本文主旨在於運用乾隆朝城市圖像，討論北京宮廷、蘇州地方政府與蘇州民間如何共同形塑蘇州形象與地景。在許多城市圖像中，本文以宮廷畫家徐揚所作之《盛世滋生圖》為中心，因其製作宏大、作旨清楚，長卷形式更包含許多景點，可藉以綰結乾隆朝其他的城市圖像，並由此見出十八世紀蘇州形象的轉變。此種轉變的關鍵在於蘇州代表地景的改變，既有新地景的出現，也見舊地景的重造。其他討論到的圖像尚包括《南巡盛典》、《南巡名勝圖》與多張蘇州版刻年畫等。 　　城市圖像所建構之蘇州形象與地景，除了特殊地標的標識外，皆與圖像之風格息息相關，描繪地景的風格手法亦是討論重點。《盛世滋生圖》參用西洋透視法，呈現廣大的空間感與井然的秩序感，遠非中國傳統畫法可以勝任。蘇州年畫明顯受到西洋傳入銅版畫的影響，也運用陰影與透視法。宮廷繪畫與蘇州版畫同見西洋流風，此中因由值得再加探究，本文企圖由此見出江南文化的「異質性」，並重築乾隆朝宮廷與江南關係的討論架構。 　　在北京宮廷與蘇州的互動中，可見政治權力與文化消費的糾結轉借，也可見「漢化」與否問題的侷限性。更重要的是，當吾人思考大清王朝的政治特質時，中國內部的「江南」或南方，其重要性或許不遜於現今學界討論熱烈的邊疆地區。

Focusing on the cityscapes of Suzhou made during the reign of Emperor Qianlong (r. 1736-95), this article discusses how paintings and woodblock prints constructed a new image of the city by shaping and reshaping specific sites. In the late Ming period, Suzhou was famous for its scenic spots around the area of Lake Tai. Even though such time-honored sites as Tiger Hill (Huqiu 虎丘) and Stone Lake (Shihu 石湖) remained common subjects in eighteenth-century images of Suzhou, they were now portrayed not only in terms of their natural beauty but also as landmarks through an emphasis placed on architecture. More importantly, conspicuous in eighteenth-century cityscapes of Suzhou is its infrastructure, including city gates and bridges that formed the nexus of transportation and business transactions. Along with the emergence of man-made landmarks, Suzhou was transformed through art into a city that demonstrated good governance and thus a symbol of imperial glory. Suzhou, as the cultural center of the Jiangnan area, gained unprecedented political meaning in the symbolic system of the Qing regime. 　　The cityscapes examined here can be categorized into three groups, focused on the long handscroll Ever Growing Population under the Prosperous Reign (Shengshi zisheng 盛世滋生). This is a court painting which takes Suzhou as its subject and Qianlong as its primary viewer to commemorate the emperor's Southern Tour to the city. In addition, I examine two groups of woodblock prints that were initiated respectively by local government and print shops. The former group of prints was produced under the supervision of local officials to glorify Qianlong's Southern Tour, while the latter was sold as commodities for Chinese New Year's decorations. These cityscapes produced by different sources point to a unified representation of Suzhou, in which we can see how elements of political power and cultural consumption were entwined in the transformation of the city's image.　 　　 Both the handscroll and the commercial prints are rendered in a style obviously influenced by the West, producing an image of Suzhou marked by an unprecedented sense of spaciousness and orderliness. The Western technique of painting became one of the key factors which crystallized the close interaction between the court in Beijing and the major cities in Jiangnan. It is very likely that the personal taste of Emperor Qianlong played an important role in this interaction. However, political considerations should also be taken into account. 　　 This article also argues that the issue of Sinification should not be simplified, because even Suzhou, a center of Han culture in late imperial China, was infused with foreign cultural elements. This investigation pushes us to reflect upon the much-debated issue of the political nature of the Qing regime. After a decade of academic focus on the frontiers of the Qing Empire, it is time for us to shift our attention to the role of Inner China with a fresh eye.