论“西班牙—菲律宾风格”牙雕和漳州牙雕的关系

The Relationship Between the “Hispano-Philippine” Ivory Figures and Zhangzhou Ivory Carving

16—17世纪,以“西班牙—菲律宾风格”为代表的华人参与制作的外销牙雕基督教圣像,融合了许多中国元素,尤其与晚明漳州牙雕有密切联系。本文以中外艺术交流史为视角,综合运用国内外多重材料,分析“西班牙—菲律宾风格”牙雕的中国元素及与漳州牙雕的关系,并简要分析漳州、泉州工匠在此影响下的工艺创制。本文认为,明清时期盛行的送子观音像、牙雕裸女像等艺术形象,可能受到这些欧洲宗教圣像的影响,是“东西交融风格”的产物。

The Hispano-Philippine Cristian ivory figures,made by Chinese craftsmen for overseas markets during the 16th and 17th centuries,have been integrated with many Chinese elements and were closely related to the ivory carving objects emerging in Zhangzhou in the same period of the late Ming dynasty.From the perspective of the history of art exchanges between China and foreign countries,this article uses multiple materials from China and abroad to explore the Chinese elements of the Hispano-Philippine ivories as well as their relationship with the Zhangzhou ivory carving.It also briefly analyzes the craft creations of the craftsmen from Zhangzhou and Quanzhou.This essay also contends that popular Chinese artistic images such as Songzi Guanyin and nude female figures from the Ming and Qing dynasties,may have been influenced by these European religious figures which were the product of the blending of the style of the East and West.