清乾隆十四年（1749），乾隆皇帝（1735-1795在位）諭令大臣將紫禁城所藏精良古銅器編纂為《西清古鑑》一書。兩年後，於十六年（1751）集古銅器1529件編成40卷本，並以〈錢譜〉16卷為附錄。二十年（1755）完成武英殿本刻本。做為當時有史以來規模最大的古銅器圖譜，《西清古鑑》的出版是文化史中的一件大事。過去的研究多對「西清四鑑」進行綜合研究，並就其本身及其中所載青銅器對乾隆皇帝的銅器收藏及其所蘊含的政治性進行討論。但乾隆皇帝為何會對古銅器感興趣？其感興趣的項目為何？編纂第一本銅器圖譜《西清古鑑》的背景為何？這些問題以及乾隆皇帝、朝臣及內務府造辦處在古銅器的整理、運用上所具有的不同角色，均較少被探究，仍有更多面向的背景有待揭示。因此，本文通過分析過去較少注意的宮廷銅器陳設及整理、《西清古鑑》參與者背景，及造辦處各作間的合作關係，以做為進一步認識《西清古鑑》出現背景的補充。本文提出，《西清古鑑》是乾隆皇帝及其詞臣立基於古物鑑賞、儒學智識及歷史考據編纂的圖譜。通過查考參與者的生平活動，並留意他們在乾隆朝文化事業的參與，瞭解《西清古鑑》的編纂是由乾隆皇帝、詞臣、內務府造辦處，乃至由宮外舉薦等多樣的背景組成。特別是由畫院畫畫人及琺瑯作來自廣東的畫琺瑯人共同完成器物圖繪的認識，對揭示不同工藝背景工匠間的合作，及瞭解造辦處各作之間的關係及管理均有助益。

In 1749, the fourteenth year of the Qianlong reign (1735-1795), the emperor ordered high officials to compile a catalog of the finest ancient bronzes in the collection of the Forbidden City. Entitled Xiqing gujian, it was completed two years later in forty juan and featured 1,529 bronzes along with an addendum in sixteen juan for “Catalog of Coins.” The Wuying Palace printed the compilation in 1755, representing the largest catalog of ancient bronzes up to that time and also an important event in Chinese cultural history. In the past, most research on the subject of “Xiqing sijian” took the form of general studies discussing the publication itself, the collection of bronzes, and the political implications thereof. However, many questions remain, such as...Why was the Qianlong emperor was so interested in ancient bronzes? Where did his particular interests lie? What was the specific context behind the compilation of this first Qing dynasty catalogue of bronzes? These questions and the different roles of the Qianlong emperor, his court officials, and workshops in the Imperial Household Department in organizing and using ancient bronzes have been less studied, leaving many background facets unexplored. For this reason, the present study takes as its focus the usage and appreciation of ancient bronzes, the background of participants involved in the project, and the cooperation between different workshops of the Imperial Household Department. In doing so, the period context behind the appearance of the Xiqing gujian catalog can be fleshed out and better understood. The present study points to the compilation of Xiqing gujian as a catalogue providing a foundation for the Qianlong emperor and his scholar-officials in appreciating antiquities, Confucian studies, and historical criticism. Studying the activities of those involved in the project and seeing how they took part in the cultural enterprise of the Qianlong emperor demonstrates how the compilation of Xiqing gujian was an effort culminating in the coordinated efforts of the Qianlong emperor, scholar-officials, workshops of the Imperial Household Department and even those recommended from outside the palace. Of special note is how artists in the Painting Academy and enamelware painters worked together in understanding how to depict antiquities, showing craftsmen from different backgrounds coming together and providing a better understanding of the relationship between various workshops and their management system.

乾隆皇帝；西清古鑑；古銅器；內務府造辦處

Qianlong emperor；Xiqing gujian；ancient bronzes；workshops of the Imperial Household Department