This dissertation focuses on the Macartney Embassy's visual record of Chinese social knowledge in several dimensions. It also traces the relation between these images with the history of European Chinoiserie images. In the context of social unconsciousness and the historical background, the pictures are examined with their presentation and production procedure to expose the British self-recognition and the ambition of constructing China as the 'other'. Introduction narrates the Macartney Embassy as a historical event and its historical background. It defines and analyses some of the elements that will appear in the dissertation, like China and the Qing dynasty, the manuscripts involved and their publication, Alexander and the Embassy, etc.. Chapter one is a historical narrative of basic information on the Embassy's visual record. Besides the literature review, I introduced the members of the embassy and the related people who contributed to the visual creation of China as well as the proportion of their contribution. The publication and collection status of these images and the relation among different collections are also elaborated. In addition, the multiple values of the pictures are presented. In Chapter two, 'inheritance and development', the Chinoiserie visual elements in Europe before the Embassy and their interaction are traced. I also explain the taste coming from the British academic tradition that pervade the Embassy's pictures, and its influence on later European visual creation of China. Chapter three focuses on the subjects depicted in the images produced by the Embassy. The quantity of each subject in the manuscripts is also listed: portraits, landscapes, scenes of punishment, religion practices are examined respectively to reveal the painter's various considerations. In addition, some excluded subjects, that however formed important parts of everyday life in China at the time, will also be explored. Chapter four examines how authenticity and distortion intertwine in these images. First of all, I confirm the authenticity of the pictures by comparing them with former European images of China. The pictures also reflected the Qing court's real attitude to the European embassy. However, there is no denying that the pictures also contain some unreliable visual details. I display them and traced the different reasons. Chapter five interprets the ideology inherent in these images. I explain how the Embassy constructed China as the 'other' in these pictures and the way they functioned as a strategy of self-recognition. Finally, I point out that the pictures were not a particular case, but an example of the British illustration of global exotic customs in the Age of Geographical Discovery. The British travel to the European continent gradually extended to the whole world with the process of colonization. The collection of global visual knowledge reveals the British careful observation of the world, which aroused their particular sense of possessiveness later.