纪录片《文明（2018） Civilisations (2018) 》 - 纪录片1080P/720P/360P高清标清网盘迅雷下载

小小白

纪录片《文明（2018）  Civilisations (2018) 》 - 纪录片1080P/720P/360P高清标清网盘迅雷下载

Civilisations (2018)

一般信息：艺术，历史纪录片由大卫olusoga和Mary Beard和Simon Schama托管，由BBC于2018年出版 - 英语叙述

信息一系列探讨了数千年的视觉文化。西蒙·沙拉姆的第二岁的时刻看着形成的角色艺术，创造性的想象力在人类本身的锻造中。随着西蒙的热情诠释人类的热情赞誉以及艺术可以帮助造成文明生活的方式。文明可能是不可能定义的，但它的对立 - 在销毁人类敦促的历史中证明 - 无论何时何地爆发都太明显了。 Simon Schama探讨了人类创造力的偏远来源，在南非洞穴的第一个已知的标志中，在南非洞穴 - 标记中没有仅仅是人类的身体需求而定。他在后来的洞穴工作中扰乱了手，在洞穴墙上的红色模板上，在北美野牛和公牛的绘画，而石器时代的雕刻。时间通过，文明的元素是组装的 - 书面语言，法律规范，以及战士队的表达式金属。随着西蒙文明的西蒙发现，人性不仅仅是为了仪式而开始生产艺术。但是，这种文化如何出现以及它们如何下降？西蒙向中东佩特拉的文明和美国中部的玛雅旅行，以探索这些问题。他发现最终的文明依赖于人类与环境的关系，虽然所有人都相信自己的连续性，但所有人都注定要堕落。我们看起来很玛丽胡须探讨古代艺术中的人体图像Exico和希腊到埃及和中国。玛丽寻求对文明思想核心的基本问题的答案。为什么人类总是艺术？这些图像是什么？以及一些代表身体的古老惯例现在仍然影响我们的方式？在提出这些问题时，玛丽探讨了我们的观点如何影响所在的文明的想法。巨大的莫斯科在墨西哥的头部设定了现场。在没有书面记录的文化中，我们所能做的就是拼图关于这些图像所代表的是什么，以及为什么他们被建造。玛丽胡子搬到了其他古代文化，在那里有更多的证据幸存下来。她看起来远远超过艺术对象 - 从埃及雕像到兵马俑的图像中国古代的抵达积极参与社会世界，教导男女如何表现，断言权力和缓解。玛利亚探讨了人类形式的“现实”形象的原因。她看着“希腊革命”，第六个和第五世纪的非凡进程，它看到人体的雕塑从一系列静态公式形象中大大改变，以至于我们现在认为的自然主义。玛丽表明，人类形态的希腊思想会影响我们向今天的景观。监测天堂Simon Schama探讨了我们最深刻的艺术敦促 - 对自然的描绘。 Simon发现山水画很少观察到的直截了当的观察性描述 - 相反，它是梦想和田园诗般的投影，如随着人类动荡的逃脱和避难所，地球上的难以捉摸的天堂。宋代中国始于10世纪。这首歌的卷轴绝不是这个世界的价值观 - 景观描绘了普通的山脉投射皇家权力。但由于该权威受到威胁并不堪重负，雄伟的山脉是地质动荡，扭曲和沉重的。在伊斯兰教和西方艺术中的想象的天堂通常是对损失和缺席的反应。但是，天堂可以在文艺复兴时期的别墅别墅中恢复。司法别墅前往威尼托的美丽的Palladian House of Daniele Barbaro，由Paolo Veronese绘制的壁画，思考耕地的世界绅士世界。它是北欧凉爽的气候帽子景观成为独特的艺术类型。西蒙探讨了德国和荷兰北方复兴的作品，通过描绘了自然世界，新兴国家寻求表达身份。西蒙在美国结束，那里美国的景点是随着荷兰的景点被局限于的景观，但在那里，在Ansel Adams的Numow摄影中，揭示了一种地球天堂，并在自然中表达了一个国家世界的眼睛玛丽胡子的眼睛拉以争议，有时危险，宗教和艺术的话题。对于千年来说，艺术在宗教启发艺术中，艺术激发了宗教。然而，所有宗教共享的根本问题都在使神圣中可见e人类世界。如何，以及在什么费用中，你会看到看不见的看法吗？在宗教艺术的所有作品下，总有谎言和风险。结果往往是Iconoclasm  - 艺术作品的破坏 - 玛丽认为可以导致新形式的创造力。在世界各地的神圣场地探讨宗教和艺术之间的有争议的界限。她去吴哥窟寺庙，在威尼斯的佛罗里达榕树，佛教徒坐的阿森塔和伊斯坦布尔的蓝色清真寺，因为她寻求分解在图像周围一些宗教的公约，而其他人被视为敌意的艺术表示。她展示了所有信仰（及其艺术家）如何面对相同的基本问题，踩踏在图像和B中的魅力神灵之间的谨慎行敢于敢于代表Divine.she在雅典的帕台农队结束，这是一座已经转过了异教寺，基督教会和清真寺的建筑物。现在，作为西方文明本身和旅游朝圣地点的纪念碑，她要求我们想知道我们现在的崇拜 - 我们与“信仰的眼睛”看着文明本身。艺术的胜利思考文艺复兴，你想到了意大利。但在15世纪和十六世纪，伟大的伊斯兰帝国经历了自己非凡的文化开花。这两种现象在单独的艺术宇宙中没有展开 - 他们敏锐地意识到，在彼此竞争中，彼此竞争，相互开放，以影响这种方式的流动。三个文明的电影与西蒙沙马 - 西部的东西 - 西部 - 教皇罗马，也到了奥斯曼伊斯坦布尔和莫格拉尔拉合尔和阿格拉，探索了这些联系和竞争，并审查了艺术家在随后的几年中发展的艺术家从西部和东方的不同传统的作用。这场竞争最令人瞩目的竞争德斯曼伊斯坦布尔的创造德国伊斯坦布尔伟大的工程师 - 建筑Mimar Sinan建造了轻淹没的Suleymaniye清真寺，而在罗马的同时，米开朗基罗在圣彼得大教堂设计了这位伟大的圆顶。英雄艺术家的命运似乎是由上帝触动的，伴随着视觉奇迹的礼物，从此从西部分散。在欧洲，随着世纪的转身，Benvenuto Cellini等艺术家，他与Medusa的头部雕塑的Perseus雕塑，可以伸展o对艺术世界的主权。像Caravaggio一样，伟大的欧洲艺术家，Velasquez和Rembrandt震撼了Decorum，转身肌肉，朴实和戏剧。在东方，莫尔巴尔艺术中，仍然能够令人兴奋的建筑和画家美容，如陵墓所表达的，如i'Timad- UD-Daulah和华丽的微型绘画，变得更加精致，诗意和精致。在15日和16世纪的遥远和差异培养中举行，常见的是第一次。这些遭遇激起了奇迹，敬畏，吞噬和恐惧。而且，作为帝国大卫ousoga演出的历史学家，艺术总是在前线上。此时的每次文化联系都留下了两侧的标志：壮丽的贝宁四尔兹记录了一个古代西部AFR的会议ICAN王国和葡萄牙语的尊重和交流的精神。相比之下，我们认为西班牙在16世纪征服了16世纪的中美洲，如摧毁阿兹特克人并嘲笑他们的文化。但大卫甚至在墨西哥罕见幸存的阿兹特克艺术品回忆起更细致的故事。他向日本旅行探索托卡沃在初始拥抱后的幕府幕府如何谨慎地对外干扰，他们试图与外面的世界削减联系。但在他们的艺术中，如在他们的贸易中，他们永远无法真正孤立外国影响.by对比，新教荷兰共和国本身是一个完全新的生物：一个市场驱动的国家。它是一个创造了新的自由和机会，体现在世界融入的艺术中Johannes Vermeer或attratist和Illustrator Maria Sibylla Merian的水彩画。大卫以印度的英国过渡的故事结束：首先，英国人与荷兰人一样对外国影响开放。但是，在19世纪，他们变得更加激进，遭遇时代为肌肉帝国时代赋予了肌肉帝国时代，这是印度的艺术和文化的解除.Radiance Simon Schame与伟大的哥特式大教堂的巨大哥特式大教堂冥想。然后他搬到了16世纪的威尼斯，在那里加那个杰作，如Giovanni Bellini的圣Zaccaria祭坛和蒂安的Bacchus和Ariadne争夺了绘画总是优于着色的假设。因为巴洛克举行了欧洲的启蒙欧洲Tian，Giambattista Tiepolo，在Würzburg的主教宫殿里创造了天花板壁画阿波罗和四大洲。一款光荣的序列Simon庆祝这款宏伟，颜色和舞蹈线的盛大歌剧：倾向于18世纪的闪光。但如果光可以打开狂喜的栅栏，也可以将艺术放入深渊。 Francisco Goya开始在威尼斯传统中工作，但在他的最后几年里，他的黑色绘画从光线世界排出了色彩。颜色艺术发现了一种以某种方式持续旧的新特派团：如何在城市忍受的生活，甚至是美丽的。西蒙向日本旅行到第18世纪和19世纪的地点，城市爆炸产生了对便宜的需求，大规模生产的伐木印花用令人眼花缭乱的颜色。这北海级等艺术家的印刷人对印象派和后印象派中的艺术家有着巨大的影响力。中，在Matisse的伟大教堂里，在Vence的伟大教堂里结束了，其中颜色是对第二次世界大战的背景 - 一旦更多地加强，启发和作为上帝的一条道路。进展的崇拜大卫奥卢萨探讨了19世纪对帝国主义的艺术反应。大卫展示了艺术家对进步思想的越来越多的矛盾性 - 智力和科学的反应 - 这是帝国使命和遵循启示和工业革命。知识和技术的进步在19世纪燃烧欧洲人，具有文明的优势。它证明了他们的帝国意识形态。但它在其中创造艺术家与其他文明的深刻魅力，反过来又产生了对自己的怀疑论。相比之下，随着欧洲艺术家质疑其文明的“进步”，在美国画家试图捕捉到他们在景观中新的国家的“明显命运”的想法。在他们对世界各地的海底纪录的美国原住民的代表中，他们遭到猛烈地流离失所的文化。但是，这并不总是如此.David展示了新西兰的一个艺术家被毛利人共同选择，他们使用他的窗台记录他们的文化并庆祝他们的祖先。随着19世纪结束，工业和科学进步的确定性越来越受到质疑;许多艺术家（Gauguin和Picasso）转向非西方艺术和文化为灵感。面对第一次世界大战的灾难性冲突，进步，原因和工业进步的想法是更高的“文明”的担保者被拒绝.David在奥托迪克斯的噩梦和讽刺的噩梦和讽刺唤起的强大冥想中结束了电影Triptych der Krieg（战争）的战壕恐怖。Vital Spark Simon Schama开始了这个前提的文明：它是艺术 - 创造性想象的发挥作用 - 人性表达了最重要的自我：打破的力量潮湿的暴政，每天都在磨砺。艺术，那么让生活价值;这是人类潜力的伟大窗口。和社会在某种程度上变得文明，因为他们认为文化视为起诉权力，或财富的积累。但在本世纪中，总战争和工业屠宰是（并且是）足够？人类的原因在纳粹火葬场的烟雾中升起。恐怖和恐怖掠过的美丽，并盖上它的自命不凡。在现代世界艺术中越来越多地商品化。中期的最后计划探讨了机器和利润驱动世界的艺术命运。它将艺术的兴起作为可交易商品，并转向一个核心问题：应该艺术创造一个与现代世界分开的领域，我们可以在我们之后逃避并将梯子拉起来？或者它应该在改变我们看到它并生活的方式转变并生活在混乱和笨拙的同时使用20世纪和当代艺术家的作品和21世纪西蒙寻求对这些深刻的问题的答案。他的结论充满了希望：尽管目前的所有特色，但是与现在的艺术仍然具有文明，介绍世界难以置信的难以置信和超越的方式它的恐怖伴随着人类精神的持久创造力。在这种特殊的文明方案中，您的家门口的手术，玛丽胡须在罗马大理石和罗马大理石中搜索了来自世界各地的世界各地的非凡艺术作品。埃及人的木乃伊到文艺复兴时期的杰作和非洲雕塑。技术规范视频编解码器：x264 cabac high@l4.1视频比特率：CRF 21.5视频分辨率：1920x1080视频纵横比：16：9帧速率：25 fps音频编解码器：aaC-LC音频比特率：Q = 0.45 VBR 48KHz（〜128Kbps）音频通道：2运行时间：59分钟数：10份尺寸：1.38 GB（平均值）源：HDTV编码：Jungleboy


纪录片关键词：
【文明（2018年），古代世界，考古学：秘密历史（BBC），文明故事，文明（BBC），攻击中的文明，纪录片，如何开始，与罗马人（BBC），我的年度与部落，追求失去的文明】

【艺术，历史，大卫olusoga，Mary Beard，Simon Schama，BBC，2018，英语】


Civilisations (2018),Ancient Worlds,Archaeology: A Secret History (BBC),Civilisations Stories,Civilisation (BBC),Civilisation under Attack,Documentary,How Art Began,Meet the Romans (BBC),My Year with the Tribe,Quest for the Lost Civilisation

Arts,History,David Olusoga,Mary Beard,Simon Schama,BBC,2018,English

General Information：
Arts, History Documentary hosted by David Olusoga and Mary Beard and Simon Schama, published by BBC in 2018- English narration

Information
A series which explores thousands of years of visual culture.

Second Moment of Creation
Simon Schama looks at the formative role art and the creative imagination have played in the forging of humanity itself.
The film opens with Simon's passionate endorsement of the creative spirit in humanity and the way in which art can help to forge the civilised life. Civilisation may be impossible to define, but its opposite - evidenced throughout history in the human urge to destroy - is all too evident whenever and wherever it erupts. Simon Schama explores the remote origins of human creativity with the first known marks made some 80,000 years ago in South African caves - marks which were not dictated merely by humanity's physical needs. He marvels at the later cave works - shapes of hands, in red stencils on the walls of caves, and at the paintings of bison and bulls, and Stone Age carvings.
As time passes, the elements of civilisation are assembled - written language, codes of law, and expressions of warrior power forged in metals. And humanity begins to produce art not just for ritual, as Simon discovers in Minoan civilisation. But how do such cultures arise and how do they fall? Simon travels to the civilisations of Petra in the Middle East and the Maya in Central America to explore those questions. He finds that ultimately civilisations depend on humanity's relationship with the environment for their survival, and while all believe in their own continuity, all are doomed to fall.


How Do We Look
Mary Beard explores images of the human body in ancient art, from Mexico and Greece to Egypt and China. Mary seeks answers to fundamental questions at the heart of ideas about civilisations. Why have human beings always made art about themselves? What were these images for? And in what ways do some ancient conventions of representing the body still affect us now? In raising these questions, Mary explores how the way we look can influence our ideas of what is civilised.
The colossal prehistoric Olmec heads in Mexico set the scene. In a culture with no written record, all we can do is puzzle about what these images were for, whom they represented, and why they were constructed. Mary Beard moves to other ancient cultures where more evidence has survived. She looks at images that are far more than art objects - images from Egyptian statues to the terracotta warriors of ancient China that actively participate in the social world, that teach men and women how to behave, that assert power and assuage loss. Mary explores what makes a 'realistic' image of the human form. She looks at the 'Greek Revolution', the extraordinary process in the sixth and fifth centuries BCE, which saw the sculpture of the human body dramatically change from a series of static formulaic images to what we now take as living naturalism. Mary shows that Greek ideas of the human form influence the way we look to this day.


Picturing Paradise
Simon Schama explores one of our deepest artistic urges - the depiction of nature. Simon discovers that landscape painting is seldom a straightforward description of observed nature - rather it is a projection of dreams and idylls, as well as of escapes and refuges from human turmoil, the elusive paradise on earth.
Simon begins in the 10th century, in Song dynasty China. The Song's scrolls are never innocent of the values of that world - the landscapes depict immense mountains projecting imperial authority. But as that authority was threatened and overwhelmed, majestic mountains are represented in geological turmoil, writhing and heaving. Imagined paradises in Islamic and western art are often responses to loss and absence. But paradise could be recovered in the country villas of the Renaissance.
Simon goes to the beautiful Palladian house of Daniele Barbaro in the Veneto, with murals painted by Paolo Veronese to contemplate the world of the cultivated country gentleman. It was in the cooler climate of northern Europe that landscape came into its own as a distinctive type of art. Simon explores the works of the northern Renaissance in Germany and the Netherlands, where emerging states sought expression of identity through depiction of their natural worlds. Simon ends in America, where the landscapes of America are as expansive as the landscapes of Holland were confined, but there too, in the numinous photography of Ansel Adams, a kind of earthly paradise is revealed and a sense of nationhood is expressed in the natural world.


The Eye of Faith
Mary Beard broaches the controversial, sometimes dangerous, topic of religion and art. For millennia, art has inspired religion as much as religion has inspired art. Yet there are fundamental problems, which all religions share, in making the divine visible in the human world. How, and at what cost, do you make the unseen seen? Beneath all works of religious art there always lies conflict and risk. The result is often iconoclasm - the destruction of works of art - which Mary believes can lead on to new forms of creativity.
Mary visits sacred sites across the world to examine the contested boundaries between religion and art. She goes to the temple of Angkor Wat, the Tintoretto Crucifixion in Venice, the Buddhist caves of Ajanta and the Blue Mosque in Istanbul, as she seeks to break down the conventions that centre some religions around images, while others are seen as hostile to artistic representation. She shows how all faiths (and their artists) face the same fundamental problems of treading a careful line between glorifying gods in images and blaspheming by daring to represent the divine.
She ends at the Parthenon in Athens, a building that has been in turn a pagan temple, a Christian church and a mosque. Now, as a monument to Western civilisation itself and a tourist pilgrimage site, she asks us to wonder what we now worship - how far we look at civilisation itself with 'the eye of faith'.


The Triumph of Art
Think Renaissance and you think of Italy. But in the 15th and 16th centuries, the great Islamic empires experienced their own extraordinary cultural flowering. The two phenomena did not unfold in separate artistic universes - they were acutely conscious of, and in competition with, each other and mutually open to influences flowing both ways. The fifth film in Civilisations goes east and west with Simon Schama - to Papal Rome, but also to Ottoman Istanbul and Mughal Lahore and Agra, exploring those connections and rivalries, and examining how the role of artists from the different traditions of west and east developed in the years that followed the Renaissances.
That rivalry unfolds most spectacularly over the creation of domes - in Ottoman Istanbul the great engineer-architect Mimar Sinan builds the light-flooded Suleymaniye Mosque, while at the same time in Rome, Michelangelo designed the great dome over the St Peter's Basilica. The fate of the hero-artist, seemingly touched by God, with the gift of making visual miracles, henceforth diverged in the east and west. In Europe, as the century turned, artists such as Benvenuto Cellini, with his sculpture of Perseus with the Head of Medusa, could lay claim to sovereignty over the world of art. The greatest European artists like Caravaggio, Velasquez and Rembrandt shook off decorum and turned muscular, earthy and theatrical.
Meanwhile in the east, Mughal art, still capable of acts of breathtaking architectural and painterly beauty, as expressed in mausoleums like the I'timad-ud-Daulah and gorgeous miniature paintings, became ever more refined, poetic and exquisite.


First Contact
In the 15th and 16th centuries distant and disparate cultures met, often for the first time. These encounters provoked wonder, awe, bafflement and fear. And, as historian of empire David Olusoga shows, art was always on the frontline. Each cultural contact at this time left a mark on both sides: the magnificent Benin bronzes record the meeting of an ancient West African kingdom and Portuguese voyagers in a spirit of mutual respect and exchange. By contrast we think Spain's conquest of Central America in the 16th century as decimating the Aztecs and eviscerating their culture. But David shows even in Mexico rare surviving Aztec artworks recall a more nuanced story. He travels to Japan to explore how the Tokugawa Shogunate, after an initial embrace, became so wary of outside interference that they sought to cut ties with the outside world. But in their art, as in their trade, they could never truly isolate themselves from foreign influences.
By contrast the Protestant Dutch Republic was itself an entirely new kind of creature: a market driven nation-state. It was a system that created new freedoms and opportunities as embodied in the world-infused art of Johannes Vermeer, or the watercolours of the naturalist and illustrator Maria Sibylla Merian. David ends with the transitional story of the British in India: at first the British were as open to foreign influence as the Dutch. But by the 1800s they became more aggressive and the era of encounters gave way to the era of muscular empire, that was dismissive of India's arts and cultures.


Radiance
Simon Schama starts his meditation on colour and civilisation with the great Gothic cathedrals of Amiens and Chartres. He then moves to 16th century Venice where masterpieces such as Giovanni Bellini's San Zaccaria altarpiece and Titian's Bacchus and Ariadne contested the assumption that drawing would always be superior to colouring. As the Baroque took hold in enlightenment Europe another Venetian, Giambattista Tiepolo, created a ceiling fresco Apollo and the Four Continents at the Bishop’s palace in Würzburg.
In a glorious sequence Simon celebrates this grand opera of light, colour, and dancing line: a dizzying lift-off into 18th century elation. But if light could open the gates of ecstasy it could also drop art into the abyss. Francisco Goya began by working in the Venetian tradition but in the last years of his life his Black Paintings drained colour from the world of light. The art of colour discovered a new mission which somehow sustained the old: how to make life in cities bearable, even beautiful. Simon travels to Japan to where in the 18th and 19th century an urban explosion generated a demand for cheap, mass produced woodblock prints suffused with dazzling colour. These prints by artists such as Hokusai were hugely influential on the impressionists and post impressionists.
Simon ends the film in Matisse's great chapel at Vence, where colour is used – against a backdrop of the Second World War - once more to enrapture, enlighten and as a path to God.


The Cult of Progress
David Olusoga explores the artistic reaction to imperialism in the 19th century. David shows the growing ambivalence with which artists reacted to the idea of progress – both intellectual and scientific - that underpinned the imperial mission and followed the Enlightenment and the Industrial Revolution. Advances in knowledge and technology imbued Europeans in the 19th century with a sense of their civilisation's superiority. It justified their imperial ideology. But it created among artists a deep fascinations with other civilisations which in turn produced a scepticism about their own. By contrast, as European artists questioned their civilisation's 'advance', in America painters sought to capture an idea of their new nation's 'manifest destiny' in landscapes. And in their representation of the Native Americans they sought to record for posterity the world and the cultures they were violently displacing. But this was not always the case.
David shows how in New Zealand one artist was co-opted by the Maori who used his sills to record their culture and celebrate their ancestors. As the 19th Century came to an end, the certainties of industrial and scientific advance were increasingly questioned; many artists (Gauguin and Picasso amongst them) turned to non-Western art and culture for inspiration. And in the face of the catastrophic conflict of the First World War, the idea that progress, reason and industrial advance were guarantors of higher 'civilisation' was rejected.
David ends the film with a powerful meditation on Otto Dix's nightmarish and ironic evocation of the horror of the trenches, the triptych Der Krieg (The War).


The Vital Spark
Simon Schama begins Civilisations with this premise: that it is in art - the play of the creative imagination - that humanity expresses its most essential self: the power to break the tyranny of the humdrum, the grind of everyday. Art, then, makes life worth living; it is the great window into human potential. And societies become civilised to the extent that they take culture as seriously as the prosecution of power, or the accumulation of wealth. But in the century of total war and industrial slaughter was (and is) that enough? The cause of humanity went up in the smoke of the Nazi crematoria. Horror and terror brushed beauty aside and stamped on its pretensions. And in the modern world art has become increasingly commodified.
Simon's last programme explores the fate of art in the machine and profit-driven world. It looks at the rise of art as a tradeable commodity and turns on one central question: should art create a realm separate from the modern world, a place where we can escape and pull the ladder up after us? Or should it plunge headlong into the chaos and cacophony while transforming the way we see it and live in it? Using the works of both dead and contemporary artists of the 20th and 21st Simon seeks answers to these profound questions.
His conclusion is imbued with hope: despite all the travails of the present, by engaging with the here-and-now art still offers civilisation an insight into the incomprehensibility of the world and a way to transcend its horrors with the enduring creativity of the human spirit.


Civilisations On Your Doorstep
In this special accompanying programme to Civilisations, Mary Beard goes in search of extraordinary works of art from all over the world that can be seen here in Britain, from Roman marbles and Egyptian mummies to Renaissance masterpieces and African sculptures.


Technical Specs
Video Codec: x264 CABAC High@L4.1
Video Bitrate: CRF 21.5
Video Resolution: 1920x1080
Video Aspect Ratio: 16:9
Frame Rate: 25 FPS
Audio Codec: AAC-LC
Audio Bitrate: Q=0.45 VBR 48KHz (~128Kbps)
Audio Channels: 2
Run-Time: 59 mins
Number of Parts: 10
Part Size: 1.38 GB (average)
Source: HDTV
Encoded by: JungleBoy

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

纪录片《文明（2018）  Civilisations (2018) 》 - 纪录片1080P/720P/360P高清标清网盘迅雷下载

下载地址：
（本链接可能为BT下载方式，需自备BT类下载工具。推荐使用115网盘离线下载，或使用其他具有离线下载功能的网盘）

游客
文件下载链接就在这里，在您回复评论成功后才能显示。
请勿回复无意义的灌水内容。

下拉页面到最底部回复或者【点击此处快捷回复】，回复后返回此处即可查看下载链接。
如您没注册本站会员，可以点击注册本站，注册后即可回复下载。