沈铨是清中期活跃于江南地区的民间职业花鸟画家，以工笔重彩著称。曾渡日三年，被称为“舶来画家第一”。本 文以色彩技法为核心，结合存世作品与跨文化语境，剖析其花鸟画色彩风格与中日色彩语境，尤其聚焦渡日期间（1728— 1731）色彩技法的演变。在清代江南，沈铨关注重彩的寓意性，因背离文人画“水墨为雅”的审美范式，仅被视为满足节庆 装饰需求的商业工具；渡日后，受日本本土市民审美、兰学写实理念与狩野派影响，其色彩技法从吉祥符号化转向写实，既 保留中国没骨精髓，又融入日本视觉趣味与西方光影逻辑。这种差异与演变的本质，是跨文化语境下色彩功能认知的动态调整。

Shen Quan was a professional folk flower-and-bird painter active in the Jiangnan region during the mid-Qing Dynasty, renowned for his gongbi style (meticulous brushwork) with heavy colors. He once sojourned in Japan for three years and was known as the "foremost imported painter." Focusing on color techniques as the core, this paper combines his extant works and cross-cultural context to analyze the color style of his flower-and-bird paintings and the Sino-Japanese color contexts, with particular attention to the evolution of his color techniques during his sojourn in Japan (1728-1731). In the Jiangnan region of the Qing Dynasty, Shen Quan emphasized the symbolic meaning of heavy colors; however, due to his departure from the literati painting aesthetic paradigm of "ink wash as elegance," his works were only regarded as a commercial tool to meet the needs of festival decorations. After his arrival in Japan, influenced by Japan’s native urban aesthetic, the realistic concept of Rangaku (Dutch Learning), and the Kano School, his color techniques shifted from auspicious symbolism to realism. His works not only retained the essence of China’s boneless painting technique but also integrated Japanese visual tastes and Western light-shadow logic. The essence of such differences and evolution lies in the dynamic adjustment of the perception of color functions in a cross-cultural context.