Джузеппе Кастільоне та формування нового канону жіночого портрету у китайському живописі XVIII століття

Abstract

У статті досліджено вплив італійського художника-єзуїта Джузеппе Кастільоне (1688–1766) на розвиток жіночого портрета в китайському живописі за часів династії Цин. Розглянуто його досягнення у засвоєнні китайських традицій та поєднанні з європейською школою живопису, створення на цій основі зразків парадного і камерного портретів. Охарактеризовано новації у техніці, стилістиці та жіночих типообразах, які митець приніс із європейського досвіду й затвердив у китайському живописі.

В статье исследовано влияние итальянского художника-иезуита Джузеппе Кастильоне (1688–1766) на развитие женского портрета в китайской живописи во времена династии Цин. Рассмотрены его достижения в усвоении китайских традиций и их сочетании с европейской школой живописи, создание на этой основе образцов парадного и камерного портретов. Охарактеризованы новации в технике, стилистике и женских типообразах, которые художник принес из европейского опыта и утвердил в китайской живописи.

The contribution to the development of the Chinese woman portrait of the Italian Jesuit missionary and artist Giuseppe Castiglione (1688–1766) is considered in the article. He worked for more than half a century at the court of the Chinese emperors of the Qing Dynasty: Kangxi, Yongzheng and Qianlong. On the basis of the work of researchers (Beurdeley, C. and M., F. Vossilla, Xue Yunyan, Cai Xingyi, N. Suraeva, V. Golovachov, Hao Xiao Hua, etc.), analysis of artist’s works, his students and followers in state museums, private collections and sites of world auctions conclude about the outstanding role of the artist in representing all the achievements of the European creative milieu in China, in particular in the development of sustainable genres and the formation of new genres of woman portrait. It is studied that creative work of Castiglione in this direction is due to the combination of the Chinese painting school called guo-hua and its European artistic experience. Creation of new portrait samples and the renewal of the canon of women’s beauty took place on the basis of this combination. It is found that Castiglione worked in two directions in the field of woman portrait; they are ceremonial and intimate portraits. In a series of ceremonial portraits of the Chinese empresses and concubines, he continues to use the type of ceremonial portrait that was laid in the past centuries. But unlike the conventionality and schematics of the ancient canon, Castiglione improves laconic and decorative character, combines picturesque luxury with careful execution of the image, enriches the portrait mask with individuality and femininity, approaching the reality and vitality of the model. Innovations in the creation of new female images through the use of certain European models are described. While working on many portraits of his beloved concubine, Qianlong Iparhan (Xiang Fei, “The Fragrant Concubine”), Castiglione refers to images of the knight woman, shepherdess woman and beauty woman adopted in the European Baroque tradition. It is proved that in the first case, the woman portrait represents Jeanne d’Arc courage, victory and sacrifice, in the second case it represents the virginity, harmony and kindness of the Virgin Mary as the Divine Pastor, in the third case it represents the ideal of a secular, educated, smart, gallant lady – a kind of Chinese “Gioconda”, which represents the image of sensuality and intimacy (concubine, courtesan). Castiglione offers a new fashion, a new woman, new woman ideals, where elements of Chinese national culture are combined with European woman images, giving birth to new standards of beauty and artistic canons. It has been shown that Castiglione influenced on the development of a woman’s portrait by means of creative combination of the Chinese painting tradition with European artistic qualities, focusing on a pictorial image solution, light-colored modeling and staging of the model. In grand portrait the artist makes perfection of the representation of the ancient artistic tradition. He gives European femininity, inspiration, intimacy for his intimate portraits and also baroque symbolism through the use of picturesque techniques of tenebrism, illusory, materialness, certain poses and attributes that speak the language of signs, hints, associations and allegories. Although these images are embodied through the image of specific figures, they acquire their typological features and subsequently occupy their place in the new genre structure of the Chinese woman portrait.