淸 乾隆帝의 貢馬圖와 서역 관계

Abstract

Emperor Qianlong ordered various forms of tribute horse paintings from the beginning to the end of his reign. The horses in the paintings were tribute given by different tribes as results of consolidation, conquest war or trade between Qing and those tribes. First, in 1743, The Ten Steeds was a tribute paintings from East Mongolian generals who had already become members of the Qing imperial family and the Eight banners. Since they were not a clan with a duty of tribute, this painting cannot be called tribute paintings in a strict sense. Nevertheless, all ten horses were marked with the names of the tributing tribes, and their names were added in Mongolian to emphasize the characteristics of their birthplaces. Five years later, the three of tribute horse paintings were produced in 1748, which were later included in The (Second) Ten Steeds. They were painted during the period of the peace agreements with Dzungar. Through the tribute ritual, the Qing court was able to secure the security of the border while Dzungar was able to benefit from the trade. Although Dzungar was an independent tribe different from the east Mongolia, their tribute horse painting was maintained the precedent form in 1743. It shows that the Qing considered the peace agreement with Dzungar not as an equal trade contract, but as hierarchical relationship between king and his subjects. The Emperor Qianlong reinforced its meaning by including the scene of tribute in the painting in which the Dzungar envoys pay tribute to the emperor. The horses tribute paid by Kazakhstan, Badakhshan, and Afghanistan were produced between 1759 and 1763. They were the result of the Qianlong’s Western conquest. Unlike the period of the peace agreement with Dzungar, the tribute in this period meant 'submission'. Qianlong’s inscriptions on these paintings, emphasized the triumph of the war unlike the previous inscriptions on The Ten Steeds, which expressed personal appreciation and affection towards his horses. The horse paintings of various birthplaces produced in 1772-73 was triggered the entry of Torgut in 1771. Emperor Qianlong called Togut's request for migration as "a return" and evaluated it as a phenomenon in which people of the world voluntarily come under the Qing empire. He combined the three Dzungar horses painted in 1748 and the seven horses from different ethnic groups such as Manchu, East Mongolian, Torgut, and rename it as The Ten Horses. The ‘re’-production of the The Ten Horses of various ethnic origins symbolized the completion of Qianlong’s Western conquest, which began in the early years of Qianlong.