18世纪欧洲中国风壁饰画  

Chinoiserie in European Wall Ornaments in 18th Century

作　　者：王才勇 WANG Caiyong(Center for Literary Theory and Aesthetics,Fudan University,Shanghai 200433,China)

机构地区：[1]复旦大学文艺美学研究中心,上海200433

出　　处：《贵州大学学报（艺术版）》2021年第6期1-10,F0002,共11页Journal of Guizhou University Art Edition

基　　金：国家社科基金重大项目“文明互鉴视域下中华审美文化对近现代西方的影响研究”(项目编号:17ZDA016)。

摘　　要：中国风壁饰是欧洲艺术里的中国时尚在18世纪走向高潮的体现,其间有对中国场景的想象性建构,更有对中华艺术的直接仿制和发挥,并出现仿制中的欧式发挥和发挥中的形式感拓展、装饰化逆转与跨文化挪用诸情形。这段史实就欧洲艺术创造而言,推进了欧洲艺术审美的发展;就学术认知而言,提供了剖析中西艺术特质的实证史料,尤其是两者交汇时可能出现的衍生,那就是西方在邂逅中华艺术时必然出现的形式化理喻以及向装饰性的发展。这种发展作为一种他者镜像不仅折射出欧洲自身的艺术诉求,也暗示出中华艺术邂逅西方艺术时可能出现的变异。Chinoiserie in wall ornaments is the embodiment that Chinese fashion reached its climax in European arts in the 18th century.During that period,there were not only the imaginative construction of Chinese scenes,but also the direct imitation and free play of Chinese arts,and thus emerged European creations in their imitations,of which,there were the expansion in forms,reversal in decorations and cross-cultural metonyms.As far as European artistic creation is concerned,this historical fact has promoted the development of European artistic aesthetics.As far as academic cognition is concerned,it provides historical materials empirically for analyzing the characteristics of Chinese and Western arts,especially the derivations that may have generated when these two arts intersected,that is,the inevitable formal metaphors and the developments in decorations when West art met Chinese art.This development as a mirror image of the Other not only reflects the artistic demands of European art itself,but also implies the possible variations of Chinese art when it meets Western art.

关 键 词：中国风 欧洲内墙装饰 中西艺术交汇 希腊—文艺复兴传统 中华艺术 

分 类 号：J205[艺术—美术]