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在十七和十八世纪,中国艺术让艺术家的想象力受到挑战。为了代表和定义中国,不同的模式被提出。许多画卷、地毯装饰、版画或是戏剧布景都从中国获得灵感。对东方的迷恋赋予内部装潢、家具、绘画以一种怪异的风格。某些艺术家捍卫被理想化的中国,另一些则以针砭的视角在舞台上塑造想象的人物。在法国,如同蓬巴杜夫人一样,所有国王的臣民都喜欢“中国物件”。在欧洲许多其它国家,也有着同样的现象。对中国的迷恋超越了装饰艺术,也在东方风格的建筑艺术里得到表达。“中国时尚”的影响在十七和十八世纪的确存在,但是如同圆明园的欧式宫殿一样,很难精确地界定每种文明在这些整体线条和图形里所占的比例。
In the seventeenth and eighteenth centuries, Chinese art challenged the artist’s imagination. To represent and define China, different models have been proposed. Many pictures, carpet decorating, printmaking or theater scenes are inspired by China. The obsession with the East gives interior decoration, furniture, painting in a weird style. Some artists defend the idealized China while others shape the imaginary figures on the stage with a pin-up perspective. In France, like all Mrs. Pompadour, all kings’ subjects like “Chinese objects.” In many other European countries, the same phenomenon occurs. The fascination with China goes beyond the art of decoration and is expressed in oriental architectural art. The influence of “Chinese fashion” did indeed exist in the 17th and 18th centuries, but like the European Palace in the Summer Palace, it is difficult to precisely define the proportion of each civilization in these overall lines and figures.