本文企圖在中國繪畫史的研究領域中構思一個與政治權力論說有關的研究角度， 為一研究史回顧、評論及新角度開拓的省思。政治權力的研究角度視繪畫作品為文化物品， 討論在其生產及使用脈絡中被賦與的政治權力面向的意義。此一角度並非憑空而來，在中國 繪畫史領域中已有若干論著觸及此一角度。然而，起碼在八○年代末期以前的學界研究分類 中，此一角度尚未浮現，學界的認知也屬有限。時值九○年代末的今日，繪畫的定義及研究 方法日趨多元，而權力研究更是多個人文、社會學科的研究重點，此一角度的正當性及適用 性值得闡述。論文主要分成二個部份，前一部份針對相關研究進行回顧及評論，後一部份則 選擇二個研究範疇更進一步地討論政治權力角度的擴展及可行性。在評述前人研究成果時， 將其分成政治意涵及政治脈絡、權力性質及效用二類。除了對個別內容有所陳述外，由於本 文為一以研究角度為出發點的討論，因此特別注意各個論著的研究方法及背後假設，並企圖 站在「構思政治權力研究角度」的立場，討論如何拓展相關諭著的研究空間。後一部份以「 帝后像」，及「明代宮廷畫」為中心，省思歷來研究的不足及末來如何運用政治權力角度開 拓研究空間。在全面的討論後，期望政治權力的研究角度可

　　　　　This article explores scholarly attempts to discuss political power in relation to Chinese painting by examining past research in this area and reflecting on new possibilities. It is intended to view paintings as cultural objects, and to analyze the political significance given to them in the process of their production and use. This approach to traditional Chinese painting is not wholly new, and various scholarly works have attempted to analyze Chinese painting from this angle. Nonetheless, before the end of the 1980s, this angle was not fully recognized by the field of Chinese painting. Today, at the end of the 90s, the definition of painting and approaches to the material have become increaingly diverse, while the subject of power, whether from the perspective of the humanities or social sciences, has become a focus of research. At this time, the appropriateness and practicability of analyzing Chinese painting from the perspective of political power deserves our attention. This article is divided into two sections. The first summarizes and evaluates past researches. The second section takes up two particular areas within this field and discusses the expansion of the political approach and its applicability. The article discusses previous research in two categories: political implication and context, and power and its implementation. In addition to relating the general contents of this research, the article pays especial attention to the methodology and presuppositions of the authors, and examines the material from the perspective of research on the "construction of political power." The second section of the article focuses on portraits of emperors and empresses and Ming court painting. It points out the deficienciese in research in these fields in the past, and suggests the opportunities for research on political power when discussing these paintings. At the end of this discussion, the article suggests that more attention to the question of power would help the field of Chinese painting to escape from its current state of relative isolation and begin to interact with other areas of the humanities and social sciences in a distinctive, creative way.