本論文首章將並陳《中國服裝》與中國長卷《乾隆南巡圖》，並指出兩者間雖然描繪著相似的場景，但卻呈現出不同的意義。第二章將聚焦在《中國服裝》中水利船舶插圖。水利船舶插圖數量在《中國服裝》書中比例較少，但在將之與時代相近的中國水利船舶圖繪比較後，發覺亞歷山大筆下的中國水利與船舶是較為寫實的。第三章則關注《中國服裝》書中數量較多的建築與人物插圖。即便亞歷山大有著再現真實中國樣貌給西方觀眾的目的，《中國服裝》書中的建築與人物插圖大多為將原稿修改，而與原稿有差異。筆者認為這可能是畫家受到當時西方流行的中國風尚與如畫等藝術思潮影響所致，使《中國服裝》書中的建築與人物插圖寫實性較低。 ;In 1792, King George III assigned George Macartney as his representative of the embassy to China in order to expand trade. Later the mission turned out to be a failure. Although they came back to England humiliated, the embassy’s memories of China became a rich source of materials to be published. William Alexander, a draughtsman in the embassy, published The Costume of China (1805). The Costume of China recorded what he and the embassy saw along the Grand Canal from Beijing to Hangzhou, including many illustrations of Chinese society. In the first chapter of this thesis, I juxtapose the background of The Costume of China and the Chinese scroll Qianlong Emperor’s Southern Inspection Tour. Although these two sets of works deal with the same scenes, what they focus on are quite different. Chapter two focuses on the illustrations of hydraulic engineering and ships in The Costume of China. After comparing the illustrations of hydraulic engineering and ships with Chinese works in the same period, I found out what he drew was more realistic although the number of them were fewer than the other objects in the book. Chapter three is about the illustrations of architectures and figures, which occupy the major part of The Costume of China. Even though Alexander intended to present real China to the western audience, most of the illustrations of architectures and figures in The Costume of China were altered, which makes them different from the manuscripts. The reason why the illustrations of architectures and figures in The Costume of China are less realistic than those of the other objects might be that Alexander was affected by the artistic trends of the time, such as Chinoiserie and Picturesque.
