{"title":"制造魔法:路易十四时期巴黎的安托万-贝努瓦(Antoine Benoist)蜡像廷臣","authors":"David Mark Mitchell","doi":"10.3828/sj.2023.32.4.08","DOIUrl":null,"url":null,"abstract":"\n Antoine Benoist’s\n Cercle royal\n was an exhibition of life-size wax figures on display in Louis XIV’s Paris. In the absence of extant objects from the exhibition itself, this article focuses on the corpus of sources that attest to its reception. It concentrates on the\n Cercle royal’s\n initial recognition, beginning in the 1660s, when the exhibition centred on French royalty’s courtly entourage. Alternately celebrated as vivid miracles or derided as deceitful trivialities, Benoist’s wax figures provide an informatively problematic case for considering questions of sculptural craft and the decorum of its display in this era. In tracing the discord of wax portraiture’s reception, this article demonstrates that vexed questions of artisanal stature were embedded within aesthetic debates about illusionistic verisimilitude.\n","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris\",\"authors\":\"David Mark Mitchell\",\"doi\":\"10.3828/sj.2023.32.4.08\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Antoine Benoist’s\\n Cercle royal\\n was an exhibition of life-size wax figures on display in Louis XIV’s Paris. In the absence of extant objects from the exhibition itself, this article focuses on the corpus of sources that attest to its reception. It concentrates on the\\n Cercle royal’s\\n initial recognition, beginning in the 1660s, when the exhibition centred on French royalty’s courtly entourage. Alternately celebrated as vivid miracles or derided as deceitful trivialities, Benoist’s wax figures provide an informatively problematic case for considering questions of sculptural craft and the decorum of its display in this era. In tracing the discord of wax portraiture’s reception, this article demonstrates that vexed questions of artisanal stature were embedded within aesthetic debates about illusionistic verisimilitude.\\n\",\"PeriodicalId\":21666,\"journal\":{\"name\":\"Sculpture Journal\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Sculpture Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3828/sj.2023.32.4.08\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Sculpture Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3828/sj.2023.32.4.08","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris
Antoine Benoist’s
Cercle royal
was an exhibition of life-size wax figures on display in Louis XIV’s Paris. In the absence of extant objects from the exhibition itself, this article focuses on the corpus of sources that attest to its reception. It concentrates on the
Cercle royal’s
initial recognition, beginning in the 1660s, when the exhibition centred on French royalty’s courtly entourage. Alternately celebrated as vivid miracles or derided as deceitful trivialities, Benoist’s wax figures provide an informatively problematic case for considering questions of sculptural craft and the decorum of its display in this era. In tracing the discord of wax portraiture’s reception, this article demonstrates that vexed questions of artisanal stature were embedded within aesthetic debates about illusionistic verisimilitude.