Chinese Objects in Eurasian Empire： On the Cultural Meaning of Chinese Art in Russia in the Late 17th-Early 18th Centuries

作     者：Berezkin Rostislav 

作者机构：National Institute For Advance Humanistic Studies Fudan University Shanghai 200433 China 

出 版 物：《Frontiers of History in China》 (中国历史学前沿（英文版）)

年 卷 期：2018年第13卷第1期

页      面：127-159页

学科分类：0303[法学-社会学] 1305[艺术学-设计学（可授艺术学、工学学位）] 01[哲学] 13[艺术学] 0101[哲学-哲学] 010106[哲学-美学] 0603[历史学-世界史] 

基　　金：Fudan University 

主　　题：Chinoiserie Chinese fashion Russo-Chinese contacts decorative arts intercultural contacts 

摘      要：This article fashion＂ （＂Kitaischina＂） reign of Peter the First demonstrates the role Russo-Chinese cultural examines special features of ＂Chinoiserie＂ or ＂Chinese in Russia from the late 17th to the early 18th century： The It discusses this cultural phenomenon＇s historical origins, of Chinese luxury goods and art objects in the era＇s exchange, and illustrates how Chinese decorative arts were used in Russian palaces. While Chinoiserie in Russia was influenced by similar trends in Western Europe, it was rooted in the unique history of regular contacts between Russia and the Qing Empire. Chinese objects not only appeared as commodities in the higher levels of Russian society, they also contributed to the prestige of the Russian state. Peter the First had a political purpose behind the collection, display and imitation of Chinese art objects in Russian palaces, as these practices demonstrated the growing wealth and power of newly established Russian Empire, which enjoyed trade connections with the Qing Empire. While contemporary perceptions of China in Russia were derived mostly by the exotic images of export art, ethnographic collections of genuine Chinese utensils, which were founded during that period, also contributed to Russian views of China. This research uses a comprehensive methodology, combining studies of material objects preserved in Russian museums and written sources, including archival records.