摘要
欧洲17世纪后期到18世纪的油画、陶瓷工艺品和日常生活器皿中出现了大量中华文化元素.这是欧洲人在阅读有关中国的文献或图像资料和看到具有中国特色的实物之后选择性地撷取所产生的新变化.采用文献法、图像学和多元决定论等研究方法,从图像传播与接受角度切入,认为欧洲郁金香花瓶(tulip vases,塔形花瓶)是荷兰陶瓷设计师对约翰·尼霍夫《荷兰东印度公司使节团访华纪实》里中国塔图像的仿制和挪用,是"中国想象"的产物.指出荷兰国立博物馆2000年出版的《黄金时代的辉煌:荷兰17世纪绘画、雕塑和装饰艺术》将威廉三世花瓶烧制年代界定为约1690-1700年是错误的.期望对中华文化的多元价值和全球意义,尤其是17世纪至18世纪欧洲美术吸纳中华文化元素这一研究有补苴之功.
Abstract
During the late 17th and 18th centuries in Europe,a large number of Chinese cultural elements appeared in oil paintings,ceramic crafts and daily utensils.The new change is a result of European selective extraction after encountering Chinese literature,imagery,and objects that are unique to China.Using research methods such as literature,iconography,and pluralistic determinism,from the perspective of image dissemination and reception,it is believed that European tulip vases(tower vases)are imitations and appropriations of Chinese tower images in John Niehoff's"The Documentary of the Dutch East India Company's Mission to China"by Dutch ceramic designers.It is a product of"Chinese imagination."It is pointed out that the publication of"The Splendor of the Golden Age:Dutch Painting,Sculpture,and Decorative Arts of the Seventeenth Century"by the Rijksmuseum in 2000 incorrectly defines the firing period of the William Ⅲ vase as around 1690-1700.This research expects to contribute to the study of the diverse values and global significance of Chinese culture,especially in the absorption of Chinese cultural elements by European art during the 17th and 18th centuries.
基金项目
淮阴师范学院"淮上英才计划"优秀博士项目(2021)()
NETL
NSTL
维普
万方数据