畫家華鐸(Jean-Antoine Watteau, 1684-1721)開啟的「優雅慶典」(Fêtes galantes)畫作類別，傳遞了前所未有的安逸氛圍與閒暇時光風格，為自己奠定名聲。作品中跨領域創作以義大利「即興喜劇」(Commedia dell’arte)的固定角色為畫作中的人物，室內戶外均見其蹤，一幅幅的作品都是華鐸最佳的無言宣傳品。 這些角色除單獨現身，也常手持樂器，為單一的視覺藝術增添了音樂性，預留了聽覺的想像空間。依潘諾夫斯基(Erwin Panofsky, 1892-1968)的「圖像學」(Iconography)理論，畫作反映著大時代的藝文活動與音樂發展，畫中的樂器圖像補足音樂記譜所無法表達的演奏姿勢與象徵喻意。樂器圖像既是研究的立基點，而早期樂器卻仍在發展階段，其名稱緣由與外觀特質更應細述探究。本文以融合運用圖像學的學理為研究方法，討論華鐸樂器畫作可能的隱喻面向。

Jean-Antoine Watteau (1684-1721) established Fêtes galantes as a new genre in painting. In these paintings, he delivered characteristics of relaxed atmosphere and leisure time which consolidated his own fame. There were many interdisciplinary creations in his works. Many of his paintings based on the characters of Italian Commedia dell’arte; they appear both indoors and outdoors. All the paintings are his best publicity without words. These roles did not appear alone; they often held instruments. The appearance of instruments added the musicality to the visual arts and providing the sound imaginations. According to the theory of Iconography by Erwin Panofsky, these paintings reflect the cultural and artistic activities and music developments of the time; they fulfill the performing gesture and symbolic implications beyond musical notation. These instrumental images are the basic objects for the research; they should be examined detailed by their origin of titles and characteristics in their developmental procedures. This article will apply the mixed theories of Iconography and discuss the possible metaphorical concepts of music instrumental paintings of Watteau.