清乾隆朝（1736－1795）得勝圖散佈全球且數量龐大，學界焦點及相關研究集中在彩圖及銅版畫形式。二十世紀初自中南海紫光閣流散海外的《平定臺灣得勝圖》雕漆掛屏仍有待深入研究，其中六件屬於德國皇帝威廉二世（Friedrich Wilhelm Viktor Albert，1859－1941）舊藏。本論文以該組文物為核心材料，結合視覺分析及檔案史料，重組其訂製流通和工藝風格，以略窺乾隆朝紀勳圖像傳播至地方層面引起的迴響。

該套雕漆掛屏之製作可分成兩階段。第一，在乾隆皇帝（1711－1799）積極推動下，造辦處以平定準噶爾回部、金川得勝圖為範式，折衷中西技法，印製《平定臺灣得勝圖》銅版畫，乾隆五十七年末（1793）分賞至諸省衙府及各行宮收貯陳設。第二，以地方大吏為主軸，時任江蘇巡撫的旗人奇豐額獲得版畫後，交蘇州織造外僱漆工作為樣稿，製作雕漆掛屏。乾隆六十年（1795）初以例貢禮物敬獻皇帝，爾後在紫光閣與其餘紀勳圖像合流。此套雕漆掛屏的層次感及景深相當獨特，代表宮廷與蘇州間的技術及物質交流。它具有帝國紀勳和地方貢品的雙重性格，更可為清代宮廷文物的多元脈絡提供新觀察。

Among numerous conquest commemorative images produced during the Qianlong reign (1736-1795) and circulated worldwide, the album paintings and copperplate prints have continuously attracted scholarly attention. A curious suite of carved lacquer panels of “Victory in the Pacification of Taiwan (Pingding Taiwan desheng tu),” six of which belonged to the German Emperor Wilhelm II’s (Friedrich Wilhelm Viktor Albert, 1859- 1941) collection in Museum Huis Doorn, awaits further study. This paper, based on visual analysis and archival sources, investigates the production, circulation, technique, and style of the lacquer panels in order to look into the way in which the visual propaganda of imperial military achievement was responded at the local level.

The making of the lacquer panels can be divided into two phases. First, the copperplate engravings—under the Qianlong Emperor’s (1711-1799) patronage— were produced by the imperial palace workshops following the technical standard of the East Turkestan and Jinchuan Campaigns series. Finished in late 1792, these copperplate prints were distributed to provincial government offices and temporary palaces for storage and display. Second, the Governor of Jiangsu Province, a bannerman named Qifeng’er, commissioned artisans in Suzhou to produce lacquer panels using the imperially bestowed print suite as a template, and sent the panels to the court in early 1795 as part of his tribute gifts dedicated to Qianlong. Together with various forms of conquest commemorative images, the lacquer panels were later stored in the Hall of Purple Splendor (Ziguang ge). The suite of lacquer panels featuring multilayered coating and visual depth was the result of craft and material exchanges between the court and Suzhou. It is both a local tribute and an embodiment of imperial imagery, and such a dual nature can shed new light on our understanding of the formation of Qing court artifacts.

乾隆皇帝; 清宮; 平定臺灣得勝圖; 蘇州織造; 雕漆工藝; 貢品

Qianlong Emperor; Qing court; copperplate engravings of the Taiwan Campaign; Suzhou Weaving Bureau; carved lacquer; tribute