康熙时期宫廷中的西洋版画,虽在数量上逊于乾隆时期,但内容却相当丰富,其夺目之处,在于它第一次经历了从木版画到铜版画的制作过程。无论是版画的内容,还是绘制的技巧,都颇具开创意义。没有这个过程,乾隆时期宫廷大量制作西洋铜版画的历史或许还要推迟。比利时传教士南怀仁是康熙时期宫廷西洋版画的创始人。初创时的版画,并非艺术类版画,而是类似于明代小说绣像插图的版画。到康熙三十六年,出现了艺术类版画,至康熙五十二年,又产生了对后世有很大影响的艺术类铜版画。这一过程是如何展开的,西洋人在其中扮演什么角色,西洋版画为什么又发生从木版到铜版的变化等,是本文要讨论的问题。 The Western prints in the court of Emperor Kangxi, although inferior in quantity to the Qianlong period, were rather rich in content. The striking point was that it first experienced the process of making woodblock prints and copper engravings. Both print content, or drawing skills, are quite meaningful. Without this process, the history of the mass production of Western copper engraving in the court of Qianlong may be delayed. Belgian missionary Nan Huiren was the founder of the court Western prints of the Kangxi period. The print at the time of creation is not an art print, but a print similar to the embroidery illustration of a Ming novel. Thirty-six years after the reign of Emperor Kangxi, an art print was produced. Fifty-two years after the reign of Emperor Kangxi, an art copper engraving with great influence on later generations was produced. How this process unfolds, what is the role played by the foreigners in Western China, and why the Western prints change from woodblock to copperplate, which are the topics to be discussed in this article.