17—19世纪孔子视觉形象在欧洲的流传和演变  

The Dissemination and Evolution of the European Visual Image of Confucius from the 17^(th) to 19^(th) century

作　　者：陈妤姝 Chen Yushu

机构地区：[1]华东师范大学美术学院,上海200062

出　　处：《南京艺术学院学报（美术与设计）》2021年第4期56-62,I0003,共8页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：2020年度上海市社科规划一般课题“上海所藏西方人绘制的中国图像研究”(2020BLS003)的阶段性成果。

摘　　要：16—18世纪,传教士们将天主教带到中国,同时也将儒家思想和孔子的形象传回欧洲。在欧洲重塑孔子的视觉形象并非易事,这需要传达出孔子身上所蕴含的中国文化特质,以及他作为"至圣先师"的个人魅力,同时还要兼顾欧洲观众的审美习惯和价值观念。不同的图像蓝本,不同的艺术处理方式以及创作者对于儒家文化的不同理解共同塑造了在欧洲流传的各种版本的孔子形象。本质上,不同版本孔子像之间的图像差别是制作者在不同中国视觉元素间所做出的选择以及因文化想象和实际社会需求而做出的图像改造。From the 16th to the 18th century,European missionaries bought Catholicism to China,meanwhile,they also disseminated Confucianism idea and the image of Confucius back to Europe.It's not easy to re-create Confucius'visual image in Europe.The visual image needs to convey the Chinese cultural characteristics,Confucius’personal charm as“the Greatest Sage and Teacher”and the European audience's aesthetic taste.Different image blueprints,ways of artistic treatment and understandings of Confucianism jointly created various versions of European Confucius'image.In essence,the image differences of the European Confucius images are the choices made by the producers among various Chinese visual elements,as well as the image transformation due to the European cultural imagination of China.

关 键 词：孔子形象 二次创作 去宗教化 文人形象 启蒙运动 

分 类 号：J120.9[艺术—艺术理论]