中國歷史上文物收藏有悠久的歷史，而文物的陳列成為圖像，於明末到清代頗為流行，在繪畫、瓷器、織品以及家具等不同媒材上被採用。新形式的文物陳列圖像大約在明代萬曆年間版畫中開始出現，逐漸流行到瓷器上成為紋飾。到了清初期康熙年間，可以看到新文物陳列圖像成為圖式的現象。十八世紀結合西洋畫法，使新文物陳列圖像更為擬真。此類文物陳列圖像，不僅在清朝宮廷內製作，也有傳世歐洲的中國壁紙等例子，反映著當時在民間也繪製相關圖像的事實。中國新文物陳列圖像後來也影響了朝鮮，出現新的繪畫門類「冊架圖」。其中，我們可以看到中國文物陳列圖像在多個區域間共同出現，在不同領域的藝術上發揮作用，具有多元的意義。

China has a long history of cultural relic collection, and the depiction of antiquities displayed as images became immensely popular from the late Ming to the Qing Dynasty. These depictions were applied across various media, such as paintings, porcelain, textiles, and furniture. A new form of antiquities display images began to appear in woodblock prints during the Wanli (萬曆) period of the Ming Dynasty and gradually became popular as decorations on porcelain. By the early Qing Dynasty, during the reign of Emperor Kangxi (康熙), it became common to see these new antiquities display images as a decorative motif.

In the 18th century, the combination of Western painting techniques made these images more realistic. Such antiquities display images were produced within the Qing imperial court and also appeared in objects like Chinese wallpapers that were passed down in Europe, reflecting how similar images were created in broader society. Later, these new Chinese artifact display images influenced Korea, where a new genre of painting called Chaekgado (책가도, bookshelf paintings) emerged. This demonstrates how Chinese antiquities display images appeared across multiple regions, influencing different areas of art and carrying diverse meanings.

文物收藏; 博古; 陳列; 中國壁紙; 冊架圖

artifact collection; Hundred antiquities; display; Chinese wallpaper; Chaekgado