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本文比较意大利传教士马国贤的《避暑山庄三十六景》铜版画与康熙《御制避暑山庄诗》木刻画的视觉差异,联系欧洲风景绘画的政治意象传统与避暑山庄的理学意象,将铜版画置于清廷与罗马教廷“礼仪之争”的背景下,分析并指出这些铜版画与木刻画的差异表现了身处“礼仪之争”中心的马国贤对于这一宗教政治事件的反思,反映了中国与欧洲在清代的景观文化交流所实际包含的双方在政治、宗教、科学等多层面发生接触的复杂性。
This article compares the visual difference between the engravings of the 36 Mountain Sceneries by Italian missionary Ma Guoxian and the woodcut of Kangxi’s Mountain Royal Resort Poetry. It connects the political image tradition of European landscape painting with the Neo-Confucianism image of the Mountain Resort and places the copper engraving on The differences between the engravings and the woodcut were analyzed and pointed out in the context of the “Holy See and the Holy See” “war on etiquette”, which reflected the reflections on this religious and political event by Ma Guoxian at the center of “the controversy of ceremonies and ceremonies” The complexity involved in the contact between China and Europe at the levels of politics, religion and science that are actually involved in the exchange of landscape and culture in the Qing Dynasty between China and Europe.