本文以明代仇英本《职贡图》作为研究对象，通过分析其图像内容及其创作的艺术社会背景，探究其创作目的和作品功能，由此厘清官方制定与私人绘制收藏的职贡图本质上的不同。全文共分为四章：
       第一章中通过文献考据和形式主义分析法考辨了此图真伪，文章首先对仇英本《职贡图》流传和著录进行详细考证，指出仇英确实曾为陈官作《职贡图》，此卷前附许初引首，卷后附有文徵明跋尾及彭年序赞。而至明末已有多本面貌一致，画面内容几乎无差别的伪作出现。与可靠真迹对比并结合历史上记载的仇英作品面貌，进一步考辨其是真是伪。
       第二章中对职贡图式进行溯源，并将历史上和现存职贡图按图像绘制目的及画面组合形式进行划分，厘清仇英本图式来源。
       第三章中通过对图像和文本的研究与梳理，对仇英本所绘十一国进行研究，并间或对粉本来源进行探讨。其中北路朝贡国中各国无论风俗民情，均按北方胡人的程式化形象进行塑造，而除安南之外的南路朝贡国家亦表现为典型的南蛮风格，这是明清时期艺术制作者的惯常做法。在此时，“胡人献宝”“胡人牵兽”和“职贡”图式逐渐融合，摆脱了其既有的政治因素后成为一种含有祝寿、升仙、庆祝节令等寓意的吉祥图式。
       第四章，通过细读图像中长生、祝寿题材中常见元素，结合仇英本人的思想倾向和明代社会流行文化的影响，指明此图在作为一张吉祥图像的基础上自然而然地蕴含了升仙和祝寿意味。
       总而言之，仇英本《职贡图》对职贡图像的发展产生了深远影响，作为明清时期带有升仙祝寿意味的绘画作品不仅影响了一批民间职贡图和版画的制作，并曾短暂地进入清宫收藏，其中部分图式被清代官方组织绘制的职贡图吸收并挪用。

        This text focuses on the Tributary Painting by Qiu Ying from the Ming Dynasty as the subject of study. The first chapter conducts a rigorous authentication of this work by examining the circulation and recording of Qiu Ying's Tribute Painting in detail. Through formalist analysis, it is confirmed that Qiu Ying indeed created a Tributary Painting for official purposes. This scroll includes a preface by Xu Chu, and a postscript and praise by Wen Zhengming and Peng Nian respectively. By the late Ming Dynasty, numerous indistinguishable forgeries of this work had emerged. By comparing it with recorded descriptions of Qiu Ying's artworks and authentic surviving works of Qiu Ying, such as Spring Dawn at the Han Palace and Album of Imitations of Old Masters, it appears that the version in the Palace Museum significantly diverges in quality and style, suggesting it might be one of the 'Suzhou pieces'—a well-made forgery.

        The second chapter traces the origins of the tribute painting style and categorizes historical and existing tribute paintings based on their artistic purpose and compositional forms, clarifying the sources of Qiu Ying's version.

        In the third chapter, through the analysis of images and texts, the rationality of the portrayal of the eleven nations in Qiu Ying's painting is critically assessed, noting that the painting likely stitches together multiple sources, blending reality with imagination. Each depicted tribe from the northern tribute route is uniformly portrayed in the stylized image of northern barbarians, while the southern tribes, except for Annam, also display a uniform "southern barbarian" style. This stylization became a common practice during the Ming and Qing dynasties, with numerous artworks like "Barbarians Presenting Treasures" and "Eight Barbarians Presenting Treasures" proliferating, catering to the popular culture's demand for such images. As these images of barbarians became cultural symbols detached from their original political contexts, they evolved into auspicious images associated with longevity and festive celebrations.

        The fourth chapter delves into the symbolic elements within the painting, such as misty clouds, cave entrances adorned with stalactites, and pine trees—common motifs in Ming dynasty paintings associated with longevity and ascension themes.   Combined with Qiu Ying's personal philosophical inclinations and the influence of popular culture in the Ming dynasty, the painting naturally embodies the auspicious themes of longevity and ascension. This fusion of tribute themes with elements of paradise was widespread during the Ming and Qing dynasties, influenced by contemporary popular culture and thought. Qiu Ying's painting influenced a series of tribute paintings and prints in Ming and Qing civilian art and even briefly entered the Qing imperial collection, though it was not recorded in the Shiqu Baoji. Despite its eventual return to civilian hands, its enduring influence is evident in tribute paintings organized by the Qing court, highlighting its lasting impact.