《马术图》轴，清乾隆，郎世宁等绘，绢本，设色，纵223.4厘米，横426.2厘米。
阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。
这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。
--------Introduction in English--------
"Equestrian Atlas" axis, Qing Qianlong, Lang Shining and other paintings, silk, color, 223.4 cm vertical, 426.2 cm horizontal.
Amur Thana and Dawazi, who first ascended the throne of Junggar ministry, fought against each other because of conflicts of interest. After Amur Thana's defeat, he asked to be attached to the Qing court and to visit Emperor Qianlong. Emperor Qianlong was overjoyed at Amur Sana's voluntary surrender. More importantly, through the attachment of Dulbert Sancheling and Amur Sana Na, he further understood the internal situation of Junggar, and thus strengthened his confidence to send troops during the civil strife in Junggar, so as to complete the unfinished business of his grandfather Kangxi Emperor and his father Yongzheng Emperor. Considering that Amur Sana has not yet had a pox epidemic, the location of the visit is chosen at the Summer Resort, which is scheduled for the cold winter.
On November 15 of this year, Emperor Qianlong held a grand welcoming ceremony in the villa, and then entertained Ahursana to watch a wonderful equestrian performance with Mongolian and special tribes Banjul and Namerku of Dulbert. In order to commemorate this grand gathering with historical significance, Emperor Qianlong ordered Western painter Lang Shining to organize court painters to make a documentary description of it. This picture and the Banquet Picture of Wanshu Garden are both magnificent and magnificent, showing a large number of characters. However, the author's rational and orderly layout makes the main characters appear in a dynamic and static way, which is not disorderly. The painter did not intentionally paint Emperor Qianlong high and large, or arrange it in the center of the picture to attract attention. Instead, he showed that he rode a flower horse at the front of a conical queue composed of princes and ministers, or sat on the shoulders of the public. The artist's ingenious design also made people feel the shock of Emperor Qianlong's majesty. So that he became the most important role in the picture.
