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The Qianlong Emperor’s Conquests 平定西城戰圖 Depictions of Victories over the Eleuths, Dzungars and Other Central Asian Peoples in Xinjiang French engravers: Jacques-Philippe Le Bas (1707-83), Jacques Aliamet (1726-88), Augustin de Saint-Aubin (1736-1807), Benoît Louis Prévost (1747-ca. 1804), Pierre Phillipe Choffard (1730-1809), Joseph Masquelier (1741-1811), François Denis Née (1732-1817), and Nicholas de Launay (1739-92), under direction of and with modifications by the Secretary-Historiographer of the Academy of Painting, Charles-Nicholas Chochin fils (1715-90), after drawings by Guiseppe Castiglione (Lang Shining 郎世寧) (1688-1766), an Italian Jesuit; Jean-Denis Attiret (Wang Zhicheng 王志誠 1702-1768), a French Jesuit; Ignatius Sichelbart (Ai Qimeng 艾啟蒙 1707-1780), a Bohemian Jesuit; and Giovanni Damasceno (An Deyi 安德義 d. 1781), an Italian Augustinian. Paris. Etching and engraving from a copperplate on Grand Luovois paper; 57.3 x 92.5 cm (image). 16 plates of pictures accompanied by 16 plates of poems and prose, plus 1 preface by the Qianlong emperor in woodblock print form dated to February-March 1766, 1 postface dated to the 7th month of the 44th year of the Qianlong reign (1779) in handwritten form by Gioro Tuside 覺蘿圖思德 (d. 1779), Manchu Bannerman (Bordered Yellow Banner 鑲黄旗人), President of the Board of War and former Governor General of Hubei and Hunan provinces, to which is added in the margins an inscription by his grandson Bingcheng 炳成, dating to the 12th day of the 4th month of the 23rd year of the Daoguang reign (May 11, 1843); 1 undated postface in woodblock print form by the officials Liu Tongxun 劉統勳 (1700-1773), Alikun 阿里袞 (d. 1769), Yin Jishan 尹繼善 (1696-1771), Fuheng 傳恆 (d. 1769), Suhede 舒赫德 (1711-1777), Yu Minzhong 于敏中 (1714-1780). Gift of Sandy and Cécile Mactaggart. 2004.18.68. The Qianlong Emperor’s preface The army stationed in the West successfully achieved its task in 1759. It is only a little more than seven years from the end of the battles, in 1766, that the drawings of the conquests were finished. The painters needed this space of time in order to meticulously inquire into [what] the forms of the camps and battles [looked like] so as to compose their designs. Of the officers and soldiers who left for the campaigns and risked their lives at extreme odds, one out of a hundred survived. Giving their lives to the state ensured that their campaigns were successful, so how could I suggest that they die without recognition? That is why in the Throne Hall of the Purple Effulgent Pole Star (Ziguangge 紫光閣) we have had the portraits painted of those who distinguished themselves. And because of this motivation, we went to the bloody battlefields, we faithfully depicted the circumstances where attacks were made on our strongholds--where we broke the ardour of the enemy, beheaded the generals, and stole the flags--in order to pay homage to their efforts and to celebrate their courage. When I reviewed the military reports I dedicated some poems to them, and I rewrote them to be placed between the folios. For the six scenes that I had not yet touched with my brush [meaning he had yet inscribed them with poetry], I have dedicated special supplementary poems. When I hear the sound of the drums, then [I am reminded] of the generals and soldiers, who are our state. These paintings inspired the same feeling in me. Before the completion of these paintings, I constantly imagined myself touring the battleground even during my busy dealings of government affairs at court. Now with these paintings that show

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everything vividly before my eyes, I feel as if I am commanding the soldiers on the battlefield… Sorrowfully inscribed by the Qianlong emperor in the spring of February-March, 1766 L’armée [qui opérait] dans l’Ouest a achevé sa tâche en ki-mao [jimao, 1759] et ce n’est que sept ans après, en ping-siu [bingxu, 1766] que les dessins des combats ont été achevés. C’est que pour s’enquérir en détail de l’aspect des camps et des combats et pour en composer des dessins, il a faillu des saisons et des jours. Des officiers et soldats qui sont partis en campagne, cent sont morts pour un qui survécu. Ils ont donné leur force pour l’État, et grâce à eux l’œuvre a été achevée; comment pourrais-je supporter qu’ils disparussent ignorés? C’est pourquoi au Tseu-kouang-ko [Ziguang ge] on reproduit actuellement les portraits des sujets qui sont distingués. Quant à ces [dessins-] ci, on s’est rendu dans tous les endroits où le sang avait coulé dans les combats, et on a retracé fidèlment les circonstances où on a attaqué des positions fortes, brisé l’ardeur [de l’ennemi], décapité ses généraux, enlevé ses drapeaux, afin de rendre hommage à tant d’efforts et de célébrer tant de courage. Dans tous les cas où, en ouvrant les bulletins de victoire, je leur avais déjà consacré des poèmes, je les ai écrits entre les feuillets [des gravures]. Quant aux [scènes] pour lesquelles je n’avais pas encore pris le pinceau, et qui sont au nombre de six, je leur ai consacré ici spécialement des poèmes supplémentaires…

Paul Pelliot, “Les Conquêtes de l’Empereur de la Chine,” T’oung Pao vol. 20 (1921): 256.

西師定功扵已卯，越七年丙戌 戰圖始成，因詳詢軍營征戰形 勢，以及結構丹青，有需時日也。 夫我將士出百死一生，為國宣力 頼以有成， 而使其泯滅無聞，朕 啟忍為哉。是以紫光閣既勒有 功臣之像，而此則為就血戰之地， 繪其功堅斫銳，斬將搴旗實蹟 以旌厥勞而表厥勇。尔時披露 布已有成詠者，即書之帧間，其 未經點筆者，茲特補詠，凡六事。 禮不云乎：聽鼓轚之聲，則思將 帥之臣。 按是圖也，有不啻若是之 感？先是宵旰勤勞，雖日神馳扵 連營列陣之間，此則目擊心存，竟 如指揮諸將士扵折衝禦侮之 際，而痛定之懼，予惟益欽 天眷扵無窮，凜月盈扵有永遑，敢 自詡謀伐而無兢業哉

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乾隆丙戌孟春月悵題 Imperial seals on album leafs:

A. Qianlong chenhan 乾隆宸翰 Qianlong’s Imperial Calligraphy (square relief) B. Qinshu dao qusheng 琴書道趣生 Taking Pleasure in the Way of Music and Calligraphy (square intaglio) C. Wei J ing Wei Yi 惟精惟一 (square intaglio) D. Qian 乾 (round relief) E. Long 隆 (square relief) F. Qian 乾 (square relief, with intaglio border) G. Long 隆 (square intaglio, with relief border)

1. Ignatius Sichelbart. 平定伊梨受降 Receiving the Surrender of the Ili. Engraved by Benoît

Louis Prévost. 1769. image: 2004.19.68.1.26; poem: 2004.19.68.1.5 2. Guiseppe Castiglione. 格登鄂拉斫營 Storming the Encampment at Gadan-Ola.

Engraved by Jacques-Philippe Le Bas. 1769. image: 2004.19.68.1.2; poem: 2004.19.68.1.1

3. Unknown artist. 鄂壘扎拉圖之戰 The Battle of Oroï-jalatu. Engraved by Jacques-Philippe Le Bas. 1770. image: 2004.19.68.1.31; poem: 2004.19.68.1.20

4. Giovanni Damasceno. 庫隴癸之戰 The Battle of Khurungui. Engraved by Jacques Aliamet. 1767-74. image: 2004.19.68.1.28; poem: 2004.19.68.1.6

5. Jean-Denis Attiret. 和落霍澌之捷 The Victory of Khorgas. Engraved by Jacques-Philippe Le Bas. 1774. image: 2004.19.68.1.34; poem: 2004.19.68.1.19

6. Giovanni Damasceno. 烏什酋長獻城降 The Chief of Us (Turfan) Surrendering with His City. Engraved by Pierre Phillipe Choffard. 1774. image: 2004.19.68.1.27; poem: 2004.19.68.1.15

7. Unknown artist. 通古斯魯克之戰 The Battle of Tonguzluq. Engraved by Augustin de Saint-Aubin. 1773. image: 2004.19.68.1.35; poem: 2004.19.68.1.18

8. Guiseppe Castiglione. 黑水圍解 Raising the Siege of Qara usu (Black River). Engraved by Jacques-Philippe Le Bas. 1771. image: 2004.19.68.1.30; poem: 2004.19.68.1.16

9. Giovanni Damasceno. 呼爾滿大捷 The Grand Victory of Qurman. Engraved by Augustin de Saint-Aubin. 1770. image: 2004.19.68.1.33; poem: 2004.19.68.1.17

10. Jean-Denis Attiret. 阿爾楚爾之戰 The Battle of d’Arcul/Aroul. Engraved by Jacques Aliamet. 1767-74. image: 2004.19.68.1.36; poem: 2004.19.68.1.12

11. Giovanni Damasceno. 伊西洱庫尔淖尔之戰 The Battle of Yesil-kor-nor. Engraved by Nicholas de Launay. 1772. image: 2004.19.68.1.29; poem: 2004.19.68.1.11

12. Unknown artist. 霍斯庫魯克之戰 The Battle of Qos-Qulaq. Engraved by Benoît Louis Prévost. 1774. image: 2004.19.68.1.32; poem: 2004.19.68.1.10

13. Giovanni Damasceno. 拔達山汗納款 The Khan of Badakstan Contributing Funds. Engraved by Pierre Phillipe Choffard. 1772. image: 2004.19.68.1.23; poem: 2004.19.68.1.13

14. Jean-Denis Attiret. 平定回部獻俘 Presenting the Emperor with Prisoners Taken During the Pacification. Engraved by Joseph Masquelier. 1767-74. image: 2004.19.68.1.25; poem: 2004.19.68.1.14

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15. Giovanni Damasceno. 郊勞回部成功諸將士 The Emperor Giving a Victory Banquet for Muslim Officers and Soldiers. Engraved by Denis Née. 1772. image: 2004.19.68.1.22; poem: 2004.19.68.1.21

16. Unknown artist. 凱宴成功諸將士 The Emperor Giving a Victory Banquet for Officers and Soldiers. Engraved by Jacques-Philippe Le Bas. 1770. image: 2004.19.68.1.24; poem: 2004.19.68.1.9

Literature Beurdeley, Cécile and Michel. Guiseppe Castiglione: A Jesuit Painter at the Court of the Chinese

Emperors. London: Lund Humphries, esp. 79-88. China on Paper: European and Chinese works from the late sixteenth to the early nineteenth century. Los

Angeles: The Getty Institute, 2007. From Beijing to Versailles, Artistic Relations Between China and France. Hong Kong: Hong Kong

Museum of Art, 1997. Fuchs, W. “Der Kupferdruck in China vom 10. Bis 19. Jahrhundert.” Gutenberg Jahrbuch

(1950): 67-87. Fuchs, W. “Die Entwürfe der Schlachtenkupfer der Kienlung – und Taokuangzeit.”

Monumenta Serica. 9 (1944): 101-122. Nie Chongzheng 聶崇正金, ed. Qingdai yuzhi tongbanhua 清代御製銅版畫 [Palace

Copperplate Etchings of the Qing Dynasty]. Beijing: Wenwu chubanshe, 1999. Pelliot, Paul. “Les Conquêtes de l’Empereur de la Chine.” T’oung Pao. 20 (1921): 183-275. Pelliot, Paul. “Les Conquêtes de l’Empereur de la Chine.” T’oung Pao. 24 (1932): 125-127. Pirazzoli-T’Serstevens, M. Grauvures des Conquêtes de l’Empereur de la Chine K’ien-long au

Musée Guimet. Paris, 1969. Spee, Clarissa von, ed. “Printing at Court.” In The Printed Image in China: From the 8th to the 21st

Centuries, 110-127. London: The British Museum Press, 2010. Strassberg, Richard E. "War and Peace: Four Intercultural Landscapes." In China on Paper:

European and Chinese Works from the Late Sixteenth to the Early Nineteenth Century. Eds. Marcia Reed and Paola Dematte, 88-137. Los Angeles: Getty Research Institute, 2011.

Szrajber, Tanya. “The Victories of the Emperor Qianlong.” Print Quarterly 23, no. 1 (March 2006): 28-47.

Torres, Pascal. Les Batailles de l’Empereur de Chine: La gloire de Qianlong célébrée par Louis XV, une commande royale d’estampes. Paris: Musée du Louvre, 2009.

URL: http://www.battle-of-qurman.com.cn/ Museum Collections British Museum, London 1932, 0715 Museé Guimet, Paris Dublin Museum of Science Metropolitan Museum of New York Honolulu Academy of Art Hunterian Museum & Art Gallery, University of Glasgow National Palace Museum, Taipei

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1. Ignatius Sichelbart. 平定伊梨受降 Receiving the Surrender of the Ili. Engraved by Benoît Louis Prévost. 1769. 平定伊犁受降 乘時命將定條枝 天佑人歸捷報馳無戰有 征安絕域壺漿*食迎王 師

據副將軍阿睦爾撒納等奏 稱大兵至伊犁部衆持羊酒 迎搞者絡繹載道婦孺歡呼如 出水火自出師以來無血刃遣 鏃之勞敉邉掃 穴寶古所未有

兩朝締搆敢云繼百世寧 *有所畫好兩優霑土宇 拓敬心那為慰心移 乙亥仲夏月中澣作 淑筆

Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio)

2. Guiseppe Castiglione. 格登鄂拉斫營 Storming the Encampment at Gadan-Ola.

Engraved by Jacques-Philippe Le Bas. 1769. 格登鄂拉斫營 阿玉錫者伊何人準噶爾属司牧臣其法 獲罪應剉臂何不即斬犯厥尊*步*里 來向化育之塞外 先朝恩 十一年 事在雍正 薩拉爾來述其事雲即波 中勇絕倫技銳迎面未及*直進手奪無 **召見賜銀擢*御即命先驅清漠塵 我師直入定伊犁達瓦齊聚進榮軍鼓其 ** 欲借一依山據浞為營屯我兩將軍 納薩拉爾 阿睦爾撒 重諮議以此衆戰玉石焚廟谟本

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欲安絕域*伐母乃违皇仁*卒掄選二 十二日阿玉錫統其羣曰巴罔濟尔噶爾 墨庫属之章京也 去年投誠封郡王訥 及察哈什副以進 師至伊犁 此人乃我 之宰桑 新投誠 阿玉錫喜曰固當*五人氣摩青旻 *枚夜襲覘賊向如*祖父臨兒孫大聲 榮馬入敵壘*角披靡相躪*降者六千 五百騎阿玉錫手大纛搴達瓦齊携近千 騎*走*息嗟難存荊軻孟貴一夫勇徒 以藉甚人稱論神勇有如阿玉錫知方六 *知報恩今我作歌壯生色千秋以凌斯 人聞 乙亥季夏月上澣作淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) B. Qinshu dao qusheng 琴書道趣生 (square intaglio)

3. Unknown artist. 鄂壘扎拉圖之戰 The Battle of Oroï-jalatu. Engraved by Jacques-

Philippe Le Bas. 1770. 鄂壘扎拉圖之戰 以誠驭詐*相輕 *哈薩 阿逆竄 克勢將就縛乃以*計緩 師將軍達而黨阿不審虛 實按兵待*遂失事會而 厄魯特宰桑之從征者既 心輕將帥所為 因*同謀變亂 哈薩*迴 *變生戊已駐營携少卒 時兆惠1為副將軍駐兵濟 而哈朗所携不過偏師鎮 守伊犁等*而已猝值叛 賊*集團以少擊衆全軍

1 Jaohôi, Hummel 72 (Chao-hui)

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出而 螳螂怒*阻前程直何 畏曲中宵出一可當千衆 賊驚竟得全師逢接騎整 軍*入大功成 丙戊孟春月上澣補詠 淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

4. Giovanni Damasceno. 庫隴癸之戰 The Battle of Khurungui. Engraved by Jacques

Aliamet. 1767-74.

庫隴癸之戰 威弧有事射天狼三 穴窮追*許藏铤險 賊人雖鼠竄**士 氣正鷹揚五更直襲 屯營寨兩騎先收牧 馬羊 分遣侍衛扎延保投 兆惠2扵奪險攻賊時 誠厄魯特達什軍楞二人 收其牧羣以故賊不能脫 以少勝多張*伐將軍 誠勇著*常 丙戊孟春月補詠淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

5. Jean-Denis Attiret. 和落霍澌之捷 The Victory of Khorgas. Engraved by Jacques-Philippe Le Bas. 1774. 和落霍澌之捷 今春我師勦逆夷首戰寶和落霍 澌斬3將*旗早報捷酬勞頌*已

2 Jaohôi, Hummel 72 (Chao-hui)

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有差即今生解俘囚至曰渥赭特 宰桑伊散秩大臣曾授職乃敢倡 亂如鴞鴟面詢彼所*敗故咋舌 惟*天奪其彼衆猶有千餘騎* 知我寡設計奇軸重遠行誘我逐 層之伙賊據險*官軍四百始馳 至少騎示弱山之陲我進彼乃* 涌集銃*如雨循環施我軍曾無 一傷者百靈攤護信有之衛鋒突入 矢齊*賊乃丧膽紛*披鹿*隴 種*逃命大*大膊張軍威*彼 屍僵近四百負傷*者數無*是誠 天助額手慶奮勇要*資人為問 率軍者其人誰超勇親王家聲貽 將軍榮布登扎布4為超勇親王額駙策楞之子其 兄成袞扎布*封親王榮布登扎布以奮勇著績 爵封郡王* 賜號超勇 戊寅*秋月作淑筆 Imperial seals: Qian 乾 (round relief) Long 隆 (square relief)

6. Giovanni Damasceno. 烏什酋長獻城降 The Chief of Us (Turfan) Surrendering with His

City. Engraved by Pierre Phillipe Choffard. 1774.

烏什酋長獻城降 執渠早是被恩榮 先是達瓦齊自格登 窮竄霍集斯5伯克奉軍 *設計縛*錄功褒賞 畏逼*隨 尚近情 霍集斯伯克與小和*木均 係回目特為所強攝因附和 觀*罪 在可宥

3 八 旗 通 志 列 傳 索 引 (Tokyo 1965) 4 Ts’e-pu-teng Cha-pu, 八 旗 通 志 列 傳 索 引 (Tokyo 1965): 3/shou 99/7a 5 Huo Jisi, 八 旗 通 志 列 傳 索 引 (Tokyo 1965) 3/shou 128/1a; 4/148/9b

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識順料伊將倒戦 當與 軍機大臣籌畫軍情曾諭及霍集斯伯 克有擒*達瓦齊一莭我軍玉其地彼 或降順比大兵旣近伊果筵*小和* 木計圖擒縛因為潛覺遁去遂率衆投 門 *軍 *兇匪我*佳兵申明 眛雉霜巌令 手就獲而失律者 庫車之圍逆酋* *誤因命將軍兆惠6*代就途次 執失律之臣明示顯戮軍威大振 * 見宰羊肉袒迎 天祐人歸迷*績越因兢 業凜*盈 戊寅九秋作淑筆 Imperial seals: Qian 乾 (round relief) Long 隆 (square relief)

7. Unknown artist. 通古斯魯克之戰 The Battle of Tonguzluq. Engraved by Augustin de Saint-Aubin. 1773.

通古思魯克之戰 兩回酋昔困莎車得地 忌思應剪除赤翟蜂屯 助白**如狼顾庇榮 如渡河騎*五百耳* 郭賊將二*除守壘竟 同援兵返 時副將軍當德奉 命領兵在道因命 速進赴援爾*替大臣阿里袞7所 能巴里坤馬六刻期至軍營遂大 敗賊人兆惠8等全軍以出然計

6 Jaohôi, Hummel 72 (Chao-hui) 7 Alikun, Hummel 252 8 Jaohôi, Hummel 72 (Chao-hui)

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我師掘壕守險已及百日矣 誠迴憶益** 丙戌孟春上瀚補詠 淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

8. Guiseppe Castiglione. 黑水圍解 Raising the Siege of Qara usu (Black River). Engraved by Jacques-Philippe Le Bas. 1771. 黑水圍解 喀喇烏蘇者唐言黑水同去年我軍薄*穴強 弩之未難稱雄築壘黑水待圍解詎人力也 天帲幪明瑞9馳驛踰月到 *勇承恩公明瑞10 孝賢皇后 姪也命以副都統領兵行間為 前鋒召回京問以被圍情狀自葉尔奇 木抵京路並五千里疾馳踰月而玉 面詢其坟悚予衷蜂 蟻張甄數無萬三千餘人守從容窖米濟軍軍 氣壯奚肯麥趜山鞠藭引水灌我我預備 逆*導 渠淹我 營壘將軍兆惠等預*溝 引之入河且轉資其用 反資衆飲用益豐統不中人 中營樹何至析*薪材充著木銃鐵獲萬億 據 賊 高施銃鉛凡*集營樹上我軍*木為薪 木中得鉛丸並億即取以擊賊*賊無算 翻以擊賊賊計窮 先是營內所宰井圍將解乃*其中聞言為之 悵諸臣寶鞠躬阮*為之感 天眷信深崇敬讀 皇祖寶錄語所載曾聞我 太宗時明四總兵來我戰正值大霧弥*之敵施 火*樹皆燬都統艾塔往視攻回

9 Mingsui, Hummel 578 (Ming-jui) pinyin Mingrui 10 Mingsui, Hummel 578 (Ming-jui) pinyin Mingrui

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奏敵*止傷樹我兵曾無傷矢弓匪今伊 昔蒙 帝佑觀揚 前烈*矛冲*人力也 天帲幪大清寰海欽皇風 已卯孟夏月上瀚作淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) B. Qinshu dao qusheng 琴書道趣生 (square intaglio)

9. Giovanni Damasceno. 呼爾滿大捷 The Grand Victory of Qurman. Engraved by

Augustin de Saint-Aubin. 1770.

呼爾滿大捷 我師萬里外馬力寶難＊繼况深入賊＊主 客勢誠異以此被所圍固守鼓衆氣岂忍 罪輕進惟獎勤王事

上年十月十三日之役將軍兆 惠直薄葉爾奇木城僅以四百 餘人衛戰賊衆二＊餘又道遠馬乏猝有挫＊然深溝高壘＊ 力持守賊不敢犯其果銳次歌有大過人者＊＊以＊試為＊ 議將徒快懦夫首＊之論何以*將集 事是以屡诏褒勉而趣諸軍刻日赴援

再三＊援師速 進以接濟無不＊＊责敵愾人同＊

恭＊書舒赫德11 扵阿克蘇先簡駐城銳卒益督諸路兵先玉者星馳往營而 將軍伯富德12等所統滿洲索倫察哈爾及綠旗營兵取道雲集 參＊公阿里袞13以次解馬濟 師一時軍聲士氣為之益振

屈指數居諸兵應臨波 地爭勝在俯仰所＊信非細中夜不安寢 丞盼佳音玉忽傳驛＊＊秉燭披衣＊慶 戰五日夜斬將＊旗＊副將軍富德14恭＊ 及軍士同心成巨功＊賊數千騎

11 Suhede, Hummel 659 12 Fude, Hummel 262 (Fu-te) 13 Alikun, Hummel 252 14 Fude, Hummel 262 (Fu-te)

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富德15報玉 稱本年正 月初六日統兵行玉呼爾滿地方遇賊騎五千＊眾夾擊轉戰 五日四夜會恭＊阿里袞16督能馬匹六玉分翼斫陣賊眾創潰 戮賊千餘人餘＊負傷敗＊而逆酋大和卓木 ＊中鎗傷賊眾＊之入城且潛四哈什哈爾夫

已近將軍 營通信卒遣四

時將軍兆惠17營中聞鎗＊聲知援兵已 玉乃萬兵*戰將賊營焚燬數＊且陣 戮千餘人生擒五十餘人獲器械無算並遣索倫 回兵各二人自軍門持牘相聞富德因附以入奏

頑＊百 計攻官軍一意備以此歷三月無恙皆寧 謐

先是舒赫德18得兆惠19＊取援兵劉雲營中有餘糧可支二 三月為堅＊計自凌＊酋或用雲梯或用決水皆為我兵 先覺應手破之而營中繕備益嚴攻困守雖逾時而人 皆有固志玉是馳報自將軍下逮介士並整暇如攻雲

相商 夾擊策一舉期功遂四月寤寐縈今朝始 慶慰殷心念眾勞頓手感 天賜＊待捷音馳國朝威遠被 已卯仲春月中瀚作淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) B. Qinshu dao qusheng 琴書道趣生 (square intaglio) translation published in Orientations (May 2010) of inscription on a related painting: On the brave hero Machang, who broke through the enemy lines, may his great feats be recorded! Therefore, I have ordered that this picture be painted and also wrote a poem in order to record his deeds; in the sixth month, late summer, of the jimao year [1759], in the imperial calligraphy.

15 Fude, Hummel 262 (Fu-te) 16 Alikun, Hummel 252 17 Jaohôi, Hummel 72 (Chao-hui) 18 Suhede, Hummel 659 19 Jaohôi, Hummel 72 (Chao-hui)

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In the wars since the yihai year [1755] we relied on the strength of our soldiers and achieved great success. The prospect of abundant reward made many heroes, who willingly risked their lives and carried out their duties. Subutukai truly stood out among the others; three brave ones followed in his footsteps. After them followed many who would never submit, but among these Machang must be called the bravest. In more than 30 battles he always led the attack, seized the enemy flags, beheaded their generals – who could oppose him? Armoured horsemen finally subuded all the tribes of Otok; he pacificied Yili [Ili] and was praised for his heroic deeds. When this spring the troops quickly advanced in relief, Fude led troops like wild bears. Machang commanded the vanguard, when the bandits attacked at Qurman. Before our formidable ranks, the bandits fled in all directions; Machang alone pressed after the enemy. With his horsewhip he drove his Ferghana horse; he did not take his embroidered banner but grasped only his carved bow. The first arrow struck the enemy in a fatal spot; a second, shot in haste, though, missed its mark. But the third arrow killed a bandit, who fell from his horse, but without thinking, Machang went deep behind enemy lines. Like ants or bees they swarmed around him, and Machang’s horse died under him and fell in the long grass of the steppes. He quit his horse, fought on foot with only his short sword; his angry shouts drove them back, his force like a rainbow. Our soldiers rushed forward and so rescrued Machang; they saw his body was wounded in 10 places. His wounds were bound with silka but on the next day he fought again; with his righteous courage he clearly had the god’s protection. The barbarians defeated at Huamen [Qurman] were stunned and lamented: a matchless hero like this, where could he come from? The general memorialized, sending all the facts; he did not fund such courage unusual but expressed his deepest feelings. Supposing he had not set his mind on it or his loyalty, too, was not strong; how could he risk his life or value rank and honour? A relay messenger brought the order that he return home and not be sent into combat again; as Hua Piaoyao was rewarded with honours, today he is worthy of the same. But when he made his report before the emperor, those who heard were moved to tears; and it was agreed that his reward was not in accordance with his merit. Thereafter he returned to the Palace Guards as Commander of the night watch, though he remained humble and modest as if there were no glory in his past. In former times, a soldier who came home reported in the Weiyang Palace, although it was once heard that the emperor did not summon one for his report.

10. Jean-Denis Attiret. 阿爾楚爾之戰 The Battle of d’Arcul/Aroul. Engraved by Jacques Aliamet. 1767-74. 阿爾楚爾之戰 霍斯庫魯20遁餘* 合旅窮追玉水源 蕃部勤王隨契苾 時布魯特皆

20 Qos-Qulaq

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随軍為響道 旗軍勵 志定堅昆蚩尤所 恃依重險風後宛 同握八門健銳營 兵精火器雪山條 作陸渾原 丙戌孟春補詠 淑筆 A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

11. Giovanni Damasceno. 伊西洱庫爾淖尔之戰 The Battle of Yesil-kor-nor. Engraved by Nicholas de Launay. 1772.

伊西洱庫爾淖尔之戰 三交三勝武*雄

霍斯庫魯克21阿尔楚尔22及此凡 三戰皆以少勝眾

點鼠*嗟五技窮一线 沿溪進魚貫千尋列 嶂突** 丙戌孟春月補詠 淑筆

Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

12. Unknown artist. 霍斯庫魯克之戰 The Battle of Qos-Qulaq. Engraved by Benoît Louis

Prévost. 1774.

霍斯庫魯克之戰 回城阮定進追兇雙 耳山前竄跡逢語回 霍斯庫魯克者 華言雙耳也 賊已六 千橫據嶺兵*九百

21 Qos-Qulaq 22 d’Arcul/Aroul

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仰攻峯遮迴安集延 *路直躡拔達山 去*將軍卒同心奮敵 愾千秋國史勒動 庸 丙戌孟春月補詠 淑筆 Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

13. Giovanni Damasceno. 拔達山汗納款 The Khan of Badakstan Contributing Funds.

Engraved by Pierre Phillipe Choffard. 1772.

Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

14. Jean-Denis Attiret. 平定回部獻俘 Presenting the Emperor with Prisoners Taken During the

Pacification. Engraved by Joseph Masquelier. 1767-74.

Imperial seals: A. Qianlong chenhan 乾隆宸翰 (square relief) C. Wei Jing Wei Yi 惟精惟一 (square intaglio) ?

15. Giovanni Damasceno. 郊勞回部成功諸將士 The Emperor Giving a Victory Banquet for Muslim Officers and Soldiers. Engraved by Denis Née. 1772.

Imperial seals: D. Qian 乾 (round relief) E. Long 隆 (square relief, with relief border)

16. Unknown artist. 凱宴成功諸將士 The Emperor Giving a Victory Banquet for Officers and Soldiers. Engraved by Jacques-Philippe Le Bas. 1770.

Imperial seals: F. Qian 乾 (square relief, with intaglio border) G. Long 隆 (square intaglio, with relief border)

17. Woodblock printed postface

右圖十有六帧始扵伊犁受降訖扵回部獻俘凡我將士＊壘

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斫陣霆奮席卷之勢與夫賊眾披靡潰竄麖奔鹿駭之狀靡不 摹寫畢肖鴻＊顯鑠震耀耳目為千古＊陣戰功者所未有帧 端各系以 御製詩成扵奏凱錄功即事紀實者十追叙時地補圖補詠者六既 裝潢成冊 親製序文冠扵冊首並 命臣等恭識其後伏惟西陲＊伐之役歲不越五周北庭以北西濛 以西二萬餘里咸隸版宇懿此武成大定胥荷我 皇上廟算精詳先幾制勝用以洪迓 靈貺佑順協孚惟時在事諸臣敬稟 睿谟以效忠宣力克建厥勳 策23銘酬庸賞延于世聲施炳焉當我師之再克捷也 敘豐功則有 告成太學之碑有勒銘伊犁格登葉爾羌伊西洱庫爾淖爾之碑 闡偉畫則有 西師詩 開惑論而自乙亥［QL20］軍興迄己卯［QL24］蕆事見諸 賚 詠者凡二百二十餘篇咸勒石 武成殿廡用誌始末至若五十功臣則繪像 紫光閣 題替以寵異之又繪其次者五十人 徠24臣等提貢同弈而 閣壁左右則繪平定伊犁回部之圖所以昭旗25常垂史牒者舄奕 乎其詳且備矣茲冊復因事綴圖或採之奏牘所陳戎徵諸諮 詢所述凡夫行間之奮敵愾冒矢石著勞勩者悉26寫其山川列 其事蹟傳其狀貌繼自今恭撫斯圖皆得按帙而指數之曰是 伇也其寶任之而先登則某之績分部襄勤則某某之力也是 準部之所以殘27滅回部之所以慼亡也及瞻 效勞錫宴諸圖則又曰是 聖主所以弊勞28臣示渥賚慶武成也若夫 目擊心存如指揮扵折衡29禦侮之際與所為欽 天眷而凜月盈者則 序文又已舉其緊要而詔示永久焉臣等因＊出師以來軍書旁午 宵旰運籌臣等獲扵前席咨對之餘觀聆

23 QL reversed the characters cexun, meaning to record meritorious services 24 alternative form of the character LAI with the 力 to the right 25 alternative form of the character QI banner 26 ? 27 ? 28 inversion of laobi ; look up classical references 29 ?

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方略咸仰 聖明指授萬里之外坐照靡遺茲圖所繪戰勝形勢固皆 密勿機宜所燭如燃犀料如聚米者也臣等管蠡微渺更無能頌揚 萬一云大學士公臣傳恆30大學士臣尹繼善31臣劉統勳32協辦大學士 尚書公臣阿里袞33尚書臣舒赫德34臣于敏中35恭跋 Fuheng (d. 1769), Yin Jishan (1696-1771), Liu Tongxun (1700-1773), Alikun (d. 1769), Suhede (1711-1777), Yu Minzhong (1714-1780). seals of officials: H. Chen Yu Minzhong 臣于敏中 Humbly, Yu Minzhong (square intaglio) I. Alikun? 阿里袞?(square relief)

17. Handwritten postface, Gioro Tuside Heavily damaged, mostly illegible. Gioro Tuside’s seals: J. Chen Tuside 臣圖思德 Humbly, Tuside (square intaglio) K. unidentified (square relief) Bingcheng’s seal in margins: L. Bingcheng 炳成 (square intaglio)

NOTES: The drawings were sent to France, where they attracted the attention of no less than King Louis XV (r. 1715-1774). They were entrusted to Secretary-Historiographer of the Academy of Painting Charles-Nicolas Cochin II (1715-1790), who did not find the drawings suitable for engraving in their original state. In particular, he felt he had to rework the lesser artist Damasceno’s first drawing significantly, delaying its production. Preparation of the plates and printing was slow, and the first engravings were not returned to China until 1772, four years later than anticipated, and the last arrived in 1775. In China, the engravings were tremendously influential, and encouraged Qianlong to undertake additional engraving projects using Chinese artists, beginning with a set of 20 depictions of the European Pavilions in the imperial residence produced from 1783 to 1786.

30 Fuheng, Hummel vol. 1: 252 31 Yin Jishan, Hummel vol. 2: 920-21. 32 Liu Tongxun, Hummel vol 1: 533-36 33 Alikun, Hummel 252， 清史稿 35, juan 313, pp. 10675-10679. Look for Gioro Tuside in Qingshi gao, 36, juan 332, 10675-10679. 34 Suhede, Hummel vol 2: 659-61. 35 Yu Minzhong, Hummel vol 2: 942-44.