Die Schlacht von Qos-qulaq. Artist: Nach Giuseppe Castiglione (Italienisch, Mailand 1688-1766 Peking); (Direxit) Charles Nicolas II Cochin (Französisch, Paris 1715-1790 Paris); Benoit Louis Prevost (Französisch, 1747 - Ca. 1804). Maße: Blatt: 25 11/16 x 39 5/8 in. (65,2 × 100,7 cm) Platte: 22 5/8 x 36 1/8 in. (57,5 × 91,8 cm). Serie/Portfolio: Die Eroberungen des Kaisers von China (Les Conquêtes de l'Empereur de Chine). Datum: 1774. Dieser Ausdruck zeigt die 1759 Schlacht von Qos-qulaq, während der die Koscha besiegt wurden. Qing Offiziere auf dem Pferderücken weisen ihre Kavallerie und Bogenschützen auf dem Pferderücken chase Feind
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
The Battle of Qos-qulaq. Artist: after Giuseppe Castiglione (Italian, Milan 1688-1766 Beijing); (direxit) Charles Nicolas Cochin II (French, Paris 1715-1790 Paris); Benoit Louis Prevost (French, 1747-ca. 1804). Dimensions: Sheet: 25 11/16 × 39 5/8 in. (65.2 × 100.7 cm) Plate: 22 5/8 × 36 1/8 in. (57.5 × 91.8 cm). Series/Portfolio: The Conquests of the Emperor of China (Les Conquêtes de l'Empereur de la Chine). Date: 1774. This print shows the 1759 battle of Qos-qulaq during which the Khoja were defeated. Qing officers on horseback instruct their cavalry and archers on horseback chase enemy horsemen. Part of a set of sixteen, "The Battle of Qos-qulaq" 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. Museum: Metropolitan Museum of Art, New York, USA.
