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

艺术与工业：东方与西方：美好时代时期佛罗伦萨作坊的陶瓷 – POQUE：1871 - 1914

• 批准号: 2754256
• 金额: --
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2754256
• 关键词: ART; INDUSTRY; EAST; WEST; CERAMICS

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.

贯穿本文的是各种研究问题，主题或fil rouge，如围绕这些陶瓷如何促进佛罗伦萨和意大利的民族身份，围绕现代性与历史主义概念的争论，以及欧洲和意大利各种大型展览的影响，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。这些大型国际展览会将围绕国家身份、民族风格以及意大利陶瓷生产和消费的辩论联系起来。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得到了不同程度的发展，因为它们特别定义了伽利略·奇尼的作品。我用Orientalism和东方来表示从中世纪到世纪早期影响佛罗伦萨陶艺家的各种来自近东、中东和远东国家的东方风格。例如，日本和中国的蓝色和白色瓷器的时尚，西班牙-Moresque的光泽陶器中国瓷器，暹罗Bencharong瓷器和波斯Iznik陶器对意大利maiolica的影响。中心研究问题将问：佛罗伦萨陶艺家如何表达他们的坚持现代性在一个前历史主义的市场，他们如何表达他们的现代佛罗伦萨身份在一个华丽的市场新文艺复兴？是什么让他们成为佛罗伦萨人？在比萨（bacini）镇的教堂上发现的中世纪西班牙-莫雷斯式光泽陶瓷和在世纪末至二十世纪初的自由风格东方主义建筑上使用光泽陶瓷是否有联系和/或连续性？例如，这些物品与该时期建筑瓷砖上使用的陶瓷之间是否有联系？比如维亚雷焦的中产阶级海滨别墅和萨尔索马焦雷和蒙特卡蒂尼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，为什么像奇尼这样一位创新和前卫的陶艺家会选择采用东方主义艺术的解释或混合，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艺术品的市场中，东方主义与现代性联系在一起？十九世纪末的陶艺家发现东方主义艺术如此具有令人信服的现代性，它对现代装饰艺术中使用的东方肖像图案的演变有何说明？形成论文框架的主题将包括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待。每个工作坊的陶瓷作品将被选为例子，因为它们构成了一级和二级来源中最具代表性的。