多明尼克‧提也波洛於威尼斯瓦馬拿納別墅之中國風裝飾壁畫探析

A Study on Giandomenico Tiepolo's Chinoiserie

威尼斯以「歐洲的東方之門，在洛可可時期發展出獨特的藝術文化，而「中國風」（Chinoiserie）也在威尼斯共和國的藝術發展中有其特別之處。被譽為「威尼斯之光」的喬凡尼‧巴提斯塔‧提也波洛（Giovanni Battista Tiepolo，1696－1770）與喬凡尼‧多明尼克‧提也波洛父子（Giovanni Domenico Tiepolo，1723－1804），在1757年負責瓦馬拿納別墅（Vila Valmarana）的裝飾工作。別墅賓館中的壁畫主題雖為中國，卻仍保有威尼斯特色，形成獨具一格的中國風作品。本文透過探析17至18世紀中國風在義大利的發展，梳理多明尼克．提也波洛的生平與承自父親的創作經驗，以構圖、用色與畫作主題檢視畫家如何詮釋遙遠的中國。威尼斯的藝術風格重視光線與用色，在中國風作品中也能見此影響，而藝術家將腦海裡輝煌的中國，透過熟練的繪畫技巧，將光影處理得當，用色濃淡相宜，凸顯畫作主題。中國風設計在今日看來是種經過「歐洲化」的藝術風格，中西交流僅限表像的藝術層面上的裝飾，中國文化內涵無法影響到歐洲藝術的精神層面，然而它依舊在歐洲17至18世紀的歷史中，以一種特別的文化現象成為象徵性標誌。

Venice is located between Eastern and Western world in 18th century Europe. The city had her unique culture of arts due to her location. In Rococo period, ''Chinoiserie'' impacted on the art style of the Republic of Venice. Giambattista Tiepolo (1696-1770) and his son, Giandomenico Tiepolo (1723-1804), worked together to finish the interior decoration of Villa Valmarana in 1757. Although the motif of those frescos was China, the works still contain some Venice atmosphere, which became a unique series of Chinoiserie artworks. This research explored the development of Chinoiserie in Italy in 17th to 18th century, learned the life of Giandomenico Tiepolo and discovered how the artist interpreted China by their composition, color and motifs. Light and color are two important elements of the art style in Venice. We can see how these elements impacted on those Chinoiserie artworks. The artists used their adept painting skill to strike a balance between light and color in order to highlight the theme of a splendid country in Far East. Today Chinoiserie is seen to interpreted by European taste. The meeting of Eastern and Western art is limited in the range of decoration. Although the Chinese cultural connotation could not immerse in the spirit of European art, Chinoiserie is still a symbolic and special appearance in the history of 17th to 18th century Europe.