中国外销瓷美术在“海上丝绸之路”传播中的三副审美面孔

Three Aesthetic Faces in the Communication of Chinese Export Porcelain Art on the Maritime Silk Road

中国外销瓷作为“海上丝绸之路”艺术传播的一个重要代表,在釉色、纹饰、造型方面拥有极为丰富的美术元素,在审美风格上呈现为大致前后相继的三副审美面孔,即“中式面孔”“中洋杂糅面孔”“洋面孔”。这些面孔的形成经历了从向域外输出到被域外追捧及模仿,再到中外陶瓷美术交流融合的过程,承载着中国人及“瓷路”沿岸各民族多元的审美文化诉求。其中,“中式面孔”在世界范围内千余年来的风行尤其从侧面显示,以“陶瓷美术”为代表的中国传统文化与艺术,曾早于近代的“西学东渐”,以“中学外渐”及“中外互鉴”等形式对众多民族产生过强大且持久的艺术与审美文化影响。

As an important representative of the art communication of the Maritime Silk Road,Chinese export porcelain has extremely rich artistic elements in“glaze color”,“decoration and painting”and“modeling”.In terms of aesthetic style,it presents three aesthetic faces:“Chinese face”,“Chinese-foreign mixed face”,and“foreign face”.Its formation has gone through a process of exporting,being sought after and imitated by foreign countries,and exchanging and integrating ceramic art with foreign countries,carrying the diverse aesthetic and cultural demands of the Chinese people and various ethnic groups along the porcelain road.In particular,the popularity of“Chinese face”worldwide for over a thousand years shows from one side that before the modern“Western learning spreading to the East”,traditional Chinese culture and art represented by“ceramic art”had a strong and lasting artistic and aesthetic cultural influence on many ethnic groups through forms such as“Chinese learning spreading outward”and“mutual learning between China and foreign countries”.