In the last two decades of the seventeenth century, the production of a type of Coromandel lacquer screen featuring Dutch tropes flourished along China’s southeastern coast. Art historiography has generally linked their portrayals of armed vessels, musketeers, and trade goods, as well as winding coastal landscapes, to the grandeur of the Japanese ‘Southern Barbarian Screens’ (Nanban byōbu). This paper challenges the prevailing view that considers these Dutch-themed screens to be copies of the Japanese types, arguing instead that their production relied on pictorial vocabularies shared among Ming-Qing professional painters, printmakers, and porcelain decorators. Portraying the Dutch as skilled seafarers with advanced shipbuilding and artillery technologies, or as formidable horseback hunters on a par with the Manchu warriors, evoked the Chinese perception of the Dutch East India Company’s (VOC) supremacy in seventeenth-century East Asian waters. These depictions were inherently military rather than commercial in nature, as opposed to their Japanese counterparts. As this paper further reveals, the search for such masculine iconography emerged against the backdrop of the Manchu defeat of the Three Feudatories (1673–1681) and the annexation of Taiwan (1683), events that restored stability to the war-torn southern regions and precipitated a decisive ‘pro-nomadic turn’ in early Qing visual culture. More specifically, Dutch tropes and the desire for a ‘calm sea’ emerged as parallel responses to the empire’s new maritime frontier. At the heart of the turn lay the evolving attitudes of Han Chinese officials toward nomadic cultures and martial virtue, as well as their aspirations within the newly consolidated empire.

在十七世紀的最後二十年間，一種描繪荷蘭人形象的科羅曼多漆屏在中國東南沿海一帶蓬勃發展。藝術史論述通常將此類屏風上描繪的武裝船隻、火槍手、貿易商品以及蜿蜒的海岸景觀，與日本「南蠻屏風」聯繫起來。本研究挑戰了將這些荷蘭人主題屏風視為日本屏風仿製品的主流觀點，主張其製作實依託於明清職業畫家、刻工與瓷器畫工之間共享的圖像語彙。將荷蘭人塑造為精通航海、擁有先進造船與火炮技術的民族，或是塑造為可與滿洲勇士匹敵的馬背獵人，反映了十七世紀東亞水域中中國人對荷蘭東印度公司霸權的認知。與日本的同類屏風相反，這些描繪在本質上側重軍事性，而非商業性。本研究進一步揭示，此種尚武圖像的推崇，是在清朝平定三藩之亂（1673–1681）與收復臺灣（1683）的背景下出現的。這些事件恢復了飽經戰亂的南方地區的穩定，並促成了清初視覺文化中一個決定性的「狄夷轉向」。更具體而言，荷蘭人主題與對「海波不揚」的渴求，是作為對帝國新海疆的平行回應而出現的。此一轉向的核心，在於漢人官員對遊牧文化及尚武精神的態度轉變，以及他們在新帝國中的抱負。

Coromandel screen; Dutch VOC; maritime history; Kangxi period; Taiwan

科羅曼多屏風;荷蘭東印度公司;海洋史;康熙時期;臺灣