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清康熙至乾隆年间,有十位西洋画家在宫廷服务。这些西洋画家以意大利人为主,他们在宫廷服务的过程中,经历了从兼职画师到专职画师的变化。乾隆统治的前三十年,为欧洲天主教会选派西洋画家入华的鼎盛时期,之后的三十年走向衰落。天主教会在向清宫选派画家时,颇具策略性,既力保其使命的接续性,又对其进行提前选派和专业训练,还经历了从世俗画家到必须入教的调整。面对教内外的各种矛盾,不仅教会在选派问题上有所取舍,画家个人也面临着绘画与传教难以兼顾的窘况。这些都构成了天主教会选派西洋画家的总体框架。天主教会向清廷选派画家本身具有积极意义,促进了清代宫廷绘画及其他艺术的发展,推动了中西方文化的交流。
Qing Emperor Kangxi to Qianlong years, there are ten Western artists in the court service. The majority of these Western artists are Italians, who have undergone changes from part-time painters to full-time painters during court service. During the first three decades of the reign of Emperor Qianlong, the heyday of the Western European painters for the European Catholic Church was brought into China, and the decline of the next 30 years. The Catholic Church was quite strategic when it came to appointing painters to the Qing court. It not only insisted on the continuity of its mission, but also advanced its selection and professional training. It also went through the adjustment from secular painter to education. Facing all kinds of contradictions both inside and outside the church, not only the church has to choose the assignment, but also the painter personally faces the difficult situation that the drawing and the missionary can not be reconciled. These constitute the overall framework of the Catholic Church’s selection of Western painters. The selection of the painters by the Catholic Church in the Qing court itself has positive significance, promoted the development of court paintings and other arts in the Qing Dynasty, and promoted the exchange of Chinese and Western cultures.