东方造境:波斯细密画中的中国风——以大蒙古《列王纪》为例  

Oriental Landscape:Chinoiserie in Persian Miniature Paintings:Taking the Great Mongol Shahnama as an Example

作　　者：杨静 Yang Jing

机构地区：[1]扬州大学美术与设计学院

出　　处：《艺术设计研究》2023年第3期5-12,共8页Art & Design Research

基　　金：国家社科基金艺术学后期资助一般项目“中亚细亚古代艺术源流”(批准号:19FYSB030)的阶段性成果。

摘　　要：伊尔汗国时期,大不里士画派中的细密画展现了浓厚的中国风,尤其是艺术成就最高的手抄本—大蒙古《列王纪》。文章以该手抄本为对象,主要研究了中国风在其中的具体表现及伊朗人打造东方风景画的渠道。研究结果表明,波斯细密画的中国风,并非对中国元素进行了简单的复制和挪用,而是中国文化与伊朗文化(包括琐罗亚斯德教与伊斯兰教信仰下的文化)相互调试后的艺术结果。During the Ilkhanate period,the miniature paintings of the Tabriz School showed strong Chinoiserie,especially the manuscript of Great Mongol Shahnama which is the highest artistic achievement.Taking this manuscript as the object,this paper mainly studied the concrete expression of Chinoiserie and the channels through which Iranians created oriental landscapes.The research results demonstrate that the Chinoiserie in Persian miniature paintings is not a simple copy and appropriation of some Chinese elements,but the artistic result of mutual adjustment between China culture and Iranian culture(including the culture under Zoroastrianism and Islamic belief).

关 键 词：波斯细密画 中国风 大不里士画派 大蒙古《列王纪》 

分 类 号：J05[艺术—艺术理论]