奇彭代尔式家具的中国风实现路径

托马斯·奇彭代尔是18世纪西方最著名的家具设计师之一,奇彭代尔式家具中大量基于中国元素发挥的设计尤其引人瞩目。本文以奇彭代尔的著作《绅士及家具制造者指南》为基础,将中国风的奇彭代尔式家具作为西方17、18世纪中国热语境中的一个节点,分析奇式家具中的中国风实现路径及其产生的审美原因。在奇式家具的三大中国元素中,棂格凭借灵活、抽象的优势成为奇式家具中渗透最广的中式元素;中式建筑在与奇式家具融合中经历了被动的技术改造和主动的抽象化约减的过程;中国艺术形象透露出东亚美术对西方现代艺术视看机制的转变的影响。三者既是《绅士及家具制造者指南》中中式元素的三种类型,又分别反映了中国风被移植、改造和促使视看机制转变的过程。

Thomas Chippendale is the most famous furniture designer in the 18 th century in the West.The design of Chippendale furniture based on Chinese elements is especially eye-catching.Based on Chippendale’s book"The gentleman and cabinet-maker’s director",this paper takes Chinese style furniture in Chippendale’s"Director"as a node in the context of Chinoiserie in the 17 th and 18 th centuries,and analyzes the implementation of the Chinese style in the Chippendale furniture and the aesthetic reason for how it be chosen.Among the three major Chinese elements,the Chinese fret becomes the most familiar Chinoiserie element in Chippendale furniture for its flexibility and its counterpart role of ancient Greece fret;the Chinese architecture has experienced technical modification and reductive abstraction during its adoption,and the application of Chinese image reflects the influence of East Asian art on the transformation of western modern art visual mode.The three are the three types of Chinese elements adopted in"Director",which respectively reflect the process of Chinese style being transplanted,transformed and it promots the transformation of visual mechanism.