郎世寧，1688年生，1766年逝世，意大利米蘭人。原名朱塞佩·伽斯底里奧內(nèi)。年輕時(shí)在歐洲學(xué)習(xí)繪畫，曾為教堂繪制圣像。清康熙五十四年（1715）作為天主教耶穌會(huì)的修道士來(lái)中國(guó)傳教，到京后約于雍正元年（1723）進(jìn)入如意館，成為宮廷畫家。他很好地融合了中西繪畫技法，既講究西方繪畫中的立體效果，注意透視和明暗，重視寫實(shí)和結(jié)構(gòu)準(zhǔn)確的合理性。由于他能畫并精通建筑學(xué)，曾參與增修圓明園建筑工事。擅畫肖像、走獸、花果、翎毛尤善畫馬。所作大多以西畫法入絹紙，略參中法，以寫實(shí)為工，專注形似。他將歐洲的繪畫品種和方法傳授給中國(guó)的宮廷畫家，為中西文化藝術(shù)的交流作出了積極貢獻(xiàn)，頗得皇家青睞。去世后葬于北京阜成門外。存世作品有《聚瑞圖》、《嵩獻(xiàn)英芝圖》、《百駿圖》、《弘歷及后妃像》、《平定西域戰(zhàn)圖》等。，是清朝初年來(lái)華的傳教士中聲譽(yù)卓著的一位意大利畫家。他供奉清廷達(dá)五十一年，歷康熙、雍正、乾隆三朝，為宮廷繪畫數(shù)以百計(jì)，受他影響的中國(guó)畫家也不少。
Lang shining, born in 1688, died in 1766, from Milan, Italy. The original name is Giuseppe gasterione. When I was young, I studied painting in Europe and used to draw holy images for churches. In 1715, he came to China to preach as a friar of the Catholic Jesuit Church. After arriving in Beijing, he entered Ruyi hall about 1723, the first year of Yongzheng, and became a court painter. He well integrated Chinese and Western painting techniques, focusing on the three-dimensional effect in Western painting, paying attention to perspective and light and shade, and paying attention to the rationality of realism and accurate structure. Because he can draw and master architecture, he participated in the construction of the Yuanmingyuan. He is good at painting portraits, animals, flowers and fruits, and feathers, especially horses. Most of the paintings are made in silk paper with the western painting method, with a little reference to the Chinese painting method, and with the realistic work, focusing on the shape similarity. He taught European painting varieties and methods to Chinese court painters, and made positive contributions to the cultural and artistic exchanges between China and the west, which was favored by the royal family. After his death, he was buried outside Fuchengmen, Beijing. His surviving works include Ju Rui Tu, Song Xian Yingzhi Tu, Baijun Tu, Hongli and empress portrait, pacifying the western regions war map, etc. He is a famous Italian painter among the missionaries who came to China in the early Qing Dynasty. He was worshipped for fifty-one years in Tingda of the Qing Dynasty. He painted hundreds of paintings for the court in the three dynasties of Kangxi, Yongzheng and Qianlong. Many Chinese painters were influenced by him.
這是一幅清宮廷人物山水畫！作者為清宮廷西洋畫師郎世寧所繪！畫中人物為大清入關(guān)后第四代皇帝乾隆，他在秋圍時(shí)一身盛裝，金盔金甲騎馬出行前的颯爽英姿之態(tài)！畫中乾隆端座五花駿馬之上，左手輕攬疆繩，腰懸雕弓羽翎御箭，右手執(zhí)鞭，準(zhǔn)備策馬出征，所乘寶駒馬頭微昂，抬蹄呈前行之狀，乾隆身后是綿延不斷的江山，天空彩云舒卷，呈一派祥和之氣！這是一幅十分難得的繪畫精品！
This is a landscape painting of Qing court figures! The author is painted by Lang shining, a Western painter in the Qing Dynasty! The figure in the painting is Qianlong, the fourth emperor after entering the pass of Qing Dynasty. He is in full dress in autumn. He is brave and brave before riding! In the picture, Qianlong sits on a five flower horse, with his left hand holding the rope of Xinjiang, his waist hanging with a bow and feather, and his right hand holding the whip. He is ready to drive the horse out. The horse he rode on has a slightly raised head, and his hooves are in the shape of moving forward. Behind Qianlong, there are endless rivers and mountains, and the sky is full of colorful clouds, showing a peaceful atmosphere! This is a very rare painting!
在畫的上方，蓋有三方朱紅大印：從右至左的印文為：《乾隆御覽之寶》丶《太上皇帝之寶》、《五福五代堂古稀天子之寶》！這反應(yīng)了乾隆皇帝十分鐘愛此圖，多次觀看并留印用璽！
At the top of the painting, there are three big vermilion seals: from the right to the left, the seals are: the treasure of Qianlong emperor, the treasure of emperor Taishang, the treasure of ancient and rare Tianzi of five blessings and five generations hall! This reflects Emperor Qianlong's love for this picture for ten minutes. He has watched it for many times and left a seal!
畫的作者寫款也十分講究，在左下側(cè)的馬尾中部附近端寫楷書：臣 郎世寧恭繪。
The author of the painting is also very particular about the style. He wrote regular script near the middle part of the tail on the lower left: Chen Lang, Shi Ning and Gong.
整個(gè)畫面布局宏偉，構(gòu)圖精妙，畫工精細(xì)，用彩精美莊重，無(wú)論是人物神韻還是座騎動(dòng)態(tài)，都彰顯著皇家氣魄，把大清朝皇家氣概描繪得生動(dòng)形象！
The layout of the whole picture is magnificent, the composition is exquisite, the painting is fine, and the color is exquisite and solemn. No matter the charm of the characters or the dynamics of the mounts, they all show the Royal spirit and vividly depict the Royal spirit of the Qing Dynasty!
郎世寧畫馬幾乎不用傳統(tǒng)中國(guó)畫延綿不斷和道勁的線條塑造形象、勾勒物象輪廓的方法，他是以細(xì)密的短線，按照素描的畫法來(lái)描繪馬匹的外形、皮毛的皺褶和皮毛下凸起的血管、筋腱，或者利用色澤的深淺來(lái)表現(xiàn)馬匹的立體感和厚重感，有別于中國(guó)古代傳統(tǒng)的畫馬方式。
Lang shining's painting of horses hardly uses the traditional Chinese painting methods of continuous and vigorous lines to shape images and outline objects. He uses fine short lines to describe the shape of horses, wrinkles of fur and raised blood vessels and tendons under fur, or uses the depth of color to express the three-dimensional and heavy feeling of horses, which is different from the traditional Chinese painting Horse way.
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