結構丹青：滿文檔案與〈平定伊犁受降戰圖〉場景研究

A Study of Manchu Archives and Battle Scenes from War Painting of“Receiving the Surrender of the Yili”

十八世紀清朝入主西域期間，清軍初次進入伊犁的軍事行動被選中以圖畫呈現，〈平定伊犁受降〉不僅做為全套《平定準噶爾回部得勝圖》的首幅圖畫，也成為標記西域戰爭終究得勝的里程碑之作。平定回部戰爭結束前，乾隆二十五年四月，乾隆皇帝令郎世寧畫七張絹畫，其中即有《伊犁人民投降》；其後此主題又有銅版畫及其彩繪版本，均搭配乾隆皇帝初獲捷報時的御製題詩，由詩注可知，捷報得自原準噶爾部降人定邊左副將軍阿睦爾撒納等人的滿文奏摺。本文就圖論圖，重新釐清乾隆二十年五月清軍初次進入伊犁的軍事行動，將〈平定伊犁受降〉畫面構組和奏報清軍進入伊犁的滿文檔案互證。圖中描繪清軍進入伊犁時，當地喇嘛、回人、厄魯特蒙古等叩馬迎降，以及橫渡伊犁河等情節，確實見於奏摺記載，可知當時結構丹青的構圖過程中，所謂徵詢參戰相關將士，其實也參考了來自前線的滿文奏摺。而圖畫中包括孔雀、鷹、青瓷盤、回人伎樂，及蒙古貢馬等等各色貢品，則未見於檔案；透過分析這些貢品的可能來源，及其對應的族群和意涵，可知畫面整併多重時空的西域貢物，並且刻意搭配相應的族群。今人對該圖的理解不宜受限於御製題詩，及畫面凸顯的清軍陣容和「投降」群眾所引導的受降儀式主題。

In the eighteenth century, the Qing dynasty military’s first campaign in the Western Regions (Xiyu), namely the occupation of Yili in 1755, was chosen by the court as a subject for pictorial representation.“Receiving the Surrender of the Yili”(“Pingding Yili Shouxiang”) was not only the first plate in the series Victory in the Pacification of Dzungars and Muslims (Pingding Zhungaer Hui bu Desheng tu), but also marked a milestone in the Qing ultimate victory. In 1760 during the reign of the Qianlong Emperor, before the pacification of Xinjiang was complete, Giuseppe Castiglione (Lang Shi Ning) was commissioned by the emperor to paint seven silk works, including Receiving the Surrender of the Yili (Yili Renmin Touxiang). copperplate-engraved and color-illustrated versions of this theme were paired with imperial poems written by the Qianlong Emperor upon receiving news of victory. His annotations reveal that the news had come from a Manchu-language memorial to the palace submitted by General Amursana, a former Dzunggar tribesman, and other Qing officers. This article reconsiders the Qing military’s first entry into Yili by analyzing“Receiving the Surrender of the Yili”and cross-verifying it with Manchu-language archival records. The painting vividly depicts the troops’staged entry, showcasing local lamas, Hui peoples, and Oirats kneeling to welcome the Qing forces, and the army crossing the Yili River to receive the surrender. Manchu-language memorials served as crucial references for the composition. However, the painting also incorporates elements not found therein, such as tributes including peacocks, hawks, celadon plates, Hui musical instruments, and horses. Examining the origins and meanings of these tributes suggests that the painting deliberately integrates offerings from various times and places in the Western Regions, associating them with specific ethnic groups.