置彼异邦:普朗克“阳伞夫人”图样研究

Setting in a For eign Land:A Study of“Lady with Parasol”by Cornelis Pronk

“阳伞夫人”(Lady with Parasol/De Parasoldames)是荷兰画家普朗克(Cornelis Pronk)于1734年为荷兰东印度公司(VOC)设计的水彩瓷器图样,画面中心描绘了执阳伞的妇人与水禽相对而立的场景。荷兰东印度公司将这一瓷器图样发往亚洲进行定制生产,希望顺应18世纪欧洲的中国风时尚。中国、日本及至后来的欧洲都有生产相关瓷器。“阳伞夫人”瓷器图样是不同文化相遇的产物。作为一种“撑伞人物”图像,它体现了欧洲人对于异域格调的想象。然而,仅仅指出普朗克可能参考和挪用的视觉素材,恐怕只是一种表象解释。本文尝试回答普朗克“阳伞夫人”图像生成与再造的逻辑。具体来说,首先探究异域的“撑伞女子”形象,如何成为欧洲人表征异域风情的符号化形象;进而尝试回答普朗克的“阳伞夫人”图像及其他类似图样,如何因应当时语境而出现、流行。借此案例,思考跨文化图像传播的一种模式。

“Lady with Parasol”is a watercolor porcelain design for the Dutch East India Company(VOC)by Dutch artist Cornelis Pronk in 1734.It depicts a scene including several waterfowls and two ladies standing on the waterside with a parasol.The VOC sent this design to Asia in order to follow the fashion of Chinoiserie.Ceramic wares following this design had been produced by China,Japan,and Europe.“Lady with Parasol”is a result of the encounter of different cultures,reflecting the imagination of Exotic in Europe.Based on an analysis of the possible resources adopted by Pronk,this paper tries to figure out the logic behind his design and adaptation of this image.“Lady with Parasol”belongs to a larger visual system which experienced a symbolizing process of exoticism and became popular in the European society during the 18^(th) century.Through this case,this paper suggests a possible mode of transcultural visual communication.