解除对黑河营地的围攻 - 美国大都会艺术博物馆展品查阅

品名（中）	解除对黑河营地的围攻
品名（英）	The Lifting of the Siege of the Black River Camp
入馆年号	1945年，45.100.7
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Jacques Philippe Le Bas【1707 至 1783】【法国人】
创作年份	公元 1771
创作地区
分类	印刷品（Prints）
尺寸	页: 25 13/16 × 39 11/16 英寸 (65.5 × 100.8 厘米) Plate: 22 5/8 × 36 11/16 英寸 (57.5 × 93.2 厘米)
介绍（中）	这幅版画描绘了 1758 年对叶尔羌附近 Qara usu（黑河）营地的围困结束，清军在冬季被封锁了三个月。围困于1759年解除。作为一套十六幅画的一部分，"解除对黑河营地的围困"是乾隆皇帝于 1765 年委托编写的，以纪念满族（1755-59 年）在今天的新疆地区战胜了埃留特人、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）	This print depicts the end of the siege of a camp at Qara usu (the Black River), near Yarkand in 1758 where Qing troops were blockaded over the winter for three months. The siege was lifted in 1759. Part of a set of sixteen, "The Lifting of the Siege of the Black River Camp" 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.