尚蒂伊城堡大猴戏屋：18世纪法国贵族空间的文化建构

Chantilly Castle’s The Grande Singerie: The Cultural Construction of Aristocratic Space in 18th-Century France

摘要: 随着大航海时代贸易网络的扩张与东西方文化交流的深入，传教士、旅行者出版的书籍，将中国的情况以文字与图像相结合的方式展现给欧洲大众，中国形象逐渐走进西方大众视野。源于对中国物品的收藏与模仿，同时受到洛可可艺术的影响，中国风艺术应运而生。中国风表面上是对异域风情的追求，实际上是西方艺术家们模仿与想象的产物。在众多的中国风作品中，克里斯托弗·胡特于1737年绘制的尚蒂伊城堡大猴戏屋极具研究价值。作为当时著名的动物画家，胡特在大猴戏屋中通过绘制中国人物形象、猴形人物及丰富的装饰元素，生动展现了18世纪法国中国风艺术的独特魅力与文化意涵。本文从大猴戏屋的文化生成语境进行探究，着重对其呈现中国风面貌的原因，绘制众多猴形人物背后的寓意进行讨论。

Abstract: With the expansion of trade networks in the Age of Great Navigation and the deepening of cultural exchanges between the East and the West, books published by missionaries and travelers presented China to the European public through a combination of texts and images, gradually bringing the image of China into the Western public eye. Originating from the collection and imitation of Chinese objects, and influenced by Rococo art, Chinoiserie art came into being. Superficially, Chinoiserie represents the pursuit of exotic charm; in essence, it is a product of imitation and imagination by Western artists. Among numerous Chinoiserie works, the Grande Singerie of Chantilly Castle painted by Christophe Huet in 1737 is of great research value. As a renowned animal painter of his time, Huet vividly demonstrated the unique charm and cultural connotation of 18th-century French Chinoiserie art through the depiction of Chinese figures, singeries and rich decorative elements in the Grande Singerie. This paper explores the cultural context of the creation of the Grande Singerie, focusing on the reasons for its Chinoiserie features and the implied meanings behind the numerous singeries depicted in it.