This book examines how images functioned as instruments of governance and knowledge production at the High Qing court. Focusing on Qianlong-era illustrated catalogues, bilingual naming systems, and court-sponsored visual projects, it explores how painting, classification, translation, and imperial authority converged. The book argues that images were not merely representations of empire, but active technologies through which the Qing court organized knowledge, managed cultural difference, and articulated a multilingual, multiethnic vision of rule.