摘要
本論文以乾隆宮廷製作的十七張白鷹圖為主題。首先，在前人的研究基礎上，進一步確證與補充目前中國鷹圖系譜討論中缺少的「架上鷹」類型，探討乾隆皇帝如何有意識地調整中國的鷹圖傳統來應對文化衝突，建構出適合滿清國情的宮廷鷹圖。接著，透過白鷹圖與其他清宮花鳥畫的合併觀照，說明乾隆宮廷繪畫中的西洋畫風，如何有條件地被乾隆皇帝運用以詮釋中國繪畫典範。最後，本文也嘗試提出在西方影響的再現論述之外，新的看待中國花鳥畫發展的方法，希望突破過去認為清宮藝術只能趨向衰落的論述限制，提供新的認識。
並列摘要
This study focuses on the 17 pieces of white falcon paintings made in Qianlong court. Firstly, based on the preliminary research this study further confirms and supplements to new eagle painting themes of China “Jia Shang Ying (the falcon is tied to a falcon stand with cord),” discussing how Emperor Qianlong consciously adjusted the tradition of Chinese Falcon Paintings, structured particular intention of the court Falcon Paintings for responding to cultural shocks and being suitable for Manchurian Qing. Then, by reviewing these Falcon Paintings and other Flower-and-Bird Painting of Qing court soberly, this study explains how the Western painting style was applied to court paintings of Emperor Qianlong with condition as the classics of Chinese painting. Different from the discourse of representation affected by west realistic painting, this study tentatively puts forward some suggestions and another approach about the development of Chinese Flower-and-Bird Painting and try to make a breakthrough of previous comments on the inevitable decline of arts in Qing court.