ART AND INDUSTRY: EAST AND WEST: CERAMICS FROM THE FLORENTINE WORKSHOPS DURING THE BELLE EPOQUE ÉPOQUE: 1871 - 1914

贯穿本论文的是各种研究问题、主题或文件，例如围绕这些陶瓷如何促进佛罗伦萨和意大利民族身份的问题，围绕现代性与历史主义概念的辩论，以及各种伟大的欧洲和意大利展览的影响，以及这些讲习班如何利用它们向艺术评论家和更广泛的公众传播现代性。这些伟大的国际展览将围绕意大利的民族认同、民族风格、陶瓷生产和消费的辩论联系在一起。另一个研究问题涉及东方混合风格，这些风格在19世纪末到20世纪初的三个工作室中发展到不同程度，因为它们特别定义了伽利略·基尼的作品。*我用“东方主义”和“东方主义”来表示中世纪到二十世纪早期来自近东、中东和远东国家的各种东方风格，这些风格影响了佛罗伦萨的陶艺家。例如，日本和中国青花瓷的流行，西班牙-莫尔斯克彩陶的影响，中国瓷器，暹罗Bencharong瓷器和波斯伊兹尼克陶器对意大利马爵利卡陶瓷。研究的核心问题将是：佛罗伦萨陶工如何在一个历史主义盛行的市场中表达他们对现代性的坚持，以及他们如何在一个新文艺复兴时期繁荣的市场中表达他们的现代佛罗伦萨身份？是什么使它们具有明显的佛罗伦萨风格？在比萨镇（bacini）的教堂中发现的中世纪西班牙-莫尔斯克（Hispano-Moresque）光泽陶瓷与19世纪末至20世纪初自由风格东方主义建筑中使用的光泽陶瓷有联系或连续性吗？例如，这些物品与当时建筑瓷砖上使用的陶瓷之间是否存在联系？比如维亚雷焦（Viareggio）的资产阶级海滨别墅，以及萨尔索马焦雷（Salsomaggiore）和蒙特卡蒂尼（Montecatini）温泉小镇的温泉浴场？在佛罗伦萨的传统艺术世界和文化环境中，这种现代性是如何以陶瓷的形式表现出来的？有趣的是，为什么像Chini这样的创新前卫的陶艺家会选择采用东方艺术的解释或混合作为表达他对现代性的坚持的手段。东方主义是如何表达现代性的？为什么在艺术界和这些物品的市场中，东方主义与现代联系在一起？19世纪后期的陶工发现东方主义艺术如此引人注目的现代主义是什么？它说明了现代装饰艺术中使用的东方肖像图案的演变？形成论文框架的主题将纳入佛罗伦萨陶瓷生产的许多跨文化艺术影响，这些影响将各种元素联系起来，因为它们不能孤立地看到。每个车间的陶瓷物品将被选为例子，因为它们在主要和次要来源中最具代表性。

Running through this thesis are various research questions, themes or fil rouge, such as questions surrounding how these ceramics promoted the Florentine and Italian national identity, debates around the concepts of Modernity versus historicism, and the influence of the various great European and Italian exhibitions and how they were used by these workshops to disseminate Modernity to the art critics and wider public. These great international exhibitions inter-connected debates surrounding national identity, national styles, and the production, and consumption of ceramics in Italy. Another research question involves the Oriental hybrid styles which were developed to a differing extent within the three workshops during late nineteenth to the early twentieth centuries, as they came to define the output of Galileo Chini in particular.*I use the term Orientalism and Oriental to denote the various oriental styles from Near Eastern, Middle Eastern and Far Eastern countries from the Mediaeval period to the early twentieth century which influenced the Florentine potters. For example, the fashions for Japanisme and Chinese blue and white porcelain, the influences of the Hispano-Moresque lustreware pottery Chinese porcelain, Siamese Bencharong porcelain and Persian Iznik pottery on Italian maiolica.The central research questions will ask:How did the Florentine potters express their adherence to Modernity in a prevalently historicist market, and how did they express their modern Florentine identity in a florid market for the neo-Renaissance? What made them distinctly Florentine?Was there a connection and/or continuity with the Mediaeval Hispano-Moresque lustreware ceramics found on the churches of the town of Pisa (bacini) and the use of lustreware ceramics on the Stile Liberty Orientalist architecture of the late nineteenth to early twentieth century? For example, was there a connection between these objects and the ceramics used on the architectural tiles of the period? Such as the bourgeois seaside villas of Viareggio and the thermal baths of the spa towns of Salsomaggiore and Montecatini?How did this Modernity express itself in ceramic form in the traditional art world and cultural milieu in Florence? It is interesting to ask why an innovative and avant-garde ceramist such as Chini would have chosen to adopt an interpretation or hybrid of Orientalist art as a means to express his adherence to Modernity. How did Orientalism express Modernity, and why was Orientalism associated with the Modern in the minds of the art world and market for these objects? What was it about the art of Orientalism that potters from late nineteenth century found so compellingly modern, and what did it say about the evolution of oriental iconographical motifs being used in modern decorative art? The themes which form the framework of the thesis will incorporate the many of the cross-cultural artistic influences on Florentine ceramic production which connect the various elements as they cannot be seen in isolation. The ceramic objects from each workshop will be chosen as examples because which constitute the most representative in the primary and secondary sources.