刻畫十八世紀中法藝術交會－中國風設計圖冊研究

Abstract

十八世紀初中期在歐洲興起的中國風流行，其中作為工匠設計參考的中國風設計圖冊，是促成流行的重要因素之一。中國風設計圖冊往往是設計大師精心之作，不僅具有藝術價值，在當時也是一種奢華消費品及重要收藏品。為了型塑出中國風格，往往會參考當時皇家及貴族所收藏的中國版畫及中國外銷器物。本論文以「刻畫十八世紀中法藝術交會－中國風設計圖冊研究」為題，觀察與討論的面向包括法國十六到十八世紀以來，設計圖冊的風格演變，試著以宏觀的視野去了解十八世紀初中期盛行的中國風設計圖冊，是如何以傳承自十七世紀以來的主題，經由融合中國或東方元素，去創造出新的圖像。並試著釐清圖冊中所參考的中國圖像之來源。 再以物質文化研究的角度切入，將中國風設計圖冊視為手工藝術品，從生產與消費兩端，去建立起它的完整「生命履歷」。在生產方面，將探討其如何被製作？此牽涉到法國出版業的特權制度、出版商的特殊群聚場所，以及畫家、版畫家及出版商之間的合作關係。並有系統的介紹設計圖冊如何被運用在工藝品及室內裝飾上。在消費方面，將釐清贊助者或消費者對圖冊生產的品味影響、圖冊如何及在何處被購買與收藏？以及如何滿足市場、政治權力、社會文化等方面之需求。最後以跨文化消費角度，探討當時歐洲的圖書和圖冊是如何透過翻譯成為知識的來源、並檢視這些中國風設計圖冊如何從法國向歐洲主要國家傳播、協助各類工匠們製作中國風的裝飾及器物？設計師如何跨域製作？各國如何轉譯這些來自法國藝術家的設計圖等。The use of Chinese Design Albums for visual reference by artisans was an important factor that contributed to the popularity of Chinoiserie (the Chinese style) in Europe from the beginning to the middle of the Eighteenth Century. These Albums, often made by masters of design using the highest quality materials, not only had artistic value, but were also luxury objects. They therefore became important items in many significant collections of art and design. In the development of Chinoiserie (the Chinese style), French designers would refer to the prints and art works exported from China and collected by the Royalty and Aristocracy of France. This thesis, entitled “Engraving the Art Encounter Between China and France in the Eighteenth Century：A Research on Livres de Dessins Chinois”, focuses on an examination of the evolution of design style in France from the 16th to the 18th century. This macro perspective enables the understanding of the ways in which Chinese Design Albums of early to mid 18th century inherited the themes of the 17th century and created new imagery by mixing Chinese or Eastern elements. In addition, this thesis traces the sources of the Chinese graphics in the Albums. The methodologies of Material Culture Research are used to treat the Chinese Design Albums as special artworks in order to create their “Biographies of Life” during both the production and consumption phases. The means and methods of production are examined with reference to the privilege system of the French publishing industry, the special location of the publishers, and the relationship between painters, printmakers, and publishers. The application of the Chinese Design Albums in the decorative design and crafts is also examined. The ways in which sponsors or consumers affected the style of the production of the Albums, how and where the Albums were bought and collected, and the manner in which the Albums satisfied the needs of the market, politics, and the wider social culture is clarified during the examination of the consumption phase. Finally, Cross-cultural Consumption Research is used to examine how translated European books and albums became a source of knowledge in China, and how designers produced works that crossed cultural domains. The ways in which Chinese Design Albums were translated (with minor changes) in order to meet the aesthetic needs of different countries is also examined.