卡地亞珍寶藝術(shù)

前言

China is on its way to becoming Cartier's foremost partner in the world. Such an exceptional link has grown fromthe fascinating energy that drives this vast country, and the interest that Cartier has always shown towards it. Whatbegan as historic and stylistic ties became a source of trade and friendship, as well as a cultural and artistic bond.   This exhibition at the Palace Museum brings us fulfilment on more than one account. It is the culmination of thespecial relationship between Cartier and its trusted partners in Beijing. It is the recognition by one of the planet'smost prestigious museums that Cartier creations constitute a heritage of immense historical value.   It is also a great personal pleasure, as I have a particular fascination for China's civilisation and its people. 1 comehere regularly, perhaps four times a year, always in search of new opportunities and encounters, travelling to townsin the country's furthest reaches and even attempting to unravel the mysteries of the Chinese language.   Just as these mutual ties and influences are not new, so they grow stronger.   As early as 1888, there are records in Cartier's archives oflacquerwork objects, made for a prestigious patron,Vicomtesse de Bonnemain. Parisian antique dealers, including C.T. Loo on Rue de Courcelles, supplied Cartierwith laques burgaut6s. Chinese images of animals, colours and symbolic icons have been introduced by Cartier toits jewellery designs. In the 192os, powder compacts, vanity cases and even small clocks were incrusted with thisshimmering inlay; with its evocations of faraway lands. Coral and jade made daring colour combinations. Mythicalcreatures - chimerae, dragons, Fo dogs and phoenixes - came to life on jewellery and mystery clocks. Louis Cartierhimself was an informed collector of these works. Other motifs, some symbolic - stylised ideograms, Yin andYang - and others religious  pagoda roofs and divinities  transformed objects into precious talismans. Chineseaesthetics have held a fascination for Cartier that continues today. The dragon, alongside the panther, remains oneof Cartier's most revered animals.

內(nèi)容概要

透過卡地亞藝術(shù)典藏系列，廣大公眾不僅可以了解卡地亞的歷史傳統(tǒng)與創(chuàng)新設(shè)計(jì)，更能感受到卡地亞在珠寶首飾、鐘表、配飾以及其他珍貴飾品方面的不懈創(chuàng)造。     卡地亞通過一件件深賦藝術(shù)與歷史價(jià)值的珍品，將藝術(shù)的魅力傳遞到世界的每一個(gè)角落，同時(shí)在不同文化的藝術(shù)交流上也做出了卓越的貢獻(xiàn)。

書籍目錄

祝辭祝辭東方文化的浸潤(rùn)——卡地亞珍寶中的中國(guó)元素皇帝的珠寶商珠寶商的皇帝圖版目錄圖版服務(wù)歐洲皇室花都藝術(shù)珍寶卡地亞作品中的中國(guó)元素融匯五洲藝術(shù)年表后記

章節(jié)摘錄

插圖：1847年，路易·弗朗索瓦·卡地亞（1819～1904.年）（圖1）從其師傅阿道夫·皮卡手中接管位于巴黎圣厄斯塔什區(qū)蒙特吉爾街29號(hào)的珠寶店，卡地亞的經(jīng)典故事就此展開。依照當(dāng)時(shí)的慣例，卡地亞珠寶店最初只售賣其他珠寶工作坊的作品。1852年，路易·弗朗索瓦·卡地亞將珠寶店遷至小場(chǎng)街5號(hào)，位于時(shí)尚的皇宮區(qū)后街及富麗堂皇的奧爾良宮殿附近。他的第一位貴賓是拿破侖三世時(shí)期的一位重要藝術(shù)人物——烏韋克爾克伯爵夫人。當(dāng)時(shí)正處于七月王朝時(shí)期，時(shí)尚風(fēng)標(biāo)仍然為中產(chǎn)階級(jí)的品位所左右。貝殼浮雕風(fēng)行一時(shí)，伯爵夫人在卡地亞的第一份訂單，就是一條復(fù)古式貝殼浮雕項(xiàng)鏈。烏韋克爾克伯爵是拿破侖三世的御前美術(shù)總監(jiān)。通過伯爵夫人的引薦，卡地亞于1856年獲得了瑪?shù)贍柕鹿鳎▓D2）的第一份訂單。三年后，歐珍妮皇后親自從卡地亞訂制了一套純銀茶具。此時(shí)，位于小場(chǎng)街的珠寶店對(duì)于已成為皇室供貨商的卡地亞而言太過狹小。因此，卡地亞再次遷址至意大利大道（圖3）。此時(shí)正是奧斯曼改造巴黎的前夕，意大利大道已經(jīng)呈現(xiàn)出熙攘繁華的風(fēng)貌。淑女們身著蓬裙來來往往，人群潮水似的涌入咖啡館，為這條大街帶來絡(luò)繹不絕的客流。第二帝國(guó)時(shí)期巴黎上流社會(huì)的所有精英人物都匯聚到了卡地亞精品店。1874年，阿爾弗雷德·卡地亞（圖4）開始執(zhí)掌家族生意，而此時(shí)的境況卻大不如前：法國(guó)王室流亡到了英國(guó)，巴黎公社改變了整座城市的生活。盡管經(jīng)濟(jì)和政治氣候變幻莫測(cè)，卡地亞仍然保持了多樣化作品的生意，包括扇子、韋奇伍德徽章、珠寶、鏈表、懷表等。從精品店的庫(kù)存登記簿（圖5）可知，這些作品囊括了當(dāng)時(shí)正流行的古典風(fēng)格珠寶和工藝品，以及一系列傳統(tǒng)鉆飾。

后記

“卡地亞珍寶藝術(shù)展”圖錄是為配合卡地亞世紀(jì)珍寶特展而編輯出版，收錄了此次展覽的全部展品346件。為了促成世界享有盛譽(yù)的時(shí)尚品牌卡地亞珍寶在故宮展出，故宮博物院和卡地亞公司都做出了積極努力。在籌備“卡地亞珍寶藝術(shù)展”的過程中，我們專程赴法國(guó)、瑞士卡地亞公司遴選展品，得到卡地業(yè)公司的大力支持和積極配合。具有一百六十多年歷史的卡地亞吸納、學(xué)習(xí)世界各民族藝術(shù)，始終保持創(chuàng)新意識(shí)，追求精湛、細(xì)膩的工藝，用充滿文化內(nèi)涵的設(shè)計(jì)詮釋時(shí)尚、優(yōu)雅、高貴和奢華。當(dāng)數(shù)百件精美珠寶飾品從我們眼前經(jīng)過的時(shí)候，我們深深地被卡地亞作品所擁有的廣泛而深刻的文化內(nèi)涵所震撼，被吖i同主題作品的恒久魅力所折服。我們希望奉獻(xiàn)給觀眾的是一次時(shí)尚裝飾盛宴。在此，我們對(duì)展覽雙方所有為此次展覽和圖錄編輯給予支持和幫助的同行、同事、朋友表示衷心的感謝。由于我們對(duì)時(shí)尚、潮流的理解和卡地亞的歷史研究有限，展覽和圖錄難免有錯(cuò)誤和不足之處，歡迎各界朋友批評(píng)指正。

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《卡地亞珍寶藝術(shù)》由紫禁城出版社出版。

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