皮尔尼茨堡与18世纪德国的中国风建筑

'中国风'向来被看作十八世纪在欧洲流行一时的装饰艺术风格,而同一时期涌现的中国风建筑却极少成为独立的研究对象。绝大多数的艺术史家和评论家认为这类建筑'华而不实',外形怪诞,无章可循。但这样的批评对德累斯顿的皮尔尼茨堡来说却不适用。这座为萨克森选帝侯奥古斯特二世而建的行宫最显著的特征是它的'中国屋顶'。整个建筑群规模宏大,施工经历了一个世纪,从形态到功能都很完整。本文以中国风的历史渊源和文化背景为基础,详细分析皮尔尼茨堡主建筑水景楼的特点和设计理念。笔者认为.这一作品与通常意义上的中国风建筑有本质区别:它远非对中国建筑的肤浅摹仿,而是建筑师结合理性与想象对外来风格进行演绎的优秀案例。尽管就建筑来说,'中国风格'在外表形式底下有自身独特的逻辑.无法完全移植到另一种文化环境中,但是却可以在适当的变异之后找到与当地建筑传统的契合点,从而诞生出新的形式。这是皮尔尼茨堡留给我们的启示。同时,它还见证了十八世纪欧洲人对东方文化和艺术的高度热情,具有文化遗产的珍贵意义。

The aspect of chinoiserie as a transient style in European decorative and pictorial arts has been much stressed in art historical studies.In contrast,chinoiserie architecture,which flourished at various European courts throughout the 18th-century,has scarcely been treated as an individual subject,partly due to the fact that many chinoiserie buildings were ephemeral.Traditional views consider these buildings as"follies",but such description looses its validity in the case of a complete,functional work like the Pillnitz Castle in Dresden,characterized by its grand"Chinese roofs".Beginning with a brief overview of the evolvement of chinoiserie,this study presents a survey of important chinoiserie architectural works in 18th-century Germany,followed by an account of the construction history of the Pillnitz Castle.Particular attention is given to the question of possible sources and precedents of its main feature,the Wasserpalais,which was designed by the German Baroque architect Matthaus Daniel Poppelmann.Through a detailed analysis of the many ingenious approaches exhibited in this building,the author argues that its quality far exceeds other chinoiserie works that only superficially imitate Chinese architecture.In essence,the Wasserpalais is a successful example of an intelligent and imaginative approach to a foreign style.