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Jean-Denis Attiret (王致誠, 1702-1768) was a French Jesuit active as a prominent painter in service of the court of Qianlong emperor. Overshadowed by the fame of Giuseppe Castiglione (郞世寧, 1688-1766), his artistic achievement had been remained unknown to Korea or abroad. Concerning the western painting techniques introduced by the Jesuit painters, the influx of Baroque style in China and Mannerism in Japan has been pointed out in previous scholarships. The inflow of Rococo art from Europe via Attiret during the reign of Emperor Qianlong, however, has not yet received proper scholarly attentions as it deserves.
Rococo art emerged in the early 18th-century and became highly popularized in particular, in France. After the death of the absolute monarch of Louis ⅩⅣ, the center of arts was shifted from Versailles to salons in Paris, mostly enjoyed by the aristocracy and the upper class bourgeois. It is Rococo-style decorative art that flowered during that transitional period of time. Intricate ornaments embellished with curves and asymmetrical patterns became pronounced as architectural interior designs, while Watteau’s fete galante, Boucher’s sensual expressions of Greco-Roman mythology, and pastoral country were well-received as pictorial subjects. In the time between the demise of Baroque style and the rise of Rococo style, Attiret was born as a son of a painter in the small city of Dole in the mid-east of France. Showing great talent of painting as a child, he went to study at the French Royal Academy in Rome with the support of Marquis de Broissia, At the academy, he met Rococo artists such as Natoire and van Loo. At that time, Pannini, famous for his images of imaginary ruins of antiquity, was teaching perspective. As indicated by Ruines Imaginaires, the early work of Attiret depicting ruins of Rome seems to have been influenced by Pannini’s works. After returning to France, Attiret gained artistic fame as a portrait painter, and at the same time, he worked on the interior decorations of the Jesuit church and oil paintings of biblical episodes.
Although his motivation is unknown, Attiret joined the Jesuits and entered the novitiate of Avignon in 1735. During this time, he painted the Quatre Evangeliste on the dome ceiling of the Eglise St. Louis within the novitiate. He was recognized for his talent and sent by the Jesuits in 1738 as a court painter to the Qing court. In China, Attiret, first called Zhang Chunyi (張純一), received a Chinese name of Wang Zhicheng and was assigned to a palace of Yuanming Yuan (Garden of Perfect Brightness). He participated in various decorative paintings and emperor-related documentary paintings. At that time, Castiglione established a firm position as the head court painter of the Qing court.
Of the works by Attiret, the oil painting portraits of leaders of the Mongol nomadic tribes subjugated by Qing and the Ten Steeds are well-known. With Castiglione, Sichelbart and Damascene, Attiret is also believed to have participated in the preparatory drawing for the copperplate print entitled as Battle Scenes of Quelling the Western Regions. In addition to these historical themes, Attiret played an essential role in introducing a newly emerged trend of Rococo art, which swept the eighteenth-century European art scene. His significant role, however, have been rather overlooked.
There are two extant Rococo-style oil paintings securely attributed to Attiret. Portrait of Fragrant Concubine that depicts is Hsing Fei (香妃: fragrant concubine) as a shepherd girl, with a hat on her head, holding a cane in one hand and a flower basket in the other, is painted in a sweet Rococo style echoing Boucher’s. The other work is A Court Lady and Her Attendants, which depicts the daily life of an Emperor Qianlong’s royal concubine who lived in a room at the Yuanming Yuan. Attended by maids, the emperor’s concubine is posed in a room embellished in a delicate Rococo-style.
Along with Castiglione, Attiret played a leading role in designing and building the Yuanming Yuan. He is the only Jesuit painter who served for the Qing court with an experience working in France, the birthplace of Rococo art. With no doubt, he was the one who endowed the interior and exterior deign of Qing imperial palaces and gardens with Rococo architectural style. Father Amiot’s testimony proves that Attiret actually painted the ceiling painting Temple of Glory at Xieqiqu (諧奇趣) as well as the paintings decorating the building interior. Although the buildings in Yuanming Yuan were built in the baroque-style of Versailles, its exterior decor and ornamentations are done in Rococo-style, heavily reflecting the influence of Meissonier and de Lajoue. Haiyantang (海宴堂) is considered to be the most beautiful of the western-style buildings. Its steps that form curves on the left and the right sides of the twelve zodiacal animals fountain below the front facade display typical Rococo characteristics.
Among Attiret’s achievements, his sketches for the Faits Memorables des Empereurs de la Chine, the book of prints by Isidore-Stanislas Helman, which along with the Battle Scenes of Quelling the Western Regions are not only his most distinguishable work, but also became a basis for chinoiserie wave in Europe. I believe his work made a great contribution to the popularity of chinoiserie in the latter half of 18th century Europe.
The theme, the fete galante had significant impact on arts both in and outside of Qing court. It can be assumed that the light-hearted thematic and pictorial style of Rococo art provided Qing Chinese painters with an opportunity for outreaching more various subjects and pictorial vocabularies, which had been difficult to flourish within the strict ethical frame of Confucianism. Turning away from lofty themes such as literary gatherings, Qing court painters started to be attracted to cheerful scenes of intimate meetings and private family life of the emperor.
Following significant changes in the history of Chinese art may be attributed to Attiret’s activities related to Rococo art. First, Attiret contributed to the dissemination of the modern European worldview by introducing the Rococo art of the Age of Enlightenment in corresponding to newly rising citizen class in the 18th-century Europe. Second, in contrast to Castiglione who mainly employed western painting techniques compromised with traditional Chinese style in favor of the taste of Qing emperors, Attiret modified western painting technique in executing oil paintings with more fidelity to European style, and consequently, provided more diverse pictorial vocabularies to Chinese art tradition. Finally, Attiret triggered the great wave of chinoiserie in the latter half 18th century Europe via his work such a Faits Memorables des Empereurs de la Chine. I believe that Attiret should be regarded as a figure who successfully took an essential role in facilitating the artistic and cultural fluidity and exchanges between the East and the West.
Rococo art emerged in the early 18th-century and became highly popularized in particular, in France. After the death of the absolute monarch of Louis ⅩⅣ, the center of arts was shifted from Versailles to salons in Paris, mostly enjoyed by the aristocracy and the upper class bourgeois. It is Rococo-style decorative art that flowered during that transitional period of time. Intricate ornaments embellished with curves and asymmetrical patterns became pronounced as architectural interior designs, while Watteau’s fete galante, Boucher’s sensual expressions of Greco-Roman mythology, and pastoral country were well-received as pictorial subjects. In the time between the demise of Baroque style and the rise of Rococo style, Attiret was born as a son of a painter in the small city of Dole in the mid-east of France. Showing great talent of painting as a child, he went to study at the French Royal Academy in Rome with the support of Marquis de Broissia, At the academy, he met Rococo artists such as Natoire and van Loo. At that time, Pannini, famous for his images of imaginary ruins of antiquity, was teaching perspective. As indicated by Ruines Imaginaires, the early work of Attiret depicting ruins of Rome seems to have been influenced by Pannini’s works. After returning to France, Attiret gained artistic fame as a portrait painter, and at the same time, he worked on the interior decorations of the Jesuit church and oil paintings of biblical episodes.
Although his motivation is unknown, Attiret joined the Jesuits and entered the novitiate of Avignon in 1735. During this time, he painted the Quatre Evangeliste on the dome ceiling of the Eglise St. Louis within the novitiate. He was recognized for his talent and sent by the Jesuits in 1738 as a court painter to the Qing court. In China, Attiret, first called Zhang Chunyi (張純一), received a Chinese name of Wang Zhicheng and was assigned to a palace of Yuanming Yuan (Garden of Perfect Brightness). He participated in various decorative paintings and emperor-related documentary paintings. At that time, Castiglione established a firm position as the head court painter of the Qing court.
Of the works by Attiret, the oil painting portraits of leaders of the Mongol nomadic tribes subjugated by Qing and the Ten Steeds are well-known. With Castiglione, Sichelbart and Damascene, Attiret is also believed to have participated in the preparatory drawing for the copperplate print entitled as Battle Scenes of Quelling the Western Regions. In addition to these historical themes, Attiret played an essential role in introducing a newly emerged trend of Rococo art, which swept the eighteenth-century European art scene. His significant role, however, have been rather overlooked.
There are two extant Rococo-style oil paintings securely attributed to Attiret. Portrait of Fragrant Concubine that depicts is Hsing Fei (香妃: fragrant concubine) as a shepherd girl, with a hat on her head, holding a cane in one hand and a flower basket in the other, is painted in a sweet Rococo style echoing Boucher’s. The other work is A Court Lady and Her Attendants, which depicts the daily life of an Emperor Qianlong’s royal concubine who lived in a room at the Yuanming Yuan. Attended by maids, the emperor’s concubine is posed in a room embellished in a delicate Rococo-style.
Along with Castiglione, Attiret played a leading role in designing and building the Yuanming Yuan. He is the only Jesuit painter who served for the Qing court with an experience working in France, the birthplace of Rococo art. With no doubt, he was the one who endowed the interior and exterior deign of Qing imperial palaces and gardens with Rococo architectural style. Father Amiot’s testimony proves that Attiret actually painted the ceiling painting Temple of Glory at Xieqiqu (諧奇趣) as well as the paintings decorating the building interior. Although the buildings in Yuanming Yuan were built in the baroque-style of Versailles, its exterior decor and ornamentations are done in Rococo-style, heavily reflecting the influence of Meissonier and de Lajoue. Haiyantang (海宴堂) is considered to be the most beautiful of the western-style buildings. Its steps that form curves on the left and the right sides of the twelve zodiacal animals fountain below the front facade display typical Rococo characteristics.
Among Attiret’s achievements, his sketches for the Faits Memorables des Empereurs de la Chine, the book of prints by Isidore-Stanislas Helman, which along with the Battle Scenes of Quelling the Western Regions are not only his most distinguishable work, but also became a basis for chinoiserie wave in Europe. I believe his work made a great contribution to the popularity of chinoiserie in the latter half of 18th century Europe.
The theme, the fete galante had significant impact on arts both in and outside of Qing court. It can be assumed that the light-hearted thematic and pictorial style of Rococo art provided Qing Chinese painters with an opportunity for outreaching more various subjects and pictorial vocabularies, which had been difficult to flourish within the strict ethical frame of Confucianism. Turning away from lofty themes such as literary gatherings, Qing court painters started to be attracted to cheerful scenes of intimate meetings and private family life of the emperor.
Following significant changes in the history of Chinese art may be attributed to Attiret’s activities related to Rococo art. First, Attiret contributed to the dissemination of the modern European worldview by introducing the Rococo art of the Age of Enlightenment in corresponding to newly rising citizen class in the 18th-century Europe. Second, in contrast to Castiglione who mainly employed western painting techniques compromised with traditional Chinese style in favor of the taste of Qing emperors, Attiret modified western painting technique in executing oil paintings with more fidelity to European style, and consequently, provided more diverse pictorial vocabularies to Chinese art tradition. Finally, Attiret triggered the great wave of chinoiserie in the latter half 18th century Europe via his work such a Faits Memorables des Empereurs de la Chine. I believe that Attiret should be regarded as a figure who successfully took an essential role in facilitating the artistic and cultural fluidity and exchanges between the East and the West.
목차
Ⅰ. 머리말
Ⅱ. 로코코 미술의 개념과 특징
Ⅲ. 아티레와 로코코 미술의 접촉
Ⅳ. 로코코 미술의 동아시아 전파
Ⅴ. 중국회화에 미친 영향
Ⅵ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (41)
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