英文摘要 |
This article concerns how the Qianlong Emperor, as a connoisseur of art, flexibly managed the potentially contradictory image of himself as the ruler of both the Han Chinese and Manchuria through the collection, creation, and translation of artifacts. The Qianlong Emperor intentionally adopted two strategies regarding cultural politics: (1.) while being presented with Hindustan jade artifacts which were more intricately carved than their Chinese counterparts, he utilized the Sino-centric discourse of “tianxia zhixu” 天下秩序 (“world order under heaven”) and dismissed these non-Chinese artifacts as unvirtuous craftsmanship; (2.) with his patronage of the translation of the Tibetan Buddhist canon and reverence for Tibetan Buddhism, he adopted the so-called “yon bdag dang mchod gnas” (“patron and chaplain”), or “yon mchod,” in the Tibetan language and regarded Chinese Buddhism as a deviated form from authentic Dharma. Through these two seemingly contradictory cultural discourses, we may not only catch a glimpse of the diverse ruling approaches of the Qing Empire, but also arrive at an understanding of how the Qing flexibly constructed its own ethnic identity within various contexts. |