自Lorraine地區陶瓷紋飾考察中國風貌在十九世紀法國陶瓷藝術中的發展

Chinoiserie' in 19th Century French Art : A Study of the Ceramic Decoration in Lorraine

十七世紀中葉以後，中國工藝品在西歐廣為流傳，並在應用藝術中形成一種以中國或中國人物為題材的風格，一般稱之為「中國風貌」（la Chinoiserie）。此中國風貌通過陶瓷、絲織物在西歐人心目中的印象，與其說是知識的形成，毋寧說是感性的接觸與視覺符號的建立。換句話說，中國風貌所引介的中國是一個視覺的、觸覺的中國。這與當時傳教士引進的「社會」中國，或Voltaire所談的「哲理」中國，是十八世紀「歐洲中國」的三個不同層面。本文是研究十八、十九世紀在法國發展的「中國風貌」（la Chinoiserie）之第二期成果，繼前期以十八世紀法國壁毯圖繪之中國風貌研究，本文以十九世紀Lorraine地區的陶瓷發展為範圍，自紋飾設計的角度，分析法國陶瓷工藝由模仿中國紋飾到尋求創新的過程。全文有背景分析與風格研究兩部份。背景分析指出十九世紀中國風貌式微的政治、經濟及社會因素，包括大革命後，法國殖民經濟政策與東方主義潮流，世界博覽會與龔固何兄弟代表的日本趣味的流行。風格研究由調查法國主要模仿中國風貌之陶瓷產地著手，再以Lorraine地區產品為對象，考查其型制紋飾主題，圖像之來源，及十九世紀中葉以後融合日本趣味的「新藝術」風格。此區域陶瓷藝術之歷史探源與風格分析為中國風貌在十九世紀的流傳提供了清楚的線索，也顯示了東西文化的接觸並不止於單純的抄襲或模仿，其積極的意義是在帶動了當地美學理念的探討與風格的形成。

The 'Chinoiserie' (the Chinese Style) has often been treated as a form of ornamentation characterized by intricate motifs identified as Chinese. Nevertheless, the development of the style and the decline of its influence involve a profound transformation of aesthetic values in French art. This paper studies the 'Chinoiserie' developed in France during the eighteenth and nineteenth centuries, and will trace the decline of the Chinese style in the nineteenth century through an examination of ceramic decoration in Lorraine, France. We shall take account of the regional characteristics as well as the various aspects of French colonial policies: the orientalism, the discovery of Japanese art, the World Trade Exhibition and others. The historical researches on the formal analyses of the ceramic decorations in Lorraine provide further explanations to the Sino-French relationship in the field of art during this period. It reveals that the cultural exchanges between East and West have gone beyond simple imitation or copy, and have promoted the aesthetic research and style formation in the development of regional art.