献给皇帝的囚犯 - 美国大都会艺术博物馆展品查阅

品名（中）	献给皇帝的囚犯
品名（英）	Prisoners Presented to the Emperor
入馆年号	1945年，45.100.14
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Louis Joseph Masquelier【1741 至 1811】【法国人】
创作年份	公元 1767 - 公元 1774
创作地区
分类	印刷品（Prints）
尺寸	页: 25 3/4 × 39 1/2 英寸 (65.4 × 100.4 厘米) Plate: 22 1/2 × 36 1/2 英寸 (57.1 × 92.7 厘米)
介绍（中）	这里显示的是乾隆皇帝在北京紫禁城的主要入口子午门上登基。帝国随从的成员在轴心路的两侧，跪着的囚犯前面有一名官员，他拿出一个袋子，上面装着抵抗运动领导人霍贾·吉欣的头。作为一套十六幅作品的一部分，"献给皇帝的先驱者"是乾隆皇帝于 1765 年委托的，以纪念满族（1755-59 年）在今天的新疆地区战胜埃留特人、准噶尔人和其他中亚民族。这些版画是在查尔斯-尼古拉斯·科钦（Charles-Nicolas Cochin，1715-1790 年）的指导下制作的，遵循在北京工作的耶稣会艺术家的画作的缩小版画，于 1767 年至 1774 年在法国由路易十五宫廷最优秀的版画家蚀刻和雕刻。广州（今广州）的中国商人支付了铜版和两百套印刷品运往中国的费用，只有几套留在巴黎。这些版画体现了清朝皇家绘画学院内培养的东西方代表性风格的融合。欧洲的明暗对比技术——通过使用光线和阴影对形式进行建模——已经明显缓和，使用单点透视也是如此。相反，这些场景呈现全景和强烈向上倾斜的地平面。然而，与此同时，它们反映了欧洲人对解剖学准确性、单一光源以及数学上正确的比例缩小以创造衰退错觉的偏好。
介绍（英）	The Qianlong Emperor is shown here enthroned atop the Meridian Gate, the main entrance to Beijing's Forbidden City. Members of the imperial retinue flank the axial way, where kneeling prisoners are preceded by an official who holds out a bag with the head of the resistance leader Khoja Jihin. Part of a set of sixteen, "Pioneers Presented to the Emperor" was commissioned by the Qianlong Emperor in 1765 to commemorate Manchu victories (1755-59) over the Eleuths, the Dzungars, and other Central Asian peoples in the present-day region of Xinjiang. Made under the direction of Charles-Nicolas Cochin (1715-1790), the prints, which follow reduced-scale copies of paintings by Jesuit artists working in Beijing, were etched and engraved in France from 1767 to 1774 by the finest printmakers at the court of Louis XV. The Chinese merchants of Canton (present-day Guangzhou) paid for the copper plates and two hundred sets of prints to be delivered to China, with only a few sets retained in Paris. The prints exemplify the fusion of Eastern and Western representational styles fostered within the Qing imperial painting academy. The European technique of chiaroscuro-the modeling of forms through the use of light and shading-has been visibly tempered, as has the use of one-point perspective. Instead, the scenes present panoramic views and strongly up-tilt ground planes. At the same time, howevery, they reflect European preferences for anatomical accuracy, a single light source, and the mathematically correct reduction of scale to create the illusion of recession.