過去學界談論乾隆時代傳教士的〈貢馬圖〉畫作，較偏重於中西藝術文化交流的角度，重視東西方繪畫技法的融合與創新，而多忽略貢馬的歷史背景，以及與之相關的各種滿洲政治文化表現。乾隆朝廷接受外藩諸部與各國屬邦的貢馬，除了體現北亞民族尚馬傳統，並成為畫作與詩賦的主題之外，尚有清朝獨特的滿洲政治文化內涵，本文透過為馬命名的藝術，馬匹的相關辭彙在滿洲語文工具書──「清文鑑」的變化，以及宮廷薩滿信仰祭祀馬神等相關活動展現出來。

In the past, when academic circles discussed the Ch'ien-lung period missionary painting, "Horse Tribute," they laid particular stress upon the perspective of exchange between Eastern and Western culture. These investigations stressed how the mixture of Eastern and Western painting techniques was able to bring forth new artistic avenues, overlooking the historical background of horses as tribute and how this custom relates to and is expressed in Manchu political culture. The Imperial court of the Ch'ien-lung Emperor accepted tribute horses from each of its vassal states, as well as other foreign countries. In addition to reflecting a tradition of esteem for horses held by northern Asian nationalities which was carried into both painting and poetic works, it also shows a unique connotation held by Manchu government culture. This article uses horse-named artwork, the changes to horse related vocabulary in Manchu-language lexicon like "Ch'ing Wen-chien," and the faith in royal shamanism, as expressed in sacrifices offered to horse gods, to explore this topic.