清宮畫琺瑯的研究，無論是整體的討論、康雍乾三朝的成就，或是銅、瓷、玻璃各胎質琺瑯分項的研究，都有相當的成果。在乾隆朝銅胎畫琺瑯方面，已能區分出北京與廣東的製作，辨認出一批「廣琺瑯」。只是，乾隆四十年(1775)《活計檔》所記：「不要廣法瑯，務要洋法瑯」，則尚未得到較好的解釋。過去僅能從實物所見，透過作品風格暫時將「廣琺瑯」與「洋琺瑯」歸為同類，而無法呈現文獻所顯示兩種品類對立的狀況。新近北京故宮公開的新資料，揭示了一件清宮畫琺瑯作品中有歐洲琺瑯藝匠的款識，成為深入討論的新契機。一方面，經由這件作品，可以重新整理過去對於銅胎琺瑯認識的成果，更聚焦於「洋琺瑯」實物風格與文獻的對應。同時，參照乾隆朝的歷史脈絡，以及西洋技術在清王朝政治秩序中的定位與認識，再為推敲「洋法瑯」究竟指的是那一類的琺瑯作品。最後，我們認為，「洋琺瑯」的命名與製作，一方面在技術上顯示其西洋來源，一方面也是乾隆皇帝對於前朝技術成就的懷想與紀念，才採取將父祖所發展出的特定風格與樣式定為「洋琺瑯」，且下令粵海關承做。這一新見解將促進對於文獻所載「不要廣法瑯，務要洋法瑯」的理解，同時也映照出乾隆朝工藝製作中清王朝的政治秩序結構。

The research on enamel painting in the Qing Dynasty has yielded considerable results, whether in terms of overall discussion, the achievements during the Kangxi, Yongzheng, and Qianlong reigns, or the study of various types of enamel on copper, porcelain, and glass substrates. In the aspect of painted enamelware during the Qianlong reign, distinctions have been made between productions in Beijing and Guangdong, identifying a group as “Guang falang.” However, the statement from the 40th year of Qianlong’s reign (1775) in the Archives of the Imperial Household Workshops, “Do not pay tributes of the Guang falang, but of the Yang falang (European-influenced enamel),” has yet to be fully explained. Previously, based solely on physical observations, “Guang falang” and “Yang falang” were tentatively categorized under the same style through the analysis of artwork, failing to reflect the contrasting categories as shown in documents.

Newly disclosed data from the Forbidden City in Beijing reveals an inscription by a European enamel craftsman on a Qing painted enamel on copper, providing a fresh opportunity for in-depth discussion. On one hand, through this artwork, past understandings of painted enamelware can be reorganized, focusing more on the correspondence between the style of “Yang falang” and documentary evidence. Simultaneously, considering the historical context of the Qianlong era and the position and understanding of Western techniques within the political order of the Qing Dynasty, it becomes crucial to ponder which type of enamel works are referred to as “Yang falang.”

Ultimately, it is believed that the designation and production of “Yang falang” not only indicate its Western origin technically but also reflect Emperor Qianlong’s nostalgia and commemoration for the technological achievements of previous dynasties. This is evident in the decision to classify the specific style and pattern developed by his ancestors as “Yang falang” and to order its production by the Guangdong Maritime Customs.

乾隆; 粵海關; 西洋; 洋琺瑯; 廣琺瑯; 銅胎畫琺瑯

Qianlong; Canton Maritime Customs; the West; “Guang falang”; “Yang falang”; “Guang falang”; enamelwares