17—19世纪欧洲中国戏曲题材画的“真”与“失真”

“Truth”and“Untruth”of the European Xiqu Theme Paintings in the 17^(th)-19^(th) Century

在17至19世纪“中国风”盛行的欧洲,戏曲成为欧洲画家笔下常见的中国文化题材。这些戏曲题材画有着不同的材源和纪实性,用作戏曲史料需区别对待、具体而论。或以西方已有图像为据,例如尼霍夫游记中《戏剧演员》插图,乃游记的荷兰文版本编辑者从尼霍夫原始画稿不同画作中提取元素,根据一定的构图范式,可能参考了其他资料并加以想象构制而成。或以中国本土图像为据,例如小德金书中《中国戏剧》插图,乃将《康熙六旬万寿庆典图》中两个画面拆分捏合。或主要来源于纪实,例如额勒桑德的戏曲题材画,能够作为研究清代戏曲的图像证据,但也存在少许失真。画家对中国文化的陌生、受其熟知的西方事物误导、对构图审美的考虑,特别是对异文化“本真性”的追求等因素,是造成图像“失真”的重要原因。

During the 17^(th)to 19^(th)century,when chinoiserie was prevalent in Europe,xiqu became a common Chinese cultural object in the European paintings.These xiqu paintings have different material sources and fidelities,used as historical data of xiqu should be treated differently and concretely.Some of the paintings are based on existed western images,some are based on Chinese local images,and some are sketched from life.The main reasons for the distortion of these paintings include that the painters are unfamiliar with Chinese culture and easily misled by the western things,they prioritize the aesthetic of composition over documentary sometimes and pursuit the“authenticity”of different culture intentionally.