文化 發展的狀態 其後 乾隆帝 又 仿傚 此一典一圖，編修繪製 ，造就 出另外兩部清史上重要的文化產物── 《南巡盛典 》與《乾隆南巡圖》 。因此《幸魯盛典》與《康熙南巡圖》實為研究盛清時代不可忽視的序章。黃奕."2020年9月".Thesis M.Phil. Chinese University of Hong Kong 2020.Includes bibliographical references (leaves 162-175).Abstract also in English.Title from PDF title page (viewed on March 18, 2022).Huang Yi