清乾隆年間《平定安南戰圖》製作經緯

On the Copperplate “Illustrations of the Pacification of Annam” during the Ch’ien-lung Reign

本文旨在探討平定安南戰圖銅版畫之排序及其製作經緯，並介紹各幅圖之構圖內容，文中使用資料以文獻檔案為主，期能補充前人研究不足之處。
透過本文探討顯示，首先，「平定安南戰圖」各幅圖之排序，無論是依照史實，或是宮廷書冊《國朝宮史續編》及《御製詩文十全集》等資料的排序，兩者皆一致。其次，戰圖銅版於乾隆五十五年五月初六日被交付製作，至乾隆五十八年十二月十一日呈報完成，約費時三年半之久。該套銅版比照西洋製作註明係由造辦處承作及次續，至少被壓印二百三十九份。再者，本套戰圖中御製詩文均係補詠，體例較為統一，構圖揉合中西技法，注意明暗光影，但僅有六幅，較宮廷其他套銅版畫戰圖為少。而其中五幅為戰事圖，挑選了由孫士毅從出關後到收復黎城的幾場勝仗，惟清軍後被安南阮軍突襲的敗仗則被刻意遺忘。最後一幅為安南使臣入覲圖，其構圖顯係參照「平定臺灣戰圖」的「賜宴凱旋諸將圖」而成。最後，本文認為，本套銅版畫戰圖實不等於這場戰事，「平定」一詞亦有商榷必要。透過乾隆皇帝作之〈書安南始末記事〉及〈再書安南始末事記〉觀之，由「書以誌過」到「天眷獨厚」，甚至後把「平定安南」視為「十全武功」之一，顯示銅版畫戰圖製作之主要目的，仍舊是為了彰顯事功。

This study investigates the order, production, and composition of the copperplate Illustrations of the Pacification of Annam and seeks to supplement the inadequacies of past research largely by referencing documents and records.
This study shows that the order of illustrations, whether based on historical facts or the palace documents such as Sequel to the Reigning Dynasty Palace History (Guochao gongshi xubian) and A Collection of the Qianlong Emperor’s Poems on the Ten Great Military Campaigns (Yuzhi shiwen shiquan ji), is the same. The investigation reveals that the copperplates were commissioned on the sixth day of the fifth month of the 55th year of the Qianlong reign (1790) and produced over approximately three and a half years, reaching completion on the eleventh day of the twelfth month of the 58th year of the emperor’s reign (1793). The production of the copperplates was modeled on previous productions in France, and the back of each plate was etched with the name of the manufacturer (the Imperial Workshop) and the plate’s order.
At least 239 prints were made from the copperplates. The imperial poems on the battle illustrations have a uniform format. The composition of the illustrations combines Chinese and Western techniques and accentuates the chiaroscuro effect. However, this series consists of only six copperplates, fewer than most other court copperplate battle illustrations. Five of the illustrations in this series depict battles, while the last portrays the emissary of Annam paying a formal visit to the emperor. The composition of the latter evidently follows A Victory Banquet Given by the Emperor for the Distinguished Officers and Soldiers in the Illustrations of the Pacification of Taiwan series.
This study concludes that the series does not, in fact, cover the entirety of the war, and that the term “pacification” must be reconsidered. In “On the Expedition to Annam” (Shu an’nan shimo jishi) and “More on the Expedition to Annam” (Zaishu a'nan shimo jishi), the Qianlong Emperor shifted from “using writing to note down mistakes” to the Qing Empire being “favored by Heaven”. Later, he even listed the pacification of Annam as one of his Ten Great Military Campaigns, indicating that the main purpose of this series of copperplate illustrations remained self-glorification.