拉洋片这个事究竟是 西来 还是 东去
拉洋片这个事究竟是 西来 还是 东去花园的图像在中世纪时期的挂毯媒介中很流行，其中所谓的千朵花（另见2013.506）为浪漫和玩耍的场景提供了装饰性的，有时是象征性的背景。公园和花园挂毯在整个十六和十七世纪继续受到欢迎，特别是在装饰更私密的房间时，它们与更正式的环境中使用的挂毯的宏伟主题形成了令人愉快的对比。随着十八世纪洛可可风格的出现，这一主题重新流行起来，十八世纪下半叶法国和荷兰的作坊生产了许多极具装饰性的风景和花园系列。其中最著名的是鲍彻在 1734 年至 1736 年间为博韦工作室设计的一系列浪漫田园诗 (64.165.1–.8)。该系列被称为“意大利节日”，大致受到安托万·华托田园诗般的公园场景的启发，在理想化的外部环境中描绘了英俊的绅士和农民。在这幅画中，一位年轻漂亮的女士、一个孩子和一位园丁在阿波罗和大力神雕像下方杂草丛生的露台的树荫下休息。
The Charlatan and the Peep Show from a set of Italian Village ScenesVarious artists/makers
designed 1736, woven 1736–52 Not on view
Images of gardens were popular in the tapestry medium from the medieval era, where the so-called mille-fleurs (thousand flowers) (see also 2013.506) provided a decorative, and sometimes symbolic, setting for scenes of romance and play. Park and garden tapestries continued to enjoy popularity throughout the sixteenth and seventeenth centuries, particularly for the decoration of more intimate chambers, where they provided a pleasant contrast with the grander subject matter of tapestries used in more formal settings. The theme enjoyed new popularity with the advent of the Rococo style during the eighteenth century, and a number of highly decorative landscape and garden series were produced in French and Netherlandish workshops during the second third of the eighteenth century. Among the most notable was the series of romantic pastorals that Boucher designed for the Beauvais workshops between 1734 and 1736 (64.165.1–.8). Known as the Fetes Italiennes, and loosely inspired by the idyllic park scenes of Antoine Watteau, this series depicted handsome gentlefolk and peasants in idealized exterior settings. In this case, a pretty young woman, a child, and a gardener rest in the shade of an overgrown terrace, beneath statues of Apollo and Hercules.
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