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

贯穿这篇论文的是各种研究问题、主题或细节，例如围绕这些陶瓷如何促进佛罗伦萨和意大利的民族认同的问题，围绕现代性与历史主义概念的辩论，以及各种欧洲和意大利展览的影响，以及这些研讨会如何利用这些展览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国家认同、民族风格以及陶瓷的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，它们在19世纪末到20世纪初的三个作坊中发展到不同的程度，因为它们特别定义了伽利略·奇尼的作品。*我使用术语东方主义和东方来表示从中世纪到20世纪初近东、中东和远东国家影响佛罗伦萨陶工的各种东方风格。例如，日式和中国青花瓷的流行，西班牙-摩尔斯式浮雕陶器，中国瓷器，暹罗本查龙瓷器和波斯伊兹尼克陶器对意大利毛利奥利的影响。中心研究问题将问：在一个普遍存在的历史决定论市场中，佛罗伦萨陶工如何表达他们对现代性的坚持，以及他们如何在新文艺复兴时期华丽的市场中表达他们的现代佛罗伦萨身份？是什么使它们具有鲜明的佛罗伦萨风格？它们与比萨镇(巴西尼)教堂上发现的中世纪西班牙-莫雷斯克卢斯特器皿陶瓷是否有联系和/或延续，以及19世纪末至20世纪初的斯蒂尔自由东方主义建筑上鲁斯特莱特陶器的使用？例如，这些物品与那个时期建筑瓷砖上使用的陶瓷之间是否有联系？比如维亚雷乔的资产阶级海滨别墅，萨尔索马焦雷和蒙特卡蒂尼的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一种手段。东方主义是如何表达现代性的，为什么东方主义在艺术界和这些物品的市场中与现代联系在一起？19世纪末的陶工们发现东方主义艺术如此令人信服地现代，是什么原因，以及它对现代装饰艺术中使用的东方肖像图案的演变有什么看法？构成论文框架的主题将包含许多跨文化艺术对佛罗伦萨陶瓷生产的影响，这些影响联系着不同的元素，因为它们不能被孤立地看待。每个车间的陶瓷器将被选为例子，因为它们构成了一次和二次来源中最具代表性的。

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.