[{"data":1,"prerenderedAt":78},["ShallowReactive",2],{"subject-ping-pan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},7604,"ping-pan","平叛","平叛画高清赏析","精选中国历代平叛题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe196254a84e956e9dd3d2edb68ef4f65.jpg",0,3,[14,40,61],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},233042,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233042","平定台湾战图册","清","佚名","北京故宫博物院","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[23,24,25,26,27,28,29,30,31,32,7],"国画","册","设色","人物","马","山水","竹林","军事","战图","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feae5f0dd5c2a572bb27cced76f236d32.jpg","纸本，设色","长55.6厘米，宽91.1厘米","",[],6,"BDBDBD",{"id":41,"slug":42,"title":17,"dynasty":18,"author":19,"museum":43,"description":44,"tags":45,"thumbUrl":57,"material":58,"size":59,"collection":36,"collections":60,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},238628,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238628","藏地不详","全景式构图铺展激烈战事，层叠山峦与苍郁林木间，兵勇鏖战正酣。旌旗猎猎翻卷，人马奔突厮杀，短兵相接的紧张感跃然纸面，细节处将兵卒格斗、奔逃溃退的动态刻画入微，题诗呼应战局，点明智取克敌的战事脉络。\n\n画作以精细线描勾勒山野形貌与人姿马态，写实还原征战场面，兼具纪实性与艺术性。笔墨沉凝肃杀刚劲，将工笔绘法与纪实特质相融，让观者仿若踏入烽烟烈烈的平叛现场，触摸那段金戈铁马的过往。",[46,23,24,47,48,49,32,50,28,51,26,27,52,53,54,55,56,7],"名画","工笔","水墨","线描","纪实","林木","兵器","旌旗","战争","肃杀","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbbd2bcfc8379931c4747e16a3b09a1.jpg","未知","Xcm*Xcm",[],{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":43,"description":65,"tags":66,"thumbUrl":10,"material":36,"size":76,"collection":36,"collections":77,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},233110,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233110","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[67,68,46,32,69,70,26,71,72,73,74,75,7],"铜版画","册页","纪实画","战争场景","军队","帐篷","山地","城池","西域","87.3×50cm",[],1777535772769]