18世纪欧洲对中国宝塔形象的应用和理解

The European Application and Understanding of the Image of Chinese Pagoda in the 18^(th) Century

18世纪是“中塔西传”的高潮期。在此期间,欧洲兴建的各类宝塔主要可分为“阁楼式”和“诺维佐尼亚式”两种形制。一些与宝塔相关的视觉元素还常被用以装饰建筑的外立面和室内空间。因此,宝塔在欧洲的意涵已经超越了原先的建筑范畴,被扩大到成了对“中国”的直接指称,其形象也获得了更大的适用范围。“娱乐”和“知识”这两种心理需求交织在一起,共同形成了18世纪欧洲人对宝塔形象的理解和运用原则:在多数情况下,宝塔的宗教本意并不被提及,人们对其形象的喜爱和利用更多是为了满足“娱乐和猎奇的欲望”。但另有一些知识分子本着启蒙的原则,直言宝塔在中国的宗教性。这些言论使得18世纪欧洲对宝塔的理解具有了更多的可能性,也预示着欧洲世界对中国的观察正逐步转向更理性的视角。

The dissemination of the image of Chinese pagoda in Europe reached its climax in the 18 th century.European not only built various pagoda buildings,but also used its image elements for indoor and outdoor decoration.The pagoda has become a fashion icon,and its relationship with the image of China has been continuously strengthened.The European pagoda has inherited the secular functions in China for viewing and spotting,but already has withdrawn religious significance of commemorating the Buddha.This is a process in which the pagoda was constantly misunderstood,selected and transformed by foreign cultures.After this,the pagoda was given a new image and meaning in the 18^(th) century Europe.