九个完美的宫殿 - 美国大都会艺术博物馆展品查阅

品名（中）	九个完美的宫殿
品名（英）	The Palace of Nine Perfections
入馆年号	1982年，1982.125a–l
策展部门	亚洲艺术（Asian Art）
创作者	Yuan Jiang【1680 至 1730】【中国人】
创作年份	公元 1691
创作地区
分类	绘画（Paintings）
尺寸	图像: 81 1/2 英寸 × 18 ft. 5 3/4 英寸 (207 × 563.2 厘米) 整体 with mounting: 94 1/4 英寸 × 19 ft. (239.4 × 579.1 厘米)
介绍（中）	袁在家乡扬州的商业世界里风生水起。为了迎合这座城市商业精英奢华豪宅中大型挂轴和多层丝网画的流行，袁专门设计了华丽的蓝绿色景观中宫殿式建筑群的复杂视觉，旨在唤起唐和宋的原型这套屏幕般的卷轴描绘了唐都长安（今西安）北部山丘上一座八世纪的皇家静修院。九宫在唐末（618-907）被摧毁，被人们铭记为有史以来建造的最辉煌的住宅之一，其占地面积如此之大，以至于必须骑马往返于各个大厅之间皇家宫殿一直被比作道教的天堂，袁的愿景就是围绕着这个主题展开的，清朝风格的宫殿建筑坐落在一片神奇的风景中，暗示着神仙的魔法境界。但袁可能有另一种模式。这幅画是在康熙皇帝（1662-1722）第二次南巡扬州两年后完成的，画中有一位皇室随从——皇帝和他的遮阳伞手在前景中占据突出位置——无疑也受到了庆祝皇帝访问的仪式游行和奢华花园的启发。袁的绘画结合了传说和建筑幻想，并几乎不加掩饰地引用了当代事件，这是对扬州上流社会所向往的奢华物质生活方式的庆祝。
介绍（英）	Yuan Jiang thrived in the commercial world of his native Yangzhou. Catering to the vogue for large-scale hanging scrolls and multipaneled screen paintings as decoration in the ostentatious mansions of the city’s mercantile elite, Yuan specialized in intricate visions of palatial complexes set within sumptuous blue-and-green landscapes intended to evoke Tang and Song prototypes. This screenlike set of scrolls depicts an eighth-century imperial retreat in the hills north of the Tang capital, Chang’an (present-day Xi’an). Destroyed by the end of the Tang dynasty (618–907), the Palace of Nine Perfections is remembered as one of the most splendid residences ever built, with grounds so vast that it was necessary to travel between halls by horseback. Royal palaces have always been likened to Daoist paradises, and Yuan’s vision plays on this theme, with Qing-style palatial buildings set in a fantastic landscape that suggests the enchanted realm of the immortals. But Yuan may have had another model in mind. Executed just two years after the Kangxi emperor (r. 1662–1722) visited Yangzhou on his second southern inspection tour, the painting, which includes a regal entourage—with the emperor and his parasol-bearer prominently featured in the foreground—was undoubtedly also inspired by the ceremonial processions and lavish gardens created to celebrate the imperial visit. Combining legend and architectural fantasy with thinly veiled references to contemporary events, Yuan’s painting is a celebration of the grandiose materialistic lifestyle to which the high society of Yangzhou aspired.