摘要：法语词“chinoiserie”,1823年为法国哲学家夏尔·傅立叶所新造,被用为贬义词;在19世纪30年代,它被广泛使用,意指“中国风尚”或“中国物或其仿制品”,随后被收入词典,也被艺术史家所关注与使用。1880年左右,“chinoiserie”进入英语与德语,主要被用为“中国物或其仿制品”,偶尔也被用为“中国风尚”。1922年,“chinoiserie”始被艺术史家加以专门研究,新获“中国风格”意义,但随后德国、英国与美国的艺术史家还是或将其用为“中国风尚”,或用为“中国物或其仿制品”。至1961年,艺术史家休·昂纳专门研究“chinoiserie”的开山之作出版,其意义得以基本确定,后又经奥利弗·英庇的进一步拓展、玛德琳·贾里与道·雅各布森的巩固而被最终确定,即一般用为“中国风格”,少数情况下也被用为“仿制的中国物”。

摘要：This article fashion＂ （＂Kitaischina＂） reign of Peter the First demonstrates the role Russo-Chinese cultural examines special features of ＂chinoiserie＂ or ＂Chinese in Russia from the late 17th to the early 18th century： The It discusses this cultural phenomenon＇s historical origins, of Chinese luxury goods and art objects in the era＇s exchange, and illustrates how Chinese decorative arts were used in Russian palaces. While chinoiserie in Russia was influenced by similar trends in Western Europe, it was rooted in the unique history of regular contacts between Russia and the Qing Empire. Chinese objects not only appeared as commodities in the higher levels of Russian society, they also contributed to the prestige of the Russian state. Peter the First had a political purpose behind the collection, display and imitation of Chinese art objects in Russian palaces, as these practices demonstrated the growing wealth and power of newly established Russian Empire, which enjoyed trade connections with the Qing Empire. While contemporary perceptions of China in Russia were derived mostly by the exotic images of export art, ethnographic collections of genuine Chinese utensils, which were founded during that period, also contributed to Russian views of China. This research uses a comprehensive methodology, combining studies of material objects preserved in Russian museums and written sources, including archival records.