Delimitação cronológica e conceptual das Chinoiseries. A especificidade da produção de imagens de Chinoiserie nas gravuras de Jean-Baptiste Pillement. Enquadramento nacional e internacional das gravuras de Chinoiserie de Jean-Baptiste Pillement no contexto geral do gosto exótico orientalizante.

Zazi (杂技), qui signifie « compétences variées » et dont l’équivalent en français est « l’acrobatie chinoise » est un ensemble d’arts vieux d’au moins trois millle ans. Il n’existe pas à ce jour en français de synthèse accessible et documentée par des sources chinoises de sa chronologie et de l’évolution de ses formes des origines à nos jours.Cette thèse a pour objectif de combler ce manque en documentant le sujet à partir d’un corpus d’ouvrages chinois et français. L’auteure de la thèse, chinoise, enseignante de français et traductrice, a pu accéder aux sources utiles et a conduit une enquête, voyageant entre France et Chine sur les différents terrains de conservation (bibliothèques, musées, documentation en ligne) et d’exploitation (spectacles, festivals, écoles) des arts acrobatiques chinois.La thèse met à disposition de furures recherches une synthèse des résultats obtenus lors de cette enquête, bibliographiques (250 références), iconographiques (128 documents), présentés chronologiquement en déroulant un vaste panorama, qui s’articulent en trois parties.La première propose une chronologie du développement des formes de l’acrobatie chinoise dans le contexte de chaque dynastie jusqu’à la dernière dynastie en 1912, à partir de sources et documents chinois, par des traductions originales et inédites de textes anciens ou contemporains de sinologues et d’historiens des spectacles en chine, notamment, et avec son autorisation, de textes du Pr Quifeng Fu, ainsi qu’une riche iconographie en collaboration avec la bibliothèque de Nanjing. En n’hésitant pas à s’affronter à ces problèmes de traductions, la thèse rend ainsi accessible au lecteur français une partie de l’histoire d’un des arts majeurs parmi les spectacles mondiaux.La deuxième partie étudie l’intégration en quatre étapes de l’acrobatie chinoise en France et de ses influences sur la société et la scène françaises, notamment à travers quelques exemples concernant les modes du « à la chinoise » et de la « Chinoiserie » entre les XVIIe et XIXe siècles. Elle s’intéresse ensuite aux échanges sous la République de Chine jusqu’au rebondissement de l’acrobatie chinoise au XXe siècle après la fondation de la République Populaire de Chine en 1949. Elle observe à cette occasion ses nouveaux codes artistiques et culturels, les messages politiques qu’elle véhicule lors de l’invitation des artistes chinois dans les grands festivals du cirque en France et à Monaco.La troisième partie dresse briévement les contours et les perspectives de collaborations artistiques sino-françaises en acrobatie et cirque au XXIe siècle, observe l’apport des acrobates chinois sur la scène contemporaine et les influences du spectacle vivant occidental sur l’acrobatie chinoise contemporaine, pour se questionner enfin sur le devenir de l’acrobatie chinoise en appliquant les résultats de ce voyage documentaire dans le temps et entre deux cultures, à un projet de création de festival franco-chinois de cirque et d’acrobatie en Chine. / Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi.

My master essay consists of two sections: the first part is explanatory and contextualizes my art; the second part is formed as a fictitious letter to the chinese mosquito repellent millionaire Mr Li, written in the voice of a naive, uncontrolled and neurotic person, full of desire. The contextualization is a self-reflection and deals with concepts such as utopia, desire, failure, the pathetic and identity / [I examensarbetet ingår utställningen "The businessman, the mosquito and the dragon":] To present my obsession with chinoiserie, I worked as an investigator through a documentary-filmmaker approach, and also as an utopist for a dreamt world which is actually born in my upsidedown mind. The films are presented in a spatial installation in the form of a labyrinth. Material/Teknik/Längd på video: Installation/Mixed media/dokumentärfilm ca 40 min. / <p>Examensarbetet består av en skriftlig del och en gestaltande del. </p>

Le présent travail porte sur le décor enluminé des manuscrits produits en Iran et en Iraq sous domination mongole (1258 – c. 1350). Cette étude n’a pas seulement pour but de se pencher sur les structures scandant le manuscrit et sur leurs modes de remplissage, mais elle s’ouvre aussi sur les échanges culturels et artistiques dont ce décor est parfoisemblématique. La méthodologie retenue s’articule autour de deux axes principaux : la première fait appel à une « approche déconstructive » qui consiste en une suite de focalisations permettant de passer du macroscopique au microscopique. Il s’agit en fait d’appréhender dans un premier temps la notion de programme enluminé, puis d’examiner leurs éléments constitutifs comme les frontispices ou les shamsa et de procéder ensuite à l’examen de leurs modes de remplissage. Le deuxième axe de cette recherche met l’accent sur la complexité des transferts entre des sphères aussi diverses que la Chine, le Tibet, l’Inde, l’Iran et les chrétientés durant la période de règne des Īlkhānides. Le rôles de la circulation des marchandises et des cadeaux diplomatiques sont particulièrement examinés. Signalons, parmi les conclusions, les (ré-) attributions de manuscrits ainsi qu’une discussion sur la pertinence de l’appellation d’ « Islamic Chinoiserie » passée dans la littérature. / My dissertation focuses on the manuscript illumination under the Il-khanid rule in Iran and Iraq, between 1258 and c. 1350. This study reconsiders the constitutive patterns and construction systems of the decorative components of the book and also underscores evidence of extensive cultural and artistic exchanges on the scale of Eurasia. The selected methodology is mainly twofold: The first one lies on a “deconstructive approach” of the ornament by an examination of the material both on the macroscopic and microscopic scales. In other words, the thesis begins with the general characterization of the illuminated programs, focusing thereafter on their constitutive elements such as frontispieces or shamsa and concluding with an examination of the various forms of fillings. The second axis highlights the complex role of transfers between several cultural centers particularly active such as China, Tibet, India and the different Christianities during the Il-Khanid period. Circulation of wares and exchanges of diplomatic gifts are explored to propose clues on the reception of new patterns in Iranian ornament.In the conclusion, this thesis suggests the (re-)attributions of some manuscripts and comments the relevance of the now usual expression “Islamic Chinoiserie”.

Die Chinoiserie wurde im Rokoko mit dem sorglosen Landleben gleichgesetzt. Daher findet man auch am und im Moritzburger Fasanenschlösschen vielfach chinoise Elemente. Ein vollständig in diesem Stil ausgestattetes Zimmer ist das dortige „Chinesische Eck-Cabinett“. Der Artikel untersucht die originale Ausstattung, ihre möglichen Schöpfer und deren Vorbilder und die Rekonstruktion des Zimmers nach 1945.

This dissertation investigates Markgräfin Wilhelmine von Bayreuth’s (1709 – 1758) architectural patronage and the fashioning of her “body politic,” “body natural,” and the range of personas that inhabited the spaces between the public and private spheres. She used architecture and interior design to perform multiple roles, where the ornamentation of each built space enacted different facets of her royal identity. Central European social customs determined the arrangement and décor of palace architecture. The function, audience, and accessibility of a room were also connected to one’s rank and gender. Because of this, the representation of Wilhelmine’s “bodies” in art and architecture should have reinforced current social customs, which dictated that her visual identity play a subordinated role to that of her husband, Markgraf Friedrich. However, when considering the subtle claims made throughout Wilhelmine’s decorative program as a whole, it is clear that she used architectural splendor and theatricality to subvert these conventions and represented herself as her husband’s equal. The theatrical nature of ornament—as a social agent used to transfer meaning—allowed Wilhelmine to redefine the gender limitations of Magnificence gave her greater agency to perform roles that were often at odds with her limited social and political powers as a woman consort. Previous scholarship on Wilhelmine von Bayreuth has failed to recognize architectural space as an arena for contesting the limitations of social decorum or the differences between the Markgräfin’s public, natural, and semi-private bodies. This project contributes to the field of eighteenth-century studies by contextualizing Wilhelmine von Bayreuth’s commissions within a larger system of European Enlightenment architecture, design, and self-fashioing. Few authors have considered the architectural patronage of non-sovereign consorts in German courts, like Wilhelmine’s, or the prescribed boundaries that gender played in their commissions. This dissertation illustrates the significant contributions that minor courts and non-sovereign noblewomen made to the development of Rococo ornament and architecture. A layered methodological approach—which combines extensive archival research with literature on self-fashioning, orientalism, spatial theory, and gender performance—gives a greater understanding of Wilhelmine’s agency in crafting her range of public, private, and liminal identities. / Art History

No description available.

Die Sehnsucht nach Glück ist eine der großen Triebkräfte menschlichen Handelns. Mit der Kritik an der Wirklichkeit wird ein idealer Gegenentwurf geschaffen. Von 1670 bis 1820 unterscheiden wir drei Phasen in der Rezeption ostasiatischer Kulturgüter und der damit verbundenen Chinautopie in Europa, besonders aber in Sachsen. Das Essay stellt die realisierten chinoisen Gartenbauten Kursachsens während der ersten beiden Entwicklungsphasen im sogenannten Augusteischen Zeitalter in ihrer vermeintlichen Erfüllung ihres Glücksanspruchs vor. / The pursuit of happiness is one of the greatest drivers of human behaviour, and a critical assessment of reality can perhaps make it possible to imagine an ideal alternative. Between 1670 and 1820 we identify three distinct phases in the Western appreciation of East Asian cultural artefacts, together with the European perception of a Chinese Utopia, which was particularly strong in Saxony. The essay describes the Chinese garden projects completed in the Electorate of Saxony during the first two of these developmental phases, the so-called Augustan period, supposedly in the fulfilment of the search for happiness.

Im Gegensatz zu in der Strawinsky-Literatur geläufigen Ansichten zur Bedeutung von Oktatonik für Strawinskys Werk kann dessen ›Leitharmonie‹ als ein verschlungenes pentatonisches Netzwerk verstanden werden: Das diesem zugrundeliegende melodische Pattern – kleine Terz, Ganzton – ist aus der anhemitonischen pentatonischen Skala ableitbar, welche Strawinsky in einem Brief von 1913 als ›pseudo-chinesische Skala‹ bezeichnet hatte. Im Unterschied zu gängigen oktatonischen Interpretationen hebt mein Zugang die ›Pentatonisierung‹ des chromatischen Tonraums hervor und beleuchtet zwei Beispiele dieses verschleierten ›Pentatonizismus‹, die der zweiten Kompositionsphase der Oper Le Rossignol (1913–14) vorangehen: erstens eine Leitharmonie-Skizze zur Einleitung des ersten Akts (1908–09), wo orthographische und modale Eigenheiten die Gegenwart der ›pseudo-chinesischen Skala‹ maskieren; zweitens einige Stellen in L’Oiseau de feu (1909), wo dieselbe Skala wiederum durch eine vertikale Überlagerung pentatonischer Ketten mit Kleinterz-Ganzton-Zellen verschleiert ist. Eine Charakterisierung dieser bislang kaum untersuchten Techniken verlangt es, der Schlüsselrolle der pentatonischen Skala in den zwei besprochenen (wie auch möglicherweise in anderen zwischen 1908 und 1914 entstandenen) Werken Aufmerksamkeit zuzuwenden. ›Pentatonizismus‹ – eine oft vernachlässigte Facette von Strawinskys Kompositionspraxis um 1910 – kann sowohl auf den Einfluss einer modernen Pariser als auch der traditionellen chinesischen Klanglichkeit zurückgeführt werden; er manifestiert sich in der ›Leitharmonie‹ und durchdringt Strawinskys Musik auch jenseits von Chinoiserien in der Oper. / The present study offers an alternative understanding of Stravinsky’s ›Leitharmonie‹ that reads it as an intricate pentatonic network instead of octatonicism. The underlying melodic pattern – minor third with whole tone – is derivable from the anhemitonic pentatonic scale, which Stravinsky referred to in a letter from 1913 as the ›pseudo-Chinese scale‹. Contrary to existing octatonic interpretations, my approach highlights the ›pentatonicisation‹ of the chromatic pitch space and illuminates two instances of this disguised pentatonicism that precedes the second composition phase of the opera, Le Rossignol (1913–14): firstly, a ›Leitharmonie‹ sketch for the Introduction to Act I (1908–1909), where orthographical and modal idiosyncrasies mask the presence of the ›pseudo-Chinese scale‹; secondly, several passages in L’Oiseau de feu (1909), where the same scale is again veiled through vertical superimposition of pentatonic chains with minor-third-major-second cells. A characterisation of these little-examined techniques calls for critical attention to the key roles of the pentatonic scale in the two discussed works (and potentially others created between 1908 and 1914). Pentatonicism – an oft-neglected facet of Stravinsky’s compositional practice around 1910 – can be traced back to the influence of modern Parisian as well as traditional Chinese sonorities; it manifests in ›Leitharmonie‹ and penetrates Stravinsky’s music beyond the chinoiseries in the opera.

2000年，一個世紀的終結與新世紀的開端，全球化的腳步方興未艾，時尚圈刮起「中國熱」，電影《臥虎藏龍》延燒至西方世界，流行音樂產業的工業化生產模式應和著全球化的文化傳遞，MTV頻道在1980年代的出現使音樂自聽覺延伸至視覺。在台灣，流行音樂走過數十載，解嚴後的百花齊放和文化水平提升觸發了旺盛的創作生命力，台灣成為華語流行音樂的重要集散地；在中國大陸，1978年改革開放後的經濟蓬勃發展，帶動了人民的生活水平和消費力，廣大的市場受到全世界關注。 　　2000年至今，華語流行音樂出現了一種名為「中國風」的音樂類型，上述看似低度關聯的敘述可由「中國風」歌曲串起。流行音樂的本質在於爭取最大多數人的認同和消費，中國大陸無疑是各方積極爭取的市場，在「中國熱」的興頭上，與「中國」相關的主題便融入西洋流行音樂曲風當道的華語流行樂壇，而流行音樂的畫面時代隨著MV作為行銷宣傳的利器大行其道，當視覺與聽覺同等重要，與「中國」相關的歌曲主題自然少不了能辨識出「中國性（Chineseness）」的元素。職是之故，這些音樂中創造了一種「中國」的氛圍，透過歌曲的歌詞、旋律、編曲、唱腔，一磚一瓦建構了音樂裡的「中國」。 　　然而，「中國」作為一敏感辭彙，兩岸三地見解不一，但在文化上，根源均來自「中華文化」，在這「最大公約數」的交集中找尋創作主題和元素，成了音樂裡的「中國」所操作的手法，可辨視為「中國」的元素來自「中華文化資料庫」的取樣和拼湊，而此「中國」絕非可明確指認的對象，乃是帶有可明顯辨識出「中國性」符碼的「虛擬中國」，透過去脈絡化的元素採擷和再脈絡化的拼貼建構，築成了一幅聽覺和視覺中的「中國韻味」，是擬仿的、拼貼的文化商品，帶著若有似無的熟悉感和似曾相識的懷舊（nostalgia）。 　　這種音樂裡的「中國」，採用「中國風」（Chinoiserie）的稱呼，可視為由華人主張的反向挪用，在一來一往的觀看間，華人將融合了「中國味」的西洋曲風流行音樂稱作「中國風」，辭彙本身從西方的角度轉為東方的視角，在全球化的流行脈絡下，「中國風」亦成為東方力求在全球化浪潮中站穩腳步，避免自我迷失的宣稱。 　　本研究廣蒐2000年至2010年6月與「中國風」歌曲相關的資料，歷時近兩年，蒐集、分析、聆聽、觀察華語流行音樂的過去和現在，訪談方文山、鍾興民、林隆璇等18位來自各界的要角，盡己所能描繪過去十年「中國風」歌曲的發展面貌。 　　過去十年的「中國風」歌曲，在華語流行音樂雖不至稱作過去十載的標竿類型，但至少引起「一陣風潮」，歌頌者有之、看衰者有之、仿效者有之、鄙夷者有之。無論如何，「中國風」替流行音樂的視覺化聽覺時代做了註腳，「中國風」仍會繼續吹拂，拂過這個世代的每對耳朵。 / In 2000, the intersection of two centuries, the globalization has been pacing merrily; “China Fever” was burning in the fashion circle; the film “Crouching Tiger, Hidden Dragon” surprised the Western world; the industrial productive methods of pop music responded to the globalized cultural transmission, and the appearance of MTV Channel in the 1980s has extended the music from auditory to vision. In Taiwan, pop music has been played for decades; the freedom in inventiveness and the aroused cultural standards after the martial law being lifted in 1987 enhanced strong vitality in creations, and Taiwan has become the major distribution center of Chinese pop music. In PRC, the booming economic development after the Chinese economic reform in 1978 has brought up populations’ living standards and consumption, and the enormous market has drawn the worldwide attention. 　As a new type in Chinese pop music, “Chinoiserie” has emerged since 2000, and the Chinoiserie songs could string together the above narrations that seemed to be weakly related. The essence of pop music is to strive after conformity and consumption from maximum people, and undoubtedly PRC has the market that everyone eagerly fights for. Whereas “China Fever” dominates, the themes related to “China” integrate into Chinese pop music in which Western pop music takes the lead. Moreover, seeing that vision is equally important as auditory, and the image era of pop music becomes popular with music video as the perfect tool for marketing, the song themes related to “China” would absolutely contain elements that can be identified as “Chinoiserie.” Therefore, these songs have created a “Chinese” atmosphere, a “China” in music that is constructed brick by brick through lyrics, melody, arrangement, and aria. 　However, “China” is a sensitive term that is considered quite differently in PRC, Hong Kong and Taiwan though the civilizing roots are all from “Chinese culture.” Seeking themes and elements for creativity in the intersections of this “Greatest Common Divisor” becomes the operating practice of “China” in music, in which the identical elements of “China” are the samplings and put-together from the “database of ancient Chinese culture.” Thus “China” here is absolutely not a clearly distinguishable object, but a “virtual China” with codes of “Chineseness” that can be obviously recognized; a “China Charm” built in auditory and vision through de-contextualized elements picking and re-contextualized collage constructing; yet a cultural merchandise of mimicry and bricolage with slightly familiar nostalgia. 　This “China” in music, named as “Chinoiserie,” can be considered as a reverse embezzlement claimed by Chinese. While exchanging ideas and cultures, Chinese entitle the Western style pop music merged with “Chinese taste” to be “Chinoiserie,” and thus turn the term from the Western point of view to the Eastern one. In the context of globalization, “Chinoiserie” has also become the statement that the Eastern seeks to stand firmly in the tide of globalization and to avoid losing oneself at the same time. 　In this study, the author broadly collected information related to “Chinoiserie” songs from 2000 to June 2010 in order to describe their developments in the past decade. In addition, the researcher has not only spent two years to collect, analysis, listen to, and observe the past and present of Chinese pop music, but also interviewed 18 key roles in different professions, including Vincent Fang, Hsing-Ming Chung, and Kevin Lin. 　Even though the “Chinoiserie” songs in the past decade can’t be viewed as the benchmark of the decade in Chinese pop music, at least they have caused “a vogue,” which some people praise, some are not optimistic, some imitate, and some disdain. In any case, “Chinoiserie” has made a statement for the visualized auditory era of pop music, and it would continue playing to deeply impress everyone of the time.