外国人眼中的“中国白”|考古眼光中的“中国白” (五)——何翠媚

小陶陶 2021-11-02 09:37:47   1233
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文章摘要:考古眼光中的“中国白” (五)——何翠媚(翻译:孙延燕)

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由柯玫瑰(Rose Kerr)、约翰•盖尔(John Ayers)所著《中国白——德化白瓷》(Blanc de Chine—porcelain from Dehua)于2002年经新加坡亚洲文明博物馆出版,是继唐纳利《中国白——福建德化瓷》之后的一本专门研究德化白瓷的专著,影响甚为深远。

该书收录的都为国外研究德化白瓷的知名学者所撰写德化白瓷研究资料。包括柯玫瑰的“德化器物款识介绍”,海蒂(Heidi Tan)的“鉴赏家探访”,约翰•盖尔的“中国白的影响”,何翠媚(Chuimei Ho)的“考古眼光中的中国白”,郭勒逊(Kenson Kwok)的“德化雕塑结构的一点看法”, 埃娃•施特勒伯(Eva Strober)的“德累斯顿的斯特朗大帝收藏的德化瓷”,以及附录介绍等七个部分,从不同角度介绍了德化白瓷。与此同时,该书收录的160件德化窑精品,为Hickley家藏,后捐赠给新加坡亚洲文明博物馆,是了解、品鉴、研究德化白瓷不可多得的艺术精品。

本栏目将定期精选出相关代表性文章进行翻译,以飨读者。然而,由于作者水平的局限,翻译过程中难免有所错漏,不足之处敬请各位读者提出宝贵意见。

Blanc de Chine in archaeological perspective: a tribute to Donnelly by Chuimei Ho

考古眼光中的“中国白” (五)——何翠媚

(翻译:孙延燕)

Not only were there many blanc de Chine pieces on board the Vung Tau wreck, but the many identical pieces also suggest- a regular assemblage of merchandise for a stable market. The Islamic motifs on some of the blue-and-white wares suggest that part of the Vung Tau cargo was probably intended for Muslim clientele. Unlike the Hatcher cargo, the Vung Tau wre carried articles which appear to have been for a larger group of customers

不仅“头顿”号沉船上有许多中国白瓷器,而且许多同样的瓷器也表明,为了获得稳定的市场,商品组装通常是固定的。一些青花瓷器上的伊斯兰图案表明,头顿货物的一部分可能是为穆斯林客户设计的。与哈彻号货船不同的是,头顿沉船装的物品似乎是有了更多的客户群。

The southeast Asia Market for blanc de Chine ware continued to thrive in the early nineteenth century and later. The Tek Sing that went down in 1822 near Java carried a small portion of blanc de Chine ware among the many blue-and-white pieces from Dehua and Jingdezhen. The blanc de Chine inventory of the Tek Sing cargo is very different from those of the seventeenth century. There were fewer fancy items like lions, tripods, wine cups, or immortal figurines. Instead the majority are utilitarian wares. The sales catalogue shows a square vase, many identical figurines of small boys with dashes of blue pigment, round boxes, lidded bowls, with moulded designs, bowls, and spoons that are likely to be white ware made in Dehua.

东南亚的白瓷市场在十九世纪初及之后继续繁荣。1822年在爪哇附近沉没的泰兴号,在德化和景德镇的许多青花瓷器中,夹杂了一小部分中国白瓷。泰兴号沉船的中国白瓷器与十七世纪的有很大不同。像狮子、三脚架、酒杯或神仙雕像这样的花哨物品很少,取而代之的是大多数实用性商品。销售目录显示了一个方形花瓶,许多带有少许蓝色颜料的相同的小男孩雕像、圆盒子、有模制图案的盖碗、碗和勺子,这些都可能是德化制造的白色器皿。

Even though the original consumers of blanc de Chine items in Southeast Asian collections cannot always be identified, the presence of the ware in places like Jakarta must to some extent reflect the presence of a regional market. The current evidence argues that before the rise of the European market for blanc de Chine in the early eighteenth century, Southeast Asia was the major export market for the ware in the second half of the seventeenth century That Asian market was mature enough to commission particular designs. We will no doubt learn a lot more about differences in regional/ethnic markets for ancient blanc de Chine ware as more archaeological evidence becomes available

尽管东南亚收藏品中中国白瓷器的原始消费者无法确定,但在雅加达等地,这些瓷器的存在在一定程度上反映区域市场的存在。目前的证据表明,在18世纪早期欧洲中国白瓷器市场兴起之前,东南亚是17世纪后半叶中国白瓷器的主要出口市场。亚洲市场已经足够成熟,可以委托特定的设计。毫无疑问,随着更多的考古证据的出现,我们将更多地了解中国古代中国白在地区/民族市场上的差异。

Blanc de Chine would have remained an obscure field in the study of historical ceramics had it not been for Donnelly who set the foundation for Western scholars, and Xu Benzhang who spent his whole career salvaging and documenting kiln evidence. Although these two scholars never met, the Hickley collection and this catalogue have brought their spirits together.

如果不是唐纳利为西方学者定了基础,徐本章对窑址资料的抢救和记录倾注了毕生的汗水,中国白陶瓷历史学研究将一直是一个模糊的领域。尽管这两位学者从未谋面,但希克利收藏和这本目录使他们的精神相聚。

Chuimei Ho is an independent scholar who is interested in ceramic archaeology in Asia何翠梅是一位对亚洲陶瓷考古学感兴趣的独立学者。

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