布歇的换装游戏:“欧罗巴”是怎样诞生的?-中国美人图与弗朗索瓦·布歇的女神形象再思

François Boucher’s Cosplay Games:How was the image of“Europe”born?:Rethinking of Chinese Meirentu(Portraits of Beauties)and François Boucher’s Goddess Images

本文以18世纪中法之间通过海上丝绸之路的文化与艺术交往为背景,讲述了在具体图像领域中法艺术家交流互鉴的故事。作者继不久前完成的《焦秉贞、冷枚传派美人图与弗朗索瓦·布歇的女性形象》一文,探讨了康雍时期宫廷画家焦秉贞、冷枚等人绘制的《耕织图》、美人图场景和人物形象,如何影响了著名画家弗朗索瓦·布歇的装饰艺术创作之后,进一步探讨中国艺术形象和中国趣味如何在法国登堂入室,被改造成为欧洲风俗画尤其是历史画中著名的女性形象,从而产生重大社会影响的历史过程。本文的研究意在揭穿西方艺术史中广为流传的一个神话,即"中国风"的影响仅限于装饰艺术的领域,并未被西方的主流艺术所接受;本文以充分的事实依据和细腻的图像分析,指出这一说法并非事实。

This article tells the story of the communication and interaction in field of specific images between Chinese and French artists,in the context of the cultural and artistic intercourse between China and France through the Maritime Silk Road in the 18th century.Following the lately finished article Meirentu(Portraits of Beauties)by Jiao Bingzhen and Lengmei and the Female Images by François Boucher,the author investigates how Agriculture and Sericulture,the scenes of Meirentu and the figures painted by the court artists Jiao Bingzhen and Lengmei in the Kangxi and Yongzheng periods,impacted the decorative art by the well-known artist François Boucher.Furthermore,this article discusses how Chinese artistic image and taste became popular in France and how they were transformed into the famous female images in European genre painting,particularly historic painting,so as to figure out the historical process of the great social impact that they had generated.The purpose of this article is to reveal a widely spread tale in the western art history,that the impact of Chinoiserie is limited within the field of decorative art,and it is not accepted by the western mainstream art.Based on the sufficient evidences and the detailed pictorial analysis,this article points out that this tale is not true.