Chinese Style in the Western World

By Li Shan

Chinese Style in the Western World

By Li Shan

What is “Chinese Style”?

Chinese style, as the name suggests, means the style of China. Based on traditional Chinese culture, it is a form of art or a kind of lifestyle that contains many Chinese elements and also conforms to the international trends.

From the end of 17th century to the end of the 18th century, there was an outbreak of “Chinese Vogue” in Europe. At that time, artworks, stories, articles, and poetry with Chinese elements were very popular among European people.

早在17世紀(jì)末至18世紀(jì)末時(shí)（清朝康乾盛世時(shí)期），歐洲曾長(zhǎng)時(shí)間流行“中國(guó)熱”，在這段時(shí)間內(nèi)歐洲對(duì)帶有中國(guó)元素的物品均十分追捧。

（One of the tapestries of the “Chinese Imperial Concubine”series in the age of Louis XIV)

(路易十四時(shí)期“中國(guó)帝皇妃”系列之一掛毯）

何為“中國(guó)風(fēng)”？

中國(guó)風(fēng)，顧名思義即中國(guó)風(fēng)格，是建立在中國(guó)傳統(tǒng)文化的基礎(chǔ)上，蘊(yùn)含大量中國(guó)元素并適應(yīng)全球流行趨勢(shì)的藝術(shù)形式或生活方式。

In the year 1700, in order to celebrate the coming of a new century, Louis XIV wore a Chinese style garment to attend a gala held in the magnificent hall of Versailles. The crowds were stunned when he appeared in a Chinese style sedan chair carried by eight people.

1700年，為慶祝新世紀(jì)的到來(lái)，路易十四在法國(guó)凡爾賽宮金碧輝煌的大廳里舉行盛大舞會(huì)時(shí)曾身著中國(guó)式服裝，坐在一頂中國(guó)式八抬大轎里出場(chǎng)，使得全場(chǎng)驚嘆。

（The Chinese style Christmas party held by Louis XIV)

(路易十四的中國(guó)元素圣誕派對(duì)）

Before the 19th century, there was no uniform color and style for wedding dresses for Western girls until the sensational royal wedding in 1840. Queen Victoria amazed all the people with a white dress made of Chinese brocades.

19世紀(jì)以前，西方的少女們出嫁時(shí)所穿的新娘禮服沒(méi)有統(tǒng)一顏色規(guī)格，直至1840年那場(chǎng)轟動(dòng)全球的世紀(jì)婚禮。英國(guó)維多利亞女王身著一襲由漂亮的中國(guó)錦緞制作而成的白色禮服，驚艷全場(chǎng)。

（The wedding of Queen Victoria)

(維多利亞女王的婚禮）

Chinese style was reflected in the whole of European society, permeating every aspect of life. Articles of daily use, interior decorations, gardens, and architecture all paid homage to Chinese style.“Chinese fever” was even more prominent in the royal family and nobility.

(The Interior Scene of Hosting Visitors, 86×118cm, 1630, Geneva Musée d’Art et d’Histoire)

這種中國(guó)風(fēng)體現(xiàn)在當(dāng)時(shí)整個(gè)歐洲社會(huì)中，并滲透到歐洲人生活的各個(gè)層面。日用物品、家居裝飾、園林建筑等都有中國(guó)元素的影子，尤其受到王室貴族們的追捧。

（《接待客人的室內(nèi)場(chǎng)景》，86×118cm，1630年，日內(nèi)瓦藝術(shù)和歷史博物館）

(The cover of A New Book of Chinese Ornaments by Jean Fillement, print, 86×118cm, 1755, Victoria and Albert Museum)

（吉恩·畢伊芒《中國(guó)風(fēng)設(shè)計(jì)圖案》封面，版畫(huà)，86×118cm，1755年，維多利亞和阿爾伯特博物館）

Chinese Elements in the Western Painting: The art of the blue and white porcelain

西方繪畫(huà)中的中國(guó)元素:青花瓷藝術(shù)

With the maturity of the East-West trade, more and more tea sets were exported to the west every year. In the paintings of the British painter George Dunlop Leslie, we can often see Chinese blue and white porcelain. (Chinese elements often appears in the works of George Dunlop Leslie)

Through the eyes of a Chinese person, it is true that seeing these images of elegant ladies wearing the apparel of early European style and using the blue and white porcelains from China renders us a feeling that is quite interesting. The blue and white pattern opened up their eyes, helping them learn about China and its charm. The beauty of China in Western people’s eyes is also changing and deepening with their increasing knowledge of China.

（Translated: Yu Lan)

隨著東西貿(mào)易的成熟，用于出口的中國(guó)茶具每年被船只運(yùn)往西方。在英國(guó)畫(huà)家喬治·鄧祿普·萊斯利的作品中，經(jīng)常能看到中國(guó)元素青花瓷的身影。

不得不說(shuō)，當(dāng)畫(huà)家筆下柔美優(yōu)雅，身著歐洲早期服飾的女子們使用著來(lái)自遙遠(yuǎn)中國(guó)的青花瓷，這是一種既陌生又樸素的情感。簡(jiǎn)潔莊重的青花圖案，為他們打開(kāi)了對(duì)中國(guó)魅力的審視與熱愛(ài)，西方人眼中的中國(guó)美也在他們不斷了解中國(guó)的過(guò)程中變化著。

西方世界的中國(guó)風(fēng)

文 |李?yuàn)?/p>