《平定安南战图》册之《阮光显入觐赐宴图》，清乾隆，佚名绘，纸本，设色，长55.6厘米，宽91.2厘米。
画幅上部乾隆皇帝御题《阮惠遣姪阮光显入觐赐宴之图》诗，款识：“乾隆己酉仲秋御笔。”钤“古希天子之宝”朱文方印、“三希堂精鉴玺”、“宜子孙”等印。“己酉”为乾隆五十四年（1789年），乾隆皇帝时年79岁。
18世纪后半期，安南（今越南）内部因政权更迭，战乱四起。归仁府的阮文岳、阮惠（后改名阮光平）兄弟率兵推翻黎氏王朝，国王黎维祁出走。乾隆五十三年（1788年），安南国王之母和妻子向清廷求援，乾隆皇帝鉴于自康熙五年（1666年），清廷册封大越王黎维禧为安南国王始，黎氏王朝即守藩奉贡，对清廷十分恭顺，决定出兵帮助黎氏，恢复黎氏王朝在安南的统治。乾隆皇帝令两广总督孙士毅统军征讨，很快攻占了安南宣光、兴化等处，拥立黎维祁重新承袭了王位。但是次年在清兵欢度年节时，遭到阮惠军的大举反攻，清兵仓皇应战，损兵折将，黎城得而复失。阮惠虽然击溃清军，灭了黎朝，但他深知要想稳定秩序，加强统治，必须经过清王朝的承认与册封才能取得合法地位。阮惠为转变清廷“扶黎灭阮”的政策，不断谋求改善与清朝的关系。乾隆皇帝面对阮惠执着的举动和安南的政局，决定改变对安南的政策，由扶黎改为扶阮，册封阮惠为安南国王。
乾隆皇帝为了纪念清军出兵安南所赢得的数次战役，同时褒扬在平安南战役中广西提督许世亨、总兵尚维屏、张朝龙等将士效命朝廷的英勇行为，谕令绘制一本《平定安南战图》册（共6开）。其中除有表现寿昌江、三异柱右、市球江、富良江之战的战图外，还有描绘乾隆五十四年（1789年）七月，阮惠遣其侄阮光显奉表到达避暑山庄，乾隆皇帝在山庄内的清音阁大戏楼，接见阮光显一行，并命他随同文武大臣蒙古王公入座赏戏的《阮光显入觐赐宴图》。图中乾隆皇帝精神饱满，盘膝而坐，他面前是身着红袍跪成一排的阮光显等使臣。此令乾隆皇帝居高临下的构图，既写实又生动，形象地刻画出乾隆皇帝与使臣间严格的等级差，以及乾隆皇帝在画幅中所拥有的君主皇权之位。
--------Introduction in English--------
Ruan Guangxian's Entry into Xiangzhi Banquet Picture in Pingding'an South War Atlas, Qianlong of Qing Dynasty, Anonymous Painting, Paper, Coloring, 55.6 cm in length and 91.2 cm in width.
In the upper part of the painting, Emperor Qianlong wrote the poem "Ruan Hui sent his nephew Ruan Guangxian into the picture of a banquet offered to him", which reads: "Qianlong himself wrote the imperial pen of Zhongqiu." Jun's "treasure of the ancient heavenly son" Zhu Wenfang seal, "Sanxitang Jingjianxi seal" and "Yizisun" seal. "Jiyou" is the fifty-fourth year of Qianlong (1789), Emperor Qianlong was 79 years old.
In the latter half of the 18th century, war broke out in Annan (now Vietnam) because of the change of regime. Ruan Wenyue and Ruan Hui (later renamed Ruan Guangping) brothers of Guiren Prefecture led troops to overthrow the Li Dynasty, and King Levi Qi left. In the fifty-third year of Qianlong (1788), the mother and wife of King Annan appealed to the Qing court for help. Emperor Qianlong, in view of the fact that in the fifth year of Kangxi (1666), the Qing Dynasty had appointed Dayue King Li Weixi as King Annan, and the Li Dynasty had paid tribute to the Qing government, decided to send troops to help the Li Dynasty and restore the rule of the Li Dynasty in Annan. Emperor Qianlong ordered Sun Shiyi, governor of Guangzhou and Guangdong, to unite the army for a consultation. He soon seized Xuanguang, Xinghua and other places in Annan, and supported Li Weiqi to re-inherit the throne. But the next year, when the Qing soldiers celebrated the New Year's Day, they were attacked by Ruan Huijun. The Qing troops rushed to battle and lost their troops. Li Cheng gained and lost. Although Ruan Hui defeated the Qing army and destroyed the Li Dynasty, he knew that in order to stabilize order and strengthen rule, it was necessary for the Qing Dynasty to recognize and seal up the legitimate status. Ruan Hui changed the policy of "supporting Li and destroying Ruan" in the Qing Dynasty, and constantly sought to improve the relationship with the Qing Dynasty. Emperor Qianlong, facing Ruan Hui's persistent action and Annan's political situation, decided to change his policy toward Annan, from Fuli to Furuan, and appointed Ruan Hui as King of Annan.
In order to commemorate the battles won by the Qing army in Annan, Emperor Qianlong praised the heroic acts of Xu Shiheng, Shang Weiping, Zhang Chaolong and other generals who served the court in the campaign of Ping'an South, and ordered to draw a Book of "Peaceful Annan War Map" (totally 6 openings). Among them, besides the battle charts of Shouchang River, Sanyizhu Right, Shiqiu River and Fuliangjiang River, there are also pictures of the fifty-fourth year of Qianlong (1789) in July, when Ruan Hui sent his nephew Ruan Guangxian to the Summer Resort. Emperor Qianlong met Ruan Guangxian in the Qingyin Pavilion Theatre Building in the Vilion and ordered him to accompany Minister Wenwu, King of Mongolia. Ruan Guangxian's Picture of Entering the Banquet, a public theatre. In the picture, Emperor Qianlong sat cross-kneed, full of spirit. In front of him were envoys like Ruan Guangxian, kneeling in a row in red robes. This makes the composition of Emperor Qianlong's sublime, which is realistic and vivid, vividly depicts the strict hierarchical difference between Emperor Qianlong and his envoys, as well as the position of emperor Qianlong's monarchy in the painting.