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題 名 | 西方琺瑯器的東傳與融合初探--以國立歷史博物館館藏為例=Preliminary Research on Western Enamel's Migration to and Integration in the East: A Case Study of the National Museum of History Collection |
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作 者 | 陳嘉翎; | 書刊名 | 國立歷史博物館學報 |
卷 期 | 53 2016.07[民105.07] |
頁 次 | 頁39-52 |
分類號 | 968.2 |
關鍵詞 | 琺瑯器; 掐絲琺瑯; 內填琺瑯; 畫琺瑯; 西器東傳; 中西文化交流; Enamel; Cloisonné enamel; Champlevé enamel; Painted enamel; Enamel's migration to the East; Cultural communication between East and West; |
語 文 | 中文(Chinese) |
中文摘要 | 盛行於我國明、清兩代工藝的金屬琺瑯器,因不同的製作方式和工藝特點,可以分為三種技法:掐絲琺瑯、內填琺瑯和畫琺瑯,它對中國而言均屬於外來技術。琺瑯器在中世紀的歐洲是身分與地位的象徵,傳到中國後更深受皇宮貴族的喜愛並成為宮廷用器,到晚清時甚至走向民間,到民初逐漸式微。在中國工藝史上,琺瑯是唯一成功地以外來西方技法轉化為民族特有工藝的最佳範例,故本文將以史博館館藏琺瑯為例,初步探究其在中國的發展脈絡,具體說明琺瑯器如何東傳過程與其工藝的融合與成就。 |
英文摘要 | Enamels were popular during the Ming and Qing dynasties. There were three different types of enamel: Cloisonné enamel, Champlevé enamel and painted enamel, all of which reflect technologies which were foreign to China. Enamel was a symbol of identity and status in medieval Europe, and it became deeply loved by the nobility when it was imported to China, so much so that it came to feature among court appliances. Enamels had been popular among the public during the late Qing Dynasty, and gradually declined during the early Republic. In the history of Chinese crafts, enamel is the only example of the successful integration of Western techniques into Chinese folk arts, so this article will take the enamels of the National Museum of History collection as an example to explore the development of enamels in China and to explain enamel's migration to the East, and its integration and achievements there. |
本系統中英文摘要資訊取自各篇刊載內容。