【作者】 曹天成；

【导师】 邵大箴；

【作者基本信息】 中央美术学院 ， 美术学， 2011， 博士

【摘要】 自上世纪初中国画改良运动勃兴以来,郎世宁渐成为艺术史研究中的热门话题,但讨论和关注的重点多限于其绘画作品所体现出的中西绘画技法融合,以及对当时宫廷绘画的影响,至于其在中国生活、工作、交游、待遇等方面的情况,虽有所涉及,但由于史料发掘不够,在系统性和深入性上都有待拓展。本文以郎世宁的双重身份——“耶稣会士”和“画画人”——为切入点,探讨其在华期间(1715-1766)的方方面面,目的在于重估郎世宁在宫廷中的地位,并试图还原其真实的形象。大量事实表明,郎世宁的在华生活充满失意和挫折。作为耶稣会士,他面对的是雍正、乾隆时期史无前例的禁行天主教；作为画画人,他的工作并不能得到皇帝的全面认可。如考虑到郎世宁来华之首要目的,第二种失意和挫折尚可忍受,或必须接受,而第一种失意和挫折则堪称致命打击。因为发展传教事业是支持郎世宁在恶劣环境中忍辱负重生活下去的惟一精神力量源泉,但不绝如缕的教案,不仅为其生活蒙上挥之不去的浓重阴影,也陷其于人生失去价值的巨大危险之中。从根本上说,文化冲突是郎世宁遭受失意和挫折的深层原因所在。作为“他者”(Other),郎世宁无法也不可能与周围的人和事在核心价值观上取得认同,而这也决定了他与所处环境格格不入。以上述研究为基础,本文提出一个以往论者所不曾深究的问题：郎世宁画作中的瘦马形象。在欧洲、南亚以及中国的文学、绘画、诗歌、宗教典籍中,有许多瘦马形象,而其隐喻涵义也随文化土壤的不同而呈现多种多样的内容。鉴于此,笔者以为,对郎世宁所画瘦马的认识不能简单地止于视觉美学角度之观察,而应探究其中是否隐藏着某种信息。当然，由于迄今为止尚未发现郎世宁本人有关其所画瘦马的文献资料,解决这个问题的难度可想而知。但基于郎世宁可能具有的三种瘦马图像经验,以及对相关画作中瘦马“位置”(location)的构图分析,本文提出一种大胆假设：郎世宁所画瘦马可能是其自身写照,而瘦马的孤立无援,或游离于群体之外的位置状态,可能正是其在华之困厄境遇的形象折射。更多还原

【Abstract】 Research on Giuseppe Castiglione became a hot topic in art history since the rise of the reform movement of traditional Chinese painting in the early 20th century although most discussions are restricted to his amalgamation of Chinese and western painting techniques, and other aspects of his life, work, interpersonal relationships, remuneration, etc, have been touched upon, more in-depth and systematic research is needed. This paper explores every aspect of Giuseppe Castiglione’s life in China (1715-1766), beginning with his double identity as a "Jesuit" and "Huahuaren" ("painter"), the goal is to reevaluate Giuseppe Castiglione’s status in the palace, and to attempt to restore his image as closely to historical reality as possible.The majority of facts indicate that Giuseppe Castiglione’s life in China was full of frustrations and setbacks. As a Jesuit during the Yongzheng and Qianlong reigns, he faced unprecedented restrictions on Catholic missionary activities; as a Huahuaren, his work could never be fully accepted. Considered the most important goal that Giuseppe Castiglione came to China, it was tolerable, or must accept for the latter one, but it was a fatal blow for the former. Because his spiritual mission became the main source of spiritual strength supporting Castiglione to endure this harsh environment, but hanging by a thread, Giuseppe Castiglione not only lived with a shadow overhead, but also encountered the great crisis of losing his life’s value. Basically, cultural conflict was the reason for all of the frustrations and setbacks Giuseppe Castiglione encountered. Stigmatized as the "Other", he was unable to obtain recognition for his core values from the people around him, which also made it difficult to adapt to the environment.Based on the above arguments, this paper has raised a problem that previous researchers have neglected:the "thin horse" in paintings of Giuseppe Castiglione. In view of the fact that there have been many "thin horse" images in European, South Asian arts, as well as in Chinese literature, painting, poetry, ancient religious books and records, the metaphor changes according to different cultural backgrounds. We cannot simply limit our understanding to visual aesthetics in understanding Giuseppe Castiglione’s "thin horse", but should explore contextual information. This is a difficult task because there are no extant documents on Castiglione’s "thin horse", however, this paper presents a innovative hypothesis based on three kinds of image experiences of the "thin horse" that Giuseppe Castiglione may have, and the composition analysis of the location of the "thin horse" in his paintings:The "thin horse" maybe a self-portrait of Giuseppe Castiglione, and it suffers from an isolation, helplessness or drifting away from the population, which maybe a reflection of Giuseppe Castiglione’s distressed circumstances in China.更多还原