摘要
作为西方建构中国的符号之一,《荷使初访中国记》插图“中国乞丐”内容奇异。这一形象在17~18世纪的欧洲被娱乐化了。于此同时,也存在一种将乞丐与化缘僧相提并论的倾向。反观中国美术史,乞讨者在周臣、陈洪绶笔下内涵不同,在民间和宫廷美术中的所指亦迥然有别。19世纪《点石斋画报》石印版画“铁面僧”在内容和属性上,可堪与纽霍夫相关版画比较。两图巧合,可视为资本主义撞击古老中国的过程与反应。
As one of the symbols of Western imagined China,the content of the illustration"Chinese Beggar"in Nieuhoff's An embassy from the East-India Company of the United Provinces,to the Grand Tartar Cham,Emperor of China is bizarre.These beggar images were entertained in Europe in the 17th and 18th centuries.At the same time,there is also a tendency to compare beggars with monks asking for alms.On the other hand,in the history of Chinese art,beggars have completely different connotations in the works of Zhou Chen and Chen Hongshou,and their meanings are also quite different in folk and court art.The lithograph"Iron Face Monk"in the 19th century"Dianshizhai Pictorial"can be compared with the related engraving of Nieuhoff in terms of content and attributes.The coincidence in all aspects of the two pictures can be regarded as the process and reaction of capitalism hitting ancient China.
出处
《艺术设计研究》
2023年第2期15-21,共7页
Art & Design Research
