奥罗伊贾拉图战役 - 美国大都会艺术博物馆展品查阅

品名（中）	奥罗伊贾拉图战役
品名（英）	The Battle at Oroi-jalatu
入馆年号	1945年，45.100.3
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 1770
创作地区
分类	印刷品（Prints）
尺寸	页: 25 13/16 x 39 5/8 英寸 (65.5 x 100.6 厘米) Plate: 22 1/2 × 36 9/16 英寸 (57.2 × 92.8 厘米)
介绍（中）	图为1756年，满族将军朝晖（1708-1764）对准噶尔军营进行了一次大胆的夜间突袭。然而，准噶尔随后包围了清军，迫使他们撤退《鄂罗依雅拉图之战》是乾隆皇帝于1765年委托制作的十六部作品之一，旨在纪念满族（1755-59年）在今新疆地区战胜鄂鲁特人、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（1715-1790）的指导下制作的，采用了在北京工作的耶稣会艺术家的缩小比例复制品，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）的中国商人为运往中国的铜板和200套版画支付了费用，巴黎只保留了几套这些版画体现了清朝皇家画院培养的东西方具象风格的融合。欧洲的明暗对照技术——通过使用光线和阴影来塑造形状——已经明显减弱，单点透视的使用也是如此。相反，这些场景呈现出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准确性、单一光源和数学上正确的缩小规模的偏好，以制造衰退的假象。
介绍（英）	Illustrated here is a daring night raid on a Dzungar camp, conducted in 1756 by the Manchu general Zhaohui (1708-1764). The Dzungars, however, subsequently besieged the Qing forces, forcing them to retreat. Part of a set of sixteen, "The Battle at Oroi-jalatu" 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.