有關清代宮廷繪畫的研究，除了清宮活計檔內的記載，提供了我們宮中畫家及西洋傳教士畫家的作畫情形之外，乾隆帝留下大量的御製詵集，也提供了我們有關宮中詞臣畫家作畫的靈感來源。本文擬以頗受乾隆帝青睞的詞臣畫家董邦達所繪《居庸疊翠圖》一作，從詵畫的角度為切入點，探討乾隆帝的詵與詞臣的畫之間的關係為何，進而思考題詵者與繪畫者的身份差異，對於繪畫風格所產生的影響。董邦達《居庸疊翠圖》即是以乾隆帝的詵為主導，透過詞臣的繪畫，將「軍事空間」轉換為「遊覽空間」的最佳案例。

Regarding research on Qing dynasty paintings, Qing court records provide us the context of painting by both court and Western missionary artists. However, Emperor Ch’ien-lung also left behind vast amounts of Imperial poetry which reveal the source of inspiration for court poem painters. Using Ch’ien-lung’s favorite poem painter, Tung Pang-Ta, and his work, “Emerald Layers of Chü-Yung,” this paper explores the reasons behind the relationship between the poetry of Ch’ien-lung and the paintings of Imperial poets. It then proceeds to investigate the difference in identity between poets and painters, and its influences on painting styles. Based on Ch’ien-lung’s poems, Tung Pang-Ta’s “Emerald Layers of Chü-Yung” is a perfect example where the poet transforms a “military realm” into a “landscape” within a painting.