十八世紀以中國瓷器完成的歐洲金屬鑲嵌工藝

吳文婷

《中山人文學報》 34期 (2013/01) Pp. 109-130

摘要

歐洲人收藏中國瓷器由來已久，而歐人對藝術品或器物加裝鑲嵌（mounting）亦有長久的歷史。自拜占庭時期起到中世紀後已有宗教繪畫或聖像聖物以鑲嵌裝飾突顯作品的重要部分及加底座，之後漸發展至由貴金屬或銅質鍍金做成的各式鑲嵌加裝在不同的工藝品和奇珍異石上。加裝鑲嵌不只賦予原物品新的面貌，同時對物品原本的功用和意義進行添加或改造。本論文主要討論十八世紀歐洲以中國瓷器來完成的金屬鑲嵌工藝品，觀察它們（中國瓷器與歐洲鑲嵌）所共同呈現的器物樣貌、功能，和如何映照十八世紀的時空背景，以及中國瓷器扮演的「介質」（agent）角色促此具時代特色工藝品的生成。十八世紀的歐洲依然醉心於古典主義和恢復古希臘羅馬文化精神，但在同時期啟蒙精神－理性思維，反思、評判、重新建構既定存在知識等等的激發下，歐人亦同時進行對古希臘羅馬知識的多項整理，評論及再發揮。從十八世紀中國瓷器加裝鑲嵌後的成品上我們觀察到鑲嵌後的成品明確的顯示該世紀對再現古希臘羅馬文化及藝術的熱愛，及以中國瓷器作為媒材或介質完成這項展示的事實。

關鍵字

中國瓷器 ； 加裝鑲嵌 ； 古希臘羅馬藝術 ； 新古典主義 ； 媒材與介質

並列摘要

In Europe it has been a long history of collecting Chinese porcelain as well as having the art works mounted. Since the Byzantine to medieval time, the art works in relation to the religious context have been mounted for accentuating parts of the works. Later, mounts are extensively applied to crafts or curiosities. Mounting not only endows the object with a new look, but also adds or transforms the original function of the object with new interpretations. The eighteenth century was an age that once again Europe was fascinated by the ancient Greek and Roman culture. It was also an age that Enlightenment came into being and encouraged people to rethink, rework, as well as reconfigure all the existing knowledge, including those in relation to the ancient Greek and Roman culture. This paper aims to study Chinese porcelain in the eighteenth-century European mounts, with emphasis on analysis of the forms, the styles, and the functions contained by such representation, which reflects the fascination or one of the main 'zeitgeists' of the century in Europe-pursuing classicalism and having the ancient Greek and Roman culture revived. The paper will also examine the role as agent or material of Chinese porcelain playing to accomplish this representation.

並列關鍵字

Chinese porcelain ； European mounting ； ancient Greek and Roman art ； Neoclassicism ； agent in art

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