美國哈佛大學燕京圖書館藏《平定臺灣得勝圖進呈副本》的繪圖觀點及與銅版《得勝圖》比較

Drawing Victories: Harvard-Yenching Library Collection of Paintings on Successful Suppression of the Lin Shuangwen Rebellion

本文將分析藏於美國哈佛大學燕京圖書館，由福康安在臺灣主導繪製的16幅版本《平定臺灣得勝圖進呈副本》（簡稱「《進呈副本》」）並將其與國立故宮博物院所藏的銅版畫《平定臺灣圖》進行比較，嘗試理解《進呈副本》之差異和史學意義，以及圖冊的繪製脈絡、知識、觀點。本文擬論證相較於廣傳於世的銅版畫版本，此圖冊展現更清晰的戰場狀況與更濃厚的臺灣特色。首先介紹《平定臺灣得勝圖》的繪製過程，指出福康安在臺灣奉命繪製16幅版本的《進呈副本》戰爭圖以供製作得勝圖宣揚帝國武功。藉由比較《進呈副本》與銅版畫，此圖冊之發現將有助於釐清清代《得勝圖》圖像製作底本與最終版本間差異與空白之處。通過圖冊中有關臺灣原住民的圖像描繪，筆者認為施畫者以臺灣城市的觀點和角度看待邊區，仰賴舊時累積的知識、文本，將熟番形象套用到本該屬於生番的形象上，構成此圖冊的主要知識建構脈絡與視角。

This article discusses the making of 16 newly discovered drafts of war paintings collected in Harvard-Yenching Library. The paintings were drafted by Fuk’anggan in Taiwan under Qianlong Emperor’s edicts for producing paintings to publicize Qing’s greatness. Comparative analysis was made between the painting drafts and their final versions; and their similarities and differences were examined. This article argues that the painters imagined and made the drawings from the Taiwan-urban-centered perspectives by exploring the images of aborigines in Taiwan to realize the context of the paintings.