“中国(艺术)风格”与中国园亭之西渐  

Chinoiserie and the Migration of the Chinese Garden Pavilion to the West

作　　者：苏珊·斯科特 陈晓彤(译)[2] 杨鸿勋(校)[3] 

机构地区：[1]美国马里兰州威斯特敏斯特麦丹尼尔艺术学院副教授 [2]华中科技大学建筑与城市规划学院副教授 [3]中国社会科学院考古研究所

出　　处：《中国园林》2008年第6期7-12,共6页Chinese Landscape Architecture

摘　　要：17—18世纪期间,由于欧洲人对"中国事物"的热情,中国的园亭作为中国风格的艺术建筑出现在了西方。在13世纪末马可·波罗的《游记》发表之后,有一些旅游者的叙述揭示了关于中国这块土地的更多的秘密,如:17世纪的利玛窦(Matteo Ricci)和约翰·诺伊霍夫(Johann Neuhoff),18世纪的马国贤(Matteo Ripa)和王致诚(Jean Attiret)等。然而,他们对中国园林和亭台的描述都是不完整的、夸张的,或充满了神奇的色彩。在大多数的叙述中,亭台的作用被曲解为玩乐的地方。从英国和法国的具体例证中可以看到,这些曲解,以及在建筑亭子时希望保持异国情调的愿望——最早出现在英国,后来又遍及欧洲——都体现了"中国艺术风格"。如同显示在墙纸、瓷器、家具和挂毯上的情形一样,园亭也是以神奇、装饰、怪异、休闲、色彩艳丽的形式建造的,并成为18世纪欧洲人想象中的纯粹的中国模式。This paper traces the migration of the Chinese garden pavilion to the West during the seventeenth and eighteenth centuries, as part of the European passion for “things Chinese” that came to be called Chinoiserie. Beginning with Marco Polo＇s Travels, published in the late thirteenth century, the mysterious land called “Cathay” revealed a few more secrets with subsequent travelers accounts： those of Matteo Ricci and Johann Neuhoff in the seventeenth century; Matteo Ripa and Jean Attiret in the eighteenth century, among others, all brought incomplete, exaggerated, or fantastic descriptions of China＇s gardens and garden pavilions. Most telling, the purpose of the pavilion in the garden was misunderstood as a place for frivolous pleasure. As specific examples from England and France demonstrate, these misunderstandings, and the desire to maintain the image of the exotic, resulted in the creation of garden pavilions first in England, then throughout Europe that had all the charaderistics of the arts of Chinoiserie. Like those examples that appeared on wallpaper, porcelains, furniture and tapestries, garden pavilions were created in forms that were fantastic, decorative, whimsical, frivolous, and colorful and thus become purely imaginative models of the eighteenth-century European vision of China.

关 键 词：风景园林 中国风格 中国园亭 西渐 

分 类 号：TU986[建筑科学—城市规划与设计]