If you’ve left plates coated with egg for a while, you’ll know how difficult its residue can be to remove. No one knows when people first took advantage of this in paints, but earliest surviving examples date from late classical times. By the Renaissance, egg yolk was popular as a binder in artists’ paints, and the technique of egg tempera was used to create many of the masterpieces of the day.

Pure egg tempera technique uses the proteins, fats and other constituents of the yolk of fresh hens’ eggs as its binder; being water-based, water is its diluent. Applied thinly to an absorbent ground such as powdered chalk in a gesso, this quickly sets to form a hard if not brittle paint layer which, unlike glue tempera, can’t readily be removed by water.

Because egg tempera forms such a hard paint layer but is applied thinly, it’s prone to cracking unless the support is rigid and doesn’t change dimensions over time. Early egg tempera paintings were almost exclusively made on wood, but more recently stretched canvas has been used instead. That can lead to cracks and eventual mechanical failure of the paint layer. Egg tempera on wood panel was the favoured combination for easel paintings during the early Renaissance, particularly in Italy.

The finest paintings in egg tempera use only fresh eggs; as eggs age, particularly when they’re not refrigerated, separating the yolk becomes more difficult, and the resulting paint layer doesn’t appear as strong.

Since the nineteenth century, some paint manufacturers such as Sennelier have offered tubed paints with egg as their main binder, but with the addition of some drying oil to form an egg-oil emulsion. These have some of the properties of pure egg tempera, but are more versatile in their handling, and can be used like gouache and even, to a degree, like oil paints. These appear to have been derived from recipes recorded during the Renaissance.

Earliest European examples of egg tempera, such as Margarito d’Arezzo’s The Virgin and Child Enthroned, with Scenes of the Nativity and the Lives of the Saints from the middle of the thirteenth century, often incorporate extensive gilding and today might appear ‘primitive’.

Even the earliest paintings in egg tempera can be remarkably well preserved, such as Duccio’s Healing of the Man born Blind from the early fourteenth century. Although it only forms a thin paint layer, egg yolk is sufficient to preserve high levels of chroma in the pigments.

As the modelling of flesh and clothing became more realistic, egg tempera proved more than sufficient for the task.

One of the finest early works painted entirely in egg tempera is the anonymous Wilton Diptych in London’s National Gallery. Thought to have been made in France at the end of the fourteenth century, its exquisite detail would have been painted in multiple thin layers using fine brushes, much like miniatures painted on vellum.

But it was in Italy that painting in egg tempera reached its apogee, with masters like Masaccio, in his Santa Maria Maggiore Altarpiece from about 1428-29 (above) and Piero della Francesca’s Baptism of Christ (below) of a decade later.

During the fifteenth century, egg tempera was progressively replaced by oils in Italy, as it had been earlier in the Northern Renaissance.

Uccello’s large panel of the Battle of San Romano incorporated some drying oils, including walnut and linseed, although it was still fundamentally painted in egg tempera.

By the end of the fifteenth century, many studios had changed to oils. Among the last large egg tempera paintings are Botticelli’s Primavera (above) and The Birth of Venus (below), from the 1480s. The craft labour involved in producing these large works must have been enormous. Although Primavera was painted on a panel, Venus is on canvas, making it more manageable given its size of nearly 2 x 3 metres (79 x 118 inches).

In the closing years of the fifteenth century, Michelangelo kept to the hallowed tradition of egg tempera on wood in this unfinished painting of the Virgin and Child known now as The Manchester Madonna. This shows how he painstakingly completed each of the figures before moving onto the next, and the characteristic green earth ground.

By this time, the only common use for egg tempera was in the underpainting before applying oils on top. This remains a controversial practice: performed on top of gesso ground it can be successful, but increasingly studios transferred to oils. Egg tempera didn’t completely disappear, though. With so many fine examples of how good its paintings both look and age, there were always some artists who have chosen it over oils.

Some nineteenth century movements that aimed to return to the more wonderful art of the past experimented again with egg tempera. In the late 1870s, John Roddam Spencer Stanhope started to use the medium, and made one of his finest works, Love and the Maiden (1877), using it.

A later exponent who was rigorous in his technique was Adrian Stokes, who used it to great effect in this landscape of Autumn in the Mountains in 1903.

But for my taste, the greatest painter in egg tempera since the Renaissance has to be one of the major artists of the twentieth century: Andrew Wyeth (1917–2009). As his works remain in copyright, I recommend that you browse his official site, where you can see just how effective egg tempera can be in the hands of a great master. It may not be as popular as in the past, but egg tempera still has a great deal to offer.

Earlier in this series, I showed an example of the origin of all modern paintings in the decorated caves of pre-history. As shelters became buildings, our ancestors continued to paint their walls, using a technique now known as secco wall or mural painting, where wet paint is applied to dry stone or plaster.

Secco has been widely used outside Europe, and can still be seen in some very old European wall paintings, such as those in Braunschweig Cathedral, including Christ Pantocrator, thought to date from the early thirteenth century. Long before that was created, though, wall painting advanced to improve adhesion between its paint layer and ground. In secco technique, only thin layers of pigment can be used, resulting in weak colours, little detail, and the need for periodic re-painting as pigment is gradually lost over time.

Artists experimented with different binders and secco techniques. Although dry plaster is more absorbent and a better ground than bare stone, success has been limited, and failure a constant danger. At some time before about 1700 BCE, one of the Mediterranean cultures discovered that it was possible to apply paint onto a layer of wet plaster, and the technique of fresco (strictly, buon fresco) was born.

The Romans loved frescos that made their rooms look as if they were in a spacious outdoors, like this from the House of the Golden Bracelet in Pompeii.

In fresco, the support remains the wall or ceiling of the building, but the ground is absorbent wet plaster applied to that surface. Pigment is diluted in water and applied directly to the ground while the latter is still wet; this allows the paint to be absorbed into the ground, providing good and durable bonding of the pigment. Plaster is made using lime, derived from crushed limestone, and sets by reaction with carbon dioxide in the air to form calcium carbonate (from which both chalk and limestone are composed) and water, which evaporates during drying.

Techniques became even more refined, with the use of additional layers of plaster prepared in specific ways, to which red pigment sinopia might be added, allowing the artist to draw construction and other lines to assist in final painting. Because these frescos are on a grand scale, transferring the design of a painting from final sketch to the wall or ceiling is also a challenge.

The central problem for the painter is that, to be successful, fresco has to be painted onto the plaster when it is still wet. That means only a limited area can be plastered and painted each day, known as giornate (singular giornata), a day’s work. For all but the smallest of ground-level fresco paintings, work has to be undertaken at height, from a scaffold, posing the very real risk that the artist would fall, or the scaffolding fail. Many fresco painters have fallen at work, some suffering serious injuries or death as a result.

Despite all these practical difficulties, some of the most important European works of art are frescos painted during the Renaissance in places of worship with their high walls and ceilings.

Masaccio’s magnificent fresco of The Holy Trinity in the Basilica of Santa Maria Novella in Florence, was painted in 1426-28. At the outset he would have made a preliminary plan including his giornate starting at the top and working downwards. Once ready to start the painting, a team of carpenters will have erected wooden scaffolding to give the artist and his assistants access to the whole of that section of the wall, to the full height of over six metres (21 feet). The first stage would then have been completed by assistants, who laid a rough under-layer of plaster known as the arriccio over the whole wall, and left it to dry for several days. This layer often contains abrasive sand particles to provide a key for the final layer of plaster.

Once that had dried completely, Masaccio and his assistants transferred the drawings onto the surface of the arriccio. This may have been performed by scaling up from the squared drawing and painting with sinopia, or full-size drawings may have been pricked to make holes in the paper and a bag of soot banged against the sheet held against the wall, a technique known as pouncing. Masaccio is known to have used both techniques, and may well have used each in different sections of this work.

On each day of painting, assistants would prepare the colours by mixing pigments in water. The day’s supply of plaster, the intonaco, is then prepared by mixing water with lime. That day’s giornata is covered with a thin layer of intonaco, and about an hour later Masaccio started painting into it. He then had about eight hours before it dried and he could apply no more fresh paint. Like many of the best fresco painters, Masaccio extended his painting time by using paint mixed with milk or casein and a little lime, effectively a lime-based casein medium, which could be laid onto dry intonaco.

The geometric requirements of this painting also merited special measures. When the intonaco was first applied, it was marked to indicate key construction lines, such as those in the barrel-vaulted ceiling, and down the pillars at the side. The remains of these incised lines are still visible when the fresco is viewed in raking light. In this case, there is evidence that Masaccio used lengths of string attached to a nail sunk at the vanishing point of the linear projection, below the base of the cross.

Although we think of frescos as being fixed, this one has now been moved twice within the same church, which hasn’t helped its appearance. During conservation work and movement of Masaccio’s painting in the 1950s, the opportunity was taken to study its construction. Leonetto Tintori drew up a plan of all the identified construction lines and edges of giornate; I have sketched in the latter from a reproduction of a drawing made at that time, which has since been destroyed.

It’s estimated the whole painting would have required some 24 giornate, although because of the long history of damage and attempts at its restoration, that number remains flexible. Assuming that Masaccio painted six days a week, that would have required a minimum of four weeks working for at least ten hours each day. Fresco painting doesn’t permit easy alterations either: if any repainting was required and couldn’t be accomplished using dry technique, that day’s giornata would have to be removed, replaced and repainted.

Giornate can sometimes become obvious over time, as shown in Giotto’s fresco in the Scrovegni Chapel in Padua, Italy.

Perhaps the most famous fresco is Michelangelo’s The Last Judgement (1536-41) in the Sistine Chapel of the Vatican. It covers an area of 13.7 by 12 metres (539 by 472 inches), and took over four years to complete.

In the eighteenth and nineteenth centuries, fresco became relatively neglected.

Some new frescos were commissioned for places of worship and other public buildings, and in the early nineteenth century Johann Friedrich Overbeck painted a series telling the story of Torquato Tasso’s epic Jerusalem Delivered, in the Casa Massimo in Rome. There are similar series showing Dante’s Divine Comedy and other long narratives, which are particularly suited to the medium.

In 1845, the Scottish artist William Dyce was invited to paint frescos for the Royal Family, for which he travelled to Italy to learn technique. On his return in 1847, he painted this curious composition in Queen Victoria and Prince Albert’s new and luxurious holiday palace of Osborne House, at East Cowes, on the Isle of Wight. Neptune Resigning to Britannia the Empire of the Sea (1847) is an impressive fresco, and remains in pristine condition at the top of the main staircase in the house.

Frescos have continued in religious painting, with artists such as Sergei Fyodorov painting them in churches and cathedrals, and for the occasional trompe l’oeil. John Dixon Batten’s The Creation of Pandora was painted anachronistically in egg tempera on a fresco ground by 1913. Batten was one of the late adherents of the Pre-Raphaelite movement; this painting was deemed unfashionable in 1949, and was put into storage and quietly forgotten until its rediscovery in 1990.

New frescos are still painted in some public buildings too. This work by Finnish painter Akseli Gallen-Kallela is one of a series he painted in the National Museum of Finland in Helsinki in 1928, but most other wall paintings of the twentieth century, such as those of John Singer Sargent in public buildings in Boston, have been painted in oils on canvas rather than buon fresco.

Frescos aren’t the only way of making very large and monumental paintings for places like churches, though. The walls of Venetian buildings are particularly unsuitable for secco or fresco, because they remain so damp all year round. Hence the painters of Venice were innovators in constructing very large canvases, and you will find few frescos there as a result.

The humble domestic chicken is probably the most common and widely distributed farm animal. It originated in about 8,000 BCE in south-east Asia and spread its way steadily across every continent except Antarctica. It probably reached Europe before the Roman Empire, and since then has been commonplace. Perhaps because of its small size and frequent presence, it features in relatively few paintings.

The cruel sport of cockfighting accompanied its spread, and is depicted in Jean-Léon Gérôme’s first successful painting in 1846.

This motif had started from a relief showing two adolescent boys facing off against one another. Gérôme felt he needed to improve his figurative painting, and after Delaroche’s advice decided to develop that image by replacing one of the boys with a girl. In both Greek and English (but not French) the word cock is used for both the male genitals and a male chicken, and the youthful Gérôme must have found this combined visual and verbal pun witty and very Neo-Greek.

There’s a curious ambivalence in its reading too: two cocks are fighting in front of the young couple. Is one of the birds owned by the girl, and if so, is it the dark one on the left, which appears to be getting the better of the bird being held by the boy? Either way, it’s a lightly entertaining reflection on courtship and gender roles, and a promising debut. The Cock Fight earned Gérôme a third-class medal, and he sold the painting for a thousand francs. With the benefit of favourable reviews from critics, the following year brought him lucrative commissions, and a growing reputation.

A dead chicken plays a significant role in one of Rembrandt’s most famous group portraits.

His vast group portrait of The Night Watch (1642) is the most famous of all those of militia in the Dutch Republic. It features the commander and seventeen members of his civic guard company in Amsterdam. Captain Frans Banninck Cocq (in black with a red sash), followed by his lieutenant Willem van Ruytenburch (in yellow with a white sash) are leading out this militia company, their colours borne by the ensign Jan Visscher Cornelissen. The small girl to the left of them is carrying a dead chicken, a curious symbol of arquebusiers, the type of weapon several are carrying.

For a young child, cockerels can appear large and threatening, as used by Gaetano Chierici in a delightful visual joke.

His undated painting of A Scary State of Affairs calls on our experience of the behaviour of cockerels and geese. An infant has been left with a bowl on their lap, and their room is invaded first by cockerels, then by those even larger and more aggressive geese. The child’s eyes are wide open, their mouth at full stretch in a scream, their arms raised, and their legs are trying to fend the birds away.

Being among the most humble and everyday domestic species, chickens seldom make the limelight in religious narratives.

Murillo’s Adoration of the Shepherds from about 1650 is an exception featuring unusual additional details including the old woman carrying a basketful of eggs, and chickens in front of the kneeling shepherd.

In most paintings including chickens, though, they are just extras in the farmyard.

Paulus Potter’s Figures with Horses by a Stable (1647) includes finely painted horses, chickens, a dog, and distant cattle, with a magnificent tree in the centre and a sky containing several birds.

In Chickenfeed from 1867, Hans Thoma tackles this genre scene in a traditional and detailed realist style.

Alberto Pasini’s Market Scene from 1884 has an eclectic mixture of produce, ranging from live chickens to pots and the artist’s signature melons.

Évariste Carpentier’s undated Eating in the Farmyard, an example of the rural deprivation which sparked Naturalist art, shows two kids surrounded by animals and birds in this much-used space.

Here, Carpentier’s old woman is busy Feeding the Chickens.

Friedrich Eckenfelder’s Zollernschloss, Balingen from about 1884-5 shows a small yard just below the back of this castellated farm in Germany, with its lively flock of chickens.

Gustav Klimt had probably painted his first small landscapes between 1881-87, and returned to the genre more seriously in about 1896. This work, variously known as After the Rain, Garden with Chickens in St. Agatha, or similar, is thought to have been painted when Klimt stayed in the Goiserer Valley with the Flöge family in the summer of 1898.

Very occasionally, a chicken may come as something of a surprise.

Hieronymus Bosch’s Ship of Fools, a fragment from a larger Wayfarer triptych painted in 1500-10, is actually a small boat, into which six men and two women are packed tight. Its mast is unrealistically high, bears no sail, and has a large branch lashed to the top of it, in which is Bosch’s signature owl. Its occupants are engaged in drinking, eating what appear to be cherries from a small rectangular tabletop, and singing to the accompaniment of a lute being played by one of the women. A man has climbed a tree on the bank to try to cut down the carcass of a chicken from high up the mast.

One of the golden rules in narrative painting is to tell stories that the viewer is already familiar with, because of the limitations imposed by still images. By the middle of the nineteenth century, though, artists were breaking that rule in what became a new sub-genre of the ‘problem picture’, with open-ended narrative encouraging the viewer to construct their own stories. William Blake was a precursor to that in some of his paintings, and this weekend I look at two examples that try to tell stories we’re unfamiliar with.

At first sight, Blake’s painted etching The Ancient of Days from about 1821 might represent the Christian God seen as master craftsman, forming the world out of the darkness below heaven. That would be an innovative but hardly revolutionary interpretation of the opening of the book of Genesis.

That wasn’t Blake’s intention, though. This represents Urizen, one of many figures from his own mythology, and documented only in the artist’s writings. There, Urizen symbolises reason, his name most probably a semi-conscious pun on your reason. This painting shows Urizen the architect, creating the world using his compasses. He goes on to have the role of the jealous and vengeful god of the Old Testament, but his desire for dominion brings about his downfall into a state of Satan.

Representations of God as architect aren’t common, but Blake’s would be by no means unique.

This frontispiece to a Bible Moralisée from around 1220-30 shows the Christian God as architect, using his compasses during the creation of the world. The compasses continue in various modern symbols, including those that feature in freemasonry, and in its references to the Supreme Being as the Great Architect of the Universe.

Urizen typically appears with long and streaming white hair and beard, as in Blake’s plates throughout his First Book of Urizen from 1796.

But Urizen isn’t the only figure from Blake’s mythology who has long white hair and beard: above is Elohim Creating Adam from 1795, for example.

In Blake’s God Judging Adam also from about 1795, both figures sport long, flowing white hair and beards, which appear to be markers not so much of their ages or identities, but of the ancient nature of events.

Long white hair and beards are of course a long-established tradition in visual art: here is a contemporary example of Tiresias, the blind prophet of Apollo at Thebes, in Henry Fuseli’s Tiresias Appears to Ulysses During the Sacrifice (1780-85). Fuseli was Professor of Painting at the Royal Academy, and a great influence on Blake.

Characteristic of the figure of Urizen in The Ancient of Days is the unusual way in which the figure’s hair and beard stream as if in a strong wind, the figure’s nakedness, and its posture.

This can be traced most immediately to a major work by another contemporary painter who was highly influential on Blake: James Barry’s King Lear Weeping over the Dead Body of Cordelia (1786–8). Barry was also Professor of Painting at the Royal Academy, and the similarities between King Lear’s white hair and beard here, and those of Blake’s Urizen in The Ancient of Days, are striking.

Blunt found another potential source in Pellegrino Tibaldi’s figure of Neptune (1549-51) in his fresco showing the story of Ulysses in the Palazzo Poggi. Although now relatively obscure, Blake saw fresco as being ‘true’ art, and was long an enthusiast of frescos, even if he saw few. A contemporary popular book of prints of frescos included an engraving of Tibaldi’s Neptune, so this image would have been accessible to both Blake and Barry.

It’s likely that Tibaldi’s Neptune was itself a reference to Michelangelo’s earlier frescos in the Sistine Chapel: the detail above showing God creating the sun and moon, and even more important that below showing the creation of Adam (c 1511).

Blake knew both of these sections of the Sistine Chapel frescos well, having engraved them previously. They also link to Blake’s own Elohim Creating Adam above.

Blake’s Urizen the architect, seen creating the world using his compasses, is distinct from both God and Elohim in his nakedness. In Blake’s written narrative, the distinction between Urizen and Elohim becomes more blurred, when the former goes on to have the role of the jealous and vengeful god of the Old Testament, until his desire for dominion brings about his downfall.

It may be tempting to assume that, just because Blake’s paintings appear so original and different, they originate entirely from his own mind. However, Blake was just as likely to borrow from and refer to other visual art as any other master.

References

Blunt, A (1959) The Art of William Blake, Oxford UP.
Butlin, M (1981) The Paintings and Drawings of William Blake, 2 vols, Yale UP. ISBN 978 0 300 02550 7.
Damon, S Foster (2013) A Blake Dictionary, the Ideas and Symbols of William Blake, updated edn., Dartmouth College Press. ISBN 978 1 61168 443 8.
Vaughan, William (1999) William Blake, British Artists, Tate Publishing. ISBN 978 1 84976 190 1.

Dice have been thrown and rolled by people throughout recorded history. Early dice were often irregular, made of bone or stone and used primarily for gambling. Although they don’t appear to have played any significant role in mythology, their role in the events of the Crucifixion is well recorded in the New Testament Gospels.

Jacopo Tintoretto’s huge and magnificent Crucifixion from 1565 depicts the biblical account of guards gambling with dice, as seen in the detail below.

On the left of this detail, two men are gambling with dice in a small rock shelter suggestive of a tomb. To the right of them, a gravedigger has just started his work with a spade.

The Christian Church has generally taken a dim view of gambling, and shunned dice. Several artists have expressed this in paint, but none so forcefully as Hieronymus Bosch.

For Bosch and his patrons, gambling was definitely one of the cardinal sins. It appears in the garden of Hell in the right panel of his magnificent Garden of Earthly Delights from about 1495-1505. In this damning conclusion, figures are mutilated and tormented in a nightmare landscape dominated by non-human creatures and alarming objects, where gambling takes the foreground.

In the foreground, a huge blue bird, wearing a cauldron on its head and swallowing a whole human, presides over the scene. Two main groups of victims here are clustered around objects associated with gaming and gambling, and those for making music, then associated with the work of the devil, and immoral activities such as dancing. Playing cards are scattered on the ground beneath an overturned gaming table, and dice are balanced precariously on an index finger and on the head of a naked woman. From among that cluster of figures, a pair of dark blue non-human arms holds high a backgammon board with three dice.

Not all cultures have been as damning, though.

Albert Anker turns to classical times to put his spin on gambling games in his Knucklebone Players (1864). Three youths are here playing a game of greater skill, but still frequently the basis of gambling. The distinguished men in the background are hardly the sort to frequent a gambling den, surely?

Nevertheless, playing with dice continued as a cardinal sign of sin.

Alcohol, and that other vice tobacco, are cited in David Teniers the Younger’s The Dice Shooters (1630-50). In common with other paintings of card-playing and gambling in this period, it’s set in a dingy room in a rough tavern. Drawing on their clay pipes and with glasses of beer in hand, a group of men are completely absorbed in gambling large stacks of coins on the throw of their dice.

William Hogarth’s successor Thomas Rowlandson painted his Gaming Table in watercolour in 1801. Players here are putting their stakes on dice, which are about to be revealed by the man at the far right of the table, who seems to have been raking the money in.

Although Gustave Courbet’s portrait of the operatic singer Louis Gueymard (1822–1880) as Robert le Diable (1857) shows the last scene in Act 1 of Giacomo Meyerbeer’s opera Robert le Diable (1831), its message is clear. In this scene, Gueymard’s character Robert gambles away his entire estate on dice; in the opera this is marked by the aria L’or est une chimère: ‘gold is but an illusion’.

Dante Gabriel Rossetti is less convinced. In his watercolour of Hesterna Rosa from 1865, he shows a moment from the contemporary play Philip van Artevelde, written by Henry Taylor in 1834. Van Artevelde was a Flemish patriot who lived between about 1340-1382, and led the Ghent rebellion in 1381, only to be crushed to death in battle the following year. In Taylor’s play, van Artevelde has a relationship with a woman of lower class; in this scene, his lover has paused to reflect on her life while he plays dice with a friend. The painting’s title means yesterday’s rose, and draws on the theme of the fallen woman, so popular with Rossetti.

Murillo’s Young Boys Playing Dice of about 1675 adopts a different theme, of gambling among the poor and vulnerable. Two scruffy urchins from the streets of Seville are throwing dice for the small piles of change which are probably their entire fortunes. A third stands over them, chewing at a bread roll while his dog looks up longingly at the food.

原文地址：https://www.lxware.cn/archives/halo-meilisearch

Halo 从 2.0 版本开始支持了全文搜索功能，自带的 Lucene 搜索引擎在轻度使用场景下可以满足需求，但在重度依赖搜索功能的场景下，可能在搜索速度和用户体验上存在不足，这时我们会更推荐使用独立的搜索引擎。

本文将介绍如何使用 https://www.meilisearch.com/ 搜索引擎来提升 Halo 网站的搜索体验。

搭建 Meilisearch 服务

部署 Meilisearch 服务通常有两种方式：你可以选择自行在服务器上托管，或者使用 Meilisearch 官方提供的云服务。

云服务

访问 https://www.meilisearch.com/cloud 注册账号，根据引导创建项目。创建完成后，可以在控制台获取实例地址和 Master Key。

需要特别注意 Meilisearch 云服务的计费方式。

自托管

下面介绍两种常见的部署方式：

使用 Docker Compose 独立编排部署

这种方式适合多个项目需要同时使用一个 Meilisearch 服务的场景。 部署完成后，你可以配置域名和反向代理来暴露服务到公网。

services:
  meilisearch:
  image: getmeili/meilisearch:v1.15
  restart: unless-stopped
  ports:
    - "7700:7700"
  environment:
    - MEILI_ENV=production
// [!code highlight]
    - MEILI_MASTER_KEY=<your-super-secret-master-key-here>
  volumes:
    - meilisearch_data:/meili_data

volumes:
  meilisearch_data:
    driver: local

与 Halo 的 Compose 编排一起部署

结合 使用 Docker Compose 部署 Halo 的示例，将 Meilisearch 服务添加到 docker-compose.yml 文件中。

通过这种方式部署之后，插件设置中的 Meilisearch 服务地址 应该是 http://meilisearch:7700（即服务在同一 Compose 网络下可通过服务名访问）

meilisearch:
  image: getmeili/meilisearch:v1.15
  restart: on-failure:3
  networks:
    - halo_network
  volumes:
    - ./meilisearch-data:/meili_data
  environment:
    - MEILI_ENV=production
// [!code highlight]
    - MEILI_MASTER_KEY=<your-super-secret-master-key-here>

version: "3"

services:
  halo:
    image: registry.fit2cloud.com/halo/halo:2.21
    restart: on-failure:3
    depends_on:
    halodb:
      condition: service_healthy
    networks:
    halo_network:
    volumes:
      - ./halo2:/root/.halo2
    ports:
      - "8090:8090"
    healthcheck:
    test:
      ["CMD", "curl", "-f", "http://localhost:8090/actuator/health/readiness"]
    interval: 30s
    timeout: 5s
    retries: 5
    start_period: 30s
    environment:
      - JVM_OPTS=-Xmx256m -Xms256m
    command:
      - --spring.r2dbc.url=r2dbc:pool:postgresql://halodb/halo
      - --spring.r2dbc.username=halo
      - --spring.r2dbc.password=openpostgresql
      - --spring.sql.init.platform=postgresql
      - --halo.external-url=http://localhost:8090/
  halodb:
    image: postgres:15.4
    restart: on-failure:3
    networks:
    halo_network:
    volumes:
      - ./db:/var/lib/postgresql/data
    healthcheck:
    test: ["CMD", "pg_isready"]
    interval: 10s
    timeout: 5s
    retries: 5
    environment:
      - POSTGRES_PASSWORD=openpostgresql
      - POSTGRES_USER=halo
      - POSTGRES_DB=halo
      - PGUSER=halo
// [!code focus:10]
  meilisearch:
    image: getmeili/meilisearch:v1.15
    restart: on-failure:3
    networks:
      - halo_network
    volumes:
      - ./meilisearch-data:/meili_data
    environment:
      - MEILI_ENV=production
      - MEILI_MASTER_KEY=<your-super-secret-master-key-here>

networks:
  halo_network:

详细的部署方式可以参考 Meilisearch 官方文档：https://www.meilisearch.com/docs/learn/self_hosted/install_meilisearch_locally

安装插件

之前 Halo 社区中已经有人开发了 Meilisearch 插件，但已经不再维护，因此这里我们选择使用 Halo 官方提供的插件。

1. 下载插件，目前提供以下两种下载方式：

   • Halo 应用市场：https://www.halo.run/store/apps/app-7mb5szjt

   • GitHub Releases：访问 Releases 下载 Assets 中的 JAR 文件。

2. 安装插件，插件安装和更新方式可参考：https://docs.halo.run/user-guide/plugins

配置插件

1. 进入插件设置，配置 Meilisearch 服务地址 和 Master Key。索引名称 可以选择使用默认的 halo 或者自定义（如果你的 Meilisearch 服务会被多个项目使用，建议自定义索引名称）。

   

2. 进入插件扩展配置，在 扩展点定义 中选择 搜索引擎，然后选择使用 Meilisearch。

   

数据概览

配置完插件后，我们可以进入插件的 数据概览 页面，查看 Meilisearch 的索引数据。

在这个页面中，你还可以重建索引或测试搜索功能。

对比

Lucene（默认搜索引擎）与 Meilisearch 的实际对比：

通过实际使用可以发现，Meilisearch 的搜索结果更加准确，搜索速度更快，并且支持更灵活的搜索语法，无需用户掌握复杂的搜索表达式即可获得理想的搜索结果。

注意

1. 如果配置完 Meilisearch 插件之后无法搜索，可以尝试重建一次索引。

2. 安装 Meilisearch 插件之后仍然需要https://www.halo.run/store/apps/app-DlacW插件，Meilisearch 插件仅仅是提供服务，不会提供 UI。

原文地址：https://www.lxware.cn/archives/halo-content-tools

在 Halo 社区中，导入 Markdown 和 Word 文档的需求一直很高，但社区一直缺乏完善的解决方案。其主要原因在于 Markdown 和 Word 的文档格式较为复杂，难以完美支持所有格式特性，且图片资源的处理存在技术难点。

现在，社区中已经有了一个插件可以很好地支持导入 Markdown 和 Word 文档，它就是 https://www.halo.run/store/apps/app-SUvBR。该插件不仅支持导入 Markdown 和 Word 文档，还能够智能处理和导入图片资源，为用户提供了完整的文档迁移解决方案。

安装

可以通过以下两种方式安装插件：

1. 访问 https://www.halo.run/store/apps/app-SUvBR 页面直接下载

2. 在 Console 内置的应用市场中搜索 内容助手 进行安装

导入 Markdown 文档

安装并启用插件后，就可以在 Console 侧边菜单的工具中找到 文章导入 的入口。点击进入后，选择 Markdown 导入 选项卡即可开始导入，如下图：

功能详解

1. 选择 Markdown 文件：用于选择单个 Markdown 文档，支持 .md 格式文件。

2. 选择 Markdown 文件夹：用于选择包含 Markdown 文档的文件夹。选择文件夹后，系统会自动扫描其中的所有 Markdown 文档以及图片资源（如有）。

3. 选择图片文件夹：用于选择 Markdown 文档中引用的图片资源。选择文件夹后，系统会自动扫描其中的所有图片资源并在导入时自动关联。

4. 转为富文本格式：默认情况下，导入的 Markdown 文档会保持原有的 Markdown 格式。如果勾选此选项，系统会将文档转换为富文本格式，便于后续使用 Halo 的默认编辑器进行编辑。

使用场景

• 从其他博客平台或写作工具迁移文章内容

• 导入使用本地 Markdown 编辑器创作的文章

• 批量导入历史文档和资料

注意事项

1. 导入 Markdown 文档后，如果需要在 Console 中编辑文章，请确保已经安装了任意一个 Markdown 编辑器插件，否则无法正常打开编辑页面。

2. 如果 Markdown 文档中引用了本地图片资源，请在导入前选择存放图片的文件夹，否则图片将无法正确上传和关联。

3. 系统支持自动解析 Front Matter（文档头部的元数据），包括标题、别名（slug）、描述、摘要、分类、标签等信息。

操作示例

选择 Markdown 文件：

选择图片文件夹（如果文档包含本地图片）：

点击导入，等待导入完成：

检查文章与图片资源是否导入成功：

导入 Word 文档

进入 文章导入 页面后，选择 Word（.docx）导入 选项卡，如下图：

功能详解

1. 选择 Word 文档：用于选择单个 Word 文档，支持 .doc 和 .docx 格式。

2. 选择 Word 文档文件夹：用于批量选择包含 Word 文档的文件夹。

3. 转为 Markdown 格式：默认情况下，导入的 Word 文档会转换为富文本格式。如果希望后续使用 Markdown 编辑器编辑文章，请勾选此选项将内容转换为 Markdown 格式。

使用场景

• 将公司内部的 Word 文档转换为博客文章

• 配合 https://maxkb.cn/ 智能知识库，建立企业知识管理体系

• 从传统文档工具迁移内容到现代化的管理平台

注意事项

1. 由于 Word 文档格式的复杂性，系统可能无法完美解析所有内容格式，建议导入后进行适当调整。

2. 系统支持自动导入 Word 文档中的图片资源，但其他类型的嵌入对象暂不支持。

3. 图片会上传到与个人中心关联的存储策略，请提前在用户设置中配置相关参数。

操作示例

选择 Word 文档：

点击导入，等待导入完成：

检查文章是否导入成功：

丰富的内容管理功能

除了核心的导入功能，内容助手还提供了丰富的内容管理功能：

格式转换

支持 Markdown 与富文本格式的双向转换，让用户可以根据编辑需求灵活切换文档格式。你可以在文章管理页面点击文章的 ··· 按钮，在转换菜单中选择相应的格式转换选项，也可以在文章编辑页面顶部的编辑器选择框中选择 内容格式转换器 进行转换。

文章导出

支持将文章导出为多种格式，方便内容备份和分享：

• 以原格式导出：保持文章的原始格式进行导出

• 转换为 Markdown 并导出：将文章转换为 Markdown 格式后导出

• 转换为 PDF 并导出：将文章转换为 PDF 格式进行导出

文章克隆

提供文章克隆功能，便于基于现有文章创建相似内容。克隆后的文章会自动在标题后添加"（副本）"标识，并生成新的别名以避免冲突。

以上功能都可以在文章管理页面点击文章的 ··· 按钮找到相应选项。

总结

内容助手插件为 Halo 用户提供了完整的文档导入和内容管理解决方案，有效解决了 Markdown 和 Word 文档的导入难题。插件不仅支持智能处理图片资源，还提供了格式转换、文章导出、文章克隆、内容复制等丰富功能，能够满足大部分用户的内容管理需求。

无论你是从其他平台迁移内容，还是需要批量导入历史文档，内容助手都能为你提供便捷、高效的解决方案。如果你有文档导入或内容格式转换的需求，欢迎尝试使用内容助手插件。

更新（25-06-19）

现在已经为插件的 UI 部分提供了新的配置方式，https://www.npmjs.com/package/@halo-dev/ui-plugin-bundler-kit 包提供了 rsbuildConfig 方法，可以更加方便的使用 https://rsbuild.dev/ 来构建 UI 部分。

Rsbuild 基于 Rspack 构建，提供了更完善的 loader 配置，所以在封装的时候就直接选择了 Rsbuild。

安装依赖：

pnpm install @halo-dev/ui-plugin-bundler-kit@2.21.1 @rsbuild/core -D

rsbuild.config.mjs:

import { rsbuildConfig } from "@halo-dev/ui-plugin-bundler-kit";

export default rsbuildConfig()

package.json 添加 scripts:

{
  "type": "module",
  "scripts": {
    "dev": "rsbuild build --env-mode development --watch",
    "build": "rsbuild build"
  }
}

需要注意的是，为了适应新版的 https://github.com/halo-dev/plugin-starter，默认生产构建输出目录改为了 ui/build/dist ，如果你要从已有的插件项目迁移到 Rsbuild，建议参考 https://github.com/halo-dev/plugin-starter/pull/52 对 Gradle 脚本进行改动，或者自定义 Rsbuild 的配置以保持原有的输出目录配置：

import { rsbuildConfig } from "@halo-dev/ui-plugin-bundler-kit";

const OUT_DIR_PROD = "../src/main/resources/console";
const OUT_DIR_DEV = "../build/resources/main/console";

export default rsbuildConfig({
  rsbuild: ({ envMode }) => {
    const isProduction = envMode === "production";
    const outDir = isProduction ? OUT_DIR_PROD : OUT_DIR_DEV;

    return {
      resolve: {
        alias: {
          "@": "./src",
        },
      },
      output: {
        distPath: {
          root: outDir,
        },
      },
    };
  },
});

示例：https://github.com/halo-sigs/plugin-migrate

了解更多：https://docs.halo.run/developer-guide/plugin/basics/ui/build

前情提要

Halo 插件的 UI 部分（Console / UC）的实现方式其实很简单，本质上就是构建一个结构固定的大对象，交给 Halo 去解析，其中包括全局注册的组件、路由定义、扩展点等。 基于这个前提，在实现插件机制时，主要面临的问题就是如何将这个大对象传递给 Halo。当初做了非常多的尝试，最终选择构建为 IIFE（Immediately Invoked Function Expression，立即执行函数），然后 Halo 通过读取 window[PLUGIN_NAME]（PLUGIN_NAME 即插件名）来获取这个对象。 构建方案采用 Vite，并提供了统一的构建配置。回过头来看，这个方案存在不少问题：

1. 会污染 window 对象，虽然目前并没有出现因为这个导致的问题，但是从长远来看，这个方案并不是最优的。（当然，使用 Rspack 来构建并不是为了解决这个问题）

2. Vite 不支持 IIFE / UMD 格式的代码分割（主要是 Rollup 还不支持），无法像 ESM（ECMAScript Module）那样实现异步加载模块的机制。

3. 基于第 2 点，如果插件中实现了较多的功能，可能会导致最终产物体积巨大，尤其是当用户安装了过多的插件时，会导致页面加载缓慢。

   1. 以 http://www.halo.run/ 为例，gzip 之前接近 10M 的 bundle.js，gzip 之后也有 2M - 3M。

   2. 以此博客为例，gzip 之后也有 1.8M 的 bundle.js。

4. 基于第 2 点，如果不支持代码分块（Chunk），也无法充分利用资源缓存，访问页面时，也会一次性加载所有插件的代码（即便当前页面不需要）。

基于以上问题，我开始寻找其他替代方案，最终通过翻阅 Rspack（Webpack 的 Rust 实现）的文档发现，Webpack 能够通过配置实现 IIFE 格式的代码分割，最终选择 Rspack 作为尝试。

基本的 Rspack 配置

安装依赖：

pnpm install @rspack/cli @rspack/core vue-loader -D

package.json 添加 scripts:

{
  "type": "module",
  "scripts": {
    "dev": "NODE_ENV=development rspack build --watch",
    "build": "NODE_ENV=production rspack build"
  }
}

rspack.config.mjs:

import { defineConfig } from '@rspack/cli';
import path from 'path';
import process from 'process';
import { VueLoaderPlugin } from 'vue-loader';
import { fileURLToPath } from 'url';

// plugin.yaml 中的 metadata.name
const PLUGIN_NAME = '<YOUR_PLUGIN_NAME>';

const isProduction = process.env.NODE_ENV === 'production';
const dirname = path.dirname(fileURLToPath(import.meta.url));

// 开发环境启动直接输出到插件项目的 build 目录，无需重启整个插件
// 生产环境输出到插件项目的 src/main/resources/console 目录下
const outDir = isProduction ? '../src/main/resources/console' : '../build/resources/main/console';

export default defineConfig({
  mode: process.env.NODE_ENV,
  entry: {
    // 入口文件，可以参考：https://docs.halo.run/developer-guide/plugin/basics/ui/entry
    main: './src/index.ts',
  },
  plugins: [new VueLoaderPlugin()],
  resolve: {
    alias: {
      '@': path.resolve(dirname, 'src'),
    },
    extensions: ['.ts', '.js'],
  },
  output: {
    // 资源根路径，加载代码分块（Chunk）的时候，会根据这个路径去加载资源
    publicPath: `/plugins/${PLUGIN_NAME}/assets/console/`,
    chunkFilename: '[id]-[hash:8].js',
    cssFilename: 'style.css',
    path: path.resolve(outDir),
    library: {
      // 将对象挂载到 window 上
      type: 'window',
      export: 'default',
      name: PLUGIN_NAME,
    },
    clean: true,
    iife: true,
  },
  optimization: {
    providedExports: false,
    realContentHash: true,
  },
  experiments: {
    css: true,
  },
  devtool: false,
  module: {
    rules: [
      {
        test: /\.ts$/,
        exclude: [/node_modules/],
        loader: 'builtin:swc-loader',
        options: {
          jsc: {
            parser: {
              syntax: 'typescript',
            },
          },
        },
        type: 'javascript/auto',
      },
      {
        test: /\.vue$/,
        loader: 'vue-loader',
        options: {
          experimentalInlineMatchResource: true,
        },
      },
    ],
  },
  // 这部分依赖已经由 Halo 提供，所以需要标记为外部依赖
  externals: {
    vue: 'Vue',
    'vue-router': 'VueRouter',
    '@vueuse/core': 'VueUse',
    '@vueuse/components': 'VueUse',
    '@vueuse/router': 'VueUse',
    '@halo-dev/console-shared': 'HaloConsoleShared',
    '@halo-dev/components': 'HaloComponents',
    '@halo-dev/api-client': 'HaloApiClient',
    '@halo-dev/richtext-editor': 'RichTextEditor',
    axios: 'axios',
  },
});

配置需要懒加载的路由或者组件：

在 index.ts 中配置路由：

import { definePlugin } from '@halo-dev/console-shared';
import { defineAsyncComponent } from 'vue';
import { VLoading } from '@halo-dev/components';
import 'uno.css';
// [!code --]
import DemoPage from './views/DemoPage.vue';

export default definePlugin({
  routes: [
    {
      parentName: 'Root',
      route: {
        path: 'demo',
        name: 'DemoPage',
// [!code --]
        component: DemoPage,
// [!code ++:4]
        component: defineAsyncComponent({
          loader: () => import('./views/DemoPage.vue'),
          loadingComponent: VLoading,
        }),
      ...
      },
    },
  ],
  extensionPoints: {},
});

注：推荐使用 defineAsyncComponent 包裹，而不是直接使用 () => import() 的方式，后者会在进入路由之前就开始加载页面的代码分块（Chunk），导致页面在加载期间没有任何响应。

构建产物示例：

❯ ll src/main/resources/console
.rw-r--r-- 191k ryanwang staff 16 Jun 10:47  359-3bebb968.js
.rw-r--r--  83k ryanwang staff 16 Jun 10:47  962-3bebb968.js
.rw-r--r-- 4.1k ryanwang staff 16 Jun 10:47  main.js

其他配置

集成 Scss / Sass

安装依赖：

pnpm install sass-embedded sass-loader -D

rspack.config.mjs 添加配置：

import { defineConfig } from '@rspack/cli';
import path from 'path';
import process from 'process';
import { VueLoaderPlugin } from 'vue-loader';
import { fileURLToPath } from 'url';
// [!code ++]
import * as sassEmbedded from "sass-embedded";

...

export default defineConfig({
  ...
  module: {
    rules: [
      ...
// [!code ++:13]
      {
        test: /\.(sass|scss)$/,
        use: [
          {
            loader: "sass-loader",
            options: {
              api: "modern-compiler",
              implementation: sassEmbedded,
            },
         },
        ],
        type: "css/auto",
      },
    ],
  },
...
});

集成 UnoCSS

如果你习惯使用 TailwindCSS 或者 UnoCSS 来编写样式，可以参考以下配置：

本文推荐使用 https://unocss.dev/，因为可以利用 UnoCSS 的 https://unocss.dev/transformers/compile-class 来编译样式，预防与 Halo 或者其他插件产生样式冲突。

安装依赖：

pnpm install unocss @unocss/webpack @unocss/eslint-config style-loader css-loader -D

入口文件（src/index.ts）添加导入：

import 'uno.css';

rspack.config.mjs 添加配置：

import { defineConfig } from '@rspack/cli';
import path from 'path';
import process from 'process';
import { VueLoaderPlugin } from 'vue-loader';
import { fileURLToPath } from 'url';
// [!code ++]
import { UnoCSSRspackPlugin } from '@unocss/webpack/rspack';

...

export default defineConfig({
  ...
  plugins: [
    new VueLoaderPlugin(),
// [!code ++]
    UnoCSSRspackPlugin()
  ],
  ...
  module: {
    rules: [
      ...
// [!code ++:5]
      {
        test: /\.css$/i,
        use: ['style-loader', 'css-loader'],
        type: 'javascript/auto',
      },
    ],
  },
...
});

uno.config.ts:

import { defineConfig, presetWind3, transformerCompileClass } from 'unocss';

export default defineConfig({
  presets: [presetWind3()],
  transformers: [transformerCompileClass()],
});

.eslintrc.cjs:

/* eslint-env node */
require('@rushstack/eslint-patch/modern-module-resolution');

module.exports = {
  root: true,
  extends: [
    'plugin:vue/vue3-recommended',
    'eslint:recommended',
    '@vue/eslint-config-typescript/recommended',
    '@vue/eslint-config-prettier',
// [!code ++]
    '@unocss',
  ],
  env: {
    'vue/setup-compiler-macros': true,
  },
// [!code ++:3]
  rules: {
    "@unocss/enforce-class-compile": 1,
  },
};

总结

以上就是针对 Halo 插件前端部分的 Rspack 配置。我已经对 Halo 官方维护的部分插件进行了迁移，几乎没有遇到什么问题，并且带来的收益非常明显：www.halo.run 和本博客的 bundle.js 在 gzip 之后仅有不到 200k，各个页面也只会在访问时加载所需的资源。

需要注意的是，我对这些构建工具并不算非常熟悉，所以配置仍然有优化空间。我们会持续优化，后续也会考虑提供一个通用的 CLI 或 Rspack 配置，期望实现如下效果：

rspack.config.mjs:

import { rspackConfig } from '@halo-dev/ui-bundler-kit';

export default rspackConfig({
  ...
});

或者基于 Rspack 包装一个 CLI：

plugin.config.mjs:

import { defineConfig } from '@halo-dev/ui-bundler-kit';

export default defineConfig({
  ...
});

package.json:

{
  "scripts": {
    "dev": "halo-ui dev",
    "build": "halo-ui build"
  }
}

参考文档

• https://rsbuild.dev/

• https://rspack.rs/

• https://webpack.js.org/concepts/

感谢阅读，欢迎交流与指正！