中国传统地图是测绘技术和绘画艺术的融合，与艺术有着紧密的联系。清代彩绘 地图反映了清代社会的情况和变迁，它们也展示了中国地图制作的特色和传统，是清 代地图的重要组成部分。本文研究对象为清代广州彩绘地图，这类地图在表现技法和 形式上都具有很高的艺术价值，而且多数为孤本，摹本极少，十分珍贵，它们不仅展 现了清代广州的社会、政治、经济、文化等各个方面，还体现了中国传统的地图制作 风格和特色，具有极高的审美价值和研究价值。文本运用个案研究、图像分析、文献 分析、对比分析法作为途径，以清代广州彩绘地图艺术风格及特征为主要研究内容， 通过研究清代古地图的历史发展、整理分类现存清代地图以及剖析彩绘地图的作者身 份，得以梳理清代彩绘地图的发展情况，再聚焦于广州彩绘地图的艺术风格及特征， 对其色彩、透视、构图等艺术形式进行解读，总结这一时期的绘图特征，得出清代广 州彩绘地图的艺术风格特征及其所反映的地理信息和审美情感，同时也与约翰·怀特 的水彩地形画作比较，从宏观角度审视东西方艺术之间的差异。此外，文章还结合了 作者的毕业创作，说明古地图范式在本人创作中的运用和表现，从而拓展艺术绘画的 研究范围，展示古地图在当代艺术创作中的价值和意义。

Traditional Chinese maps are a fusion of cartographic techniques and painting art, closely related to art. Qing dynasty hand-painted maps reflect the situation and changes of Qing society, and they also show the features and traditions of Chinese mapmaking, which are an important part of Qing maps. The object of this study is the hand-painted maps of Guangzhou in the Qing dynasty. These maps have high artistic value in terms of expression techniques and forms, and most of them are unique, with very few copies. They are extremely valuable, not only because they show various aspects of Guangzhou society, politics, economy, and culture in the Qing dynasty, but also because they embody the traditional style and features of Chinese mapmaking, with high aesthetic and research value. The text uses case studies, image analysis, literature analysis, and comparative analysis as means to study the artistic styles and features of Qing Dynasty Guangzhou painted maps as the main research content. Through the study of the historical development of ancient maps, the classification and sorting of existing Qing Dynasty maps, and the analysis of the author's identity of painted maps, the development of Qing Dynasty painted maps is sorted out. Then, the artistic styles and features of Guangzhou painted maps are focused on, and the interpretation of artistic forms such as color, perspective, and composition is carried out. The artistic features of this period are summarized, and the artistic styles and features of Qing Dynasty Guangzhou painted maps, as well as the geographic information and aesthetic emotions reflected by them, are obtained. At the same time, the work is compared with John White's watercolor topographic paintings from a macro perspective to examine the differences between Eastern and Western art. In addition, the article combines the author's graduation work to show the application and expression of the map paradigm in the author's creation, thus expanding the scope of artistic painting research and demonstrating the value and significance of ancient maps in contemporary art creation.