earticle

영어

As a record of the emperor's appearance and a tool to strengthen the imperial power, the imperial portrait had an important position in the court culture of the Qing Dynasty. Since the Kangxi Emperor's time, the Chaozhu has become an indispensable element in the emperor's portrait, a change that profoundly reflects the high degree of centralisation of power in the Qing Dynasty and the exchange and fusion of cultures of the Manchus, the Chinese, and the Mongols. In this paper, we use the method of Pannowski's iconography to explain and interpret the origin, form and wearing regulations of the Chaozhu, to deeply analyse the symbolism of the iconic action of the emperor's hand cupping the Buddha's head in the portraits, and to reflect on the ideas of monarchical power and religious concepts embedded in them.

중국어

帝王画像作为记录帝王仪容和强化皇权的工具, 在清代宫廷文化中具有重要地位。自 康熙帝时期起, 朝珠便成为帝王画像中不可或缺的元素, 这一变化深刻体现清代权力的高 度集中以及满、汉、蒙等多民族文化的交流融合。本文运用潘诺夫斯基图像学的方法, 对朝珠的由来、形制及佩戴规定进行阐释与解读, 深入剖析画像中帝王手捏佛头这一标 志性动作的象征意义, 思考其中蕴含的君权思想与宗教理念。