中國近世的官員士子除了藉由碑傳文字，亦常利用傳記圖來紀念生平經歷或彰顯家聲祖德，所採圖式歷來均以敘事人物畫為主，惟獨清嘉、道年間流行的樣式大異，偏尚以名勝山水圖來呈現。如張寶《泛槎圖》、麟慶《鴻雪因緣圖記》、張維屏《花甲閑談》及劉愔《悟薌亭畫稿》等皆屬佳例。其編繪體例多以個人一生履歷為經、天下各地勝景為緯，將原本作為搜奇探奧或觀光導覽之用的天下名勝圖轉成一種表述個人事蹟乃至家族歷史的視覺媒介。別具時代意義的是，天下名勝圖原先皆出於私修，但盛清時期卻僅見官修欽定之作，測繪帝國江山勝概的活動至此儼然已遭清廷全面控管，似不再任由個人私自造作。因此，這批傳記體名勝圖的出現，可說亦代表了圖寫帝國景觀風貌的主導權又重歸私家之手。

In late imperial China, pictorial biographies or memoirs had been constantly appropriated by government officials and examination candidates as an alternative way of chronicling their personal histories and public services. With an attempt to preserve the likeness of biographies or to dramatize their life stories, this type of work was traditionally executed by artists specializing in narrative figure painting or portraiture. The only exceptions are those richly illustrated autobiographies and travel memoirs from the Jiaqing-Daoguang period (1796-1850) of the Qing, including Zhang Bao’s (b. 1763) Fancha tu, Linqing’s (1791-1846) Hongxue yinyuan tuji, Zhang Weiping’s (1780-1859) Huajia xiantan, and Liu Yin’s Wuxiangting huagao, which unequivocally prefer landscape as a representational vehicle to figure painting. Consequently, the main focus of their renditions also shifts from human activities to actual places, many of which were significant to the lives and careers of the autobiographers, such as their offices, residences, family estates, ancestral cemeteries, and hometowns. Meanwhile, in order to exhibit their extensive travel experience and geographical knowledge, these autobiographers were also keen to provide a comprehensive record of famous sites which they personally visited during their journeys across the empire. As a result, their visual memoirs could also stand out as an encyclopedia of iconic landmarks despite the presence of some autobiographical elements.

It is worth noting that individual endeavors to compile and publish illustrated encyclopedias of iconic landmarks, which flourished particularly in the late Ming, were swiftly interrupted following the foundation of the Qing. Throughout the eighteenth century, known as the golden age of Qing power, only those imperially sponsored compilation projects came to fruition. The aforementioned nineteenth-century privatelymade compilations thus not only afford more personalized and diversified visual representations of the vast territories under Qing rule, but also epitomize the resurgence of individual efforts to launch ambitious cultural projects after a century long hiatus.

傳記圖; 名勝圖; 張寶; 麟慶; 張維屏

pictorial biographies; pictures of famous landmarks; Zhang Bao; Linqing; Zhang Weiping