| Chinese porcelain is a combination of heritage of ancient societies the cultural life of the material and cultural life, especially men of letters of the porcelain itself has a special quality and the feudal era in the late preferences consistent with the highly respected Chinese ancient emperors porcelain special loving the intervention of Chinese porcelain production outlook. Interestingly, not only Chinese men of letters like the porcelain of excellent quality, even the European community to pursue its beautiful and unique lines, soft and mysterious light, the unique beauty of the colorful colors, and to stimulate the European Frenchman on China cultural longing, the porcelain of the Ming and Qing Dynasties culture gave birth to the center by the French Rococo aesthetic taste. European local favorite to the bulk of the maritime trade, to set off a frenzy of imitation. Chinese sentiment haunted the European gardens, indoor and outdoor decoration, dress, household items, furniture, etc. As the leading Chinese-style add integration of Chinese culture,"Louis XV-style" French, the article referred to as "Chinese-French". Thus, the ceramics of the Ming and Qing period in all aspects of French eighteenth-century social existence do not a small force. Although Rococo art in art history such as the epiphyllous general suddenly disappeared, but she opened the first of its kind, for the French fashion industry inspired at the time the people a better life longing. Ming and Qing ceramics to its process technology to stimulate the improvement and the impact on the art, and made a great contribution for the exchange of Chinese and Western cultures.On This paper I will borrow the conception "China-France", in-depth study of porcelain between the exchange and integration of the Chinese Ming and Qing, and the17th and18th centuries in Europe, comparative analysis the inheritance and variation of the Chinese Ming and Qing Ceramics Art and the French Rococo art, exploring Western cultural exchange and the significance of the cultural collision. This thesis is divided into five parts:The first part is the introduction of the paper. And separate into several small parts: The first is the definition of the concept of the "Rococo-Chinois" or "French-Chinoiserie"; followed by the introduction this study's scope, significance and innovation, then doing a brief overview and comments from the existing related research at home and abroad, and depicting the thesis research ideas and research methods, to show the entire thesis writing outlook. On the second part I'd like to compose the subject, describing the impact of the Ming and Qing porcelain to the Rococo art, and studying the porcelain trade from Europe, combining with the missionary role of an information bridge to reveal the aesthetic resonance between French upper class and the Ming and Qing porcelain.The third part is the focus of this paper. Mainly discusses the "French-Chinoiserie": Rococo art accepting and adapting the Chinese porcelain culture, to explore the Ming and Qing porcelain in the period of the Rococo art, then provide a reliable theoretical support for the paperThe fourth part is the core part of the paper. I'd like to depth analysis of the interaction of Rococo art and ceramic art of the Ming and Qing Dynasties. And then explore the meaning of the exchange and integration between European and Chinese cultural.The conclusion is the main character, it is to give a briefly summarized of French in the eighteenth-century of the "French-Chinoiserie", pointed out that the impact and value significance of the Ming and Qing ceramic art to the Rococo.Research methods, I use a comparative approach, using a combination of other methods, according to the artistic features of the Ming and Qing porcelain and French eighteenth-century Rococo art fit, combined with the background of times, aesthetics, history and other relevant knowledge to discuss and analysis "French-Chinoiserie" detailed. |
PDF Full Text Request