粉彩開(kāi)光花卉紋盤(pán),，江西省博物館藏

清（1644—1911）

高3.7厘米，口徑28.5厘米,，足徑15.3厘米

Famille Rose Painted Dish with Floral in Panels , Jiangxi Provincial Museum, China

Qing Dynasty (1644—1911)

Height 3.7cm, mouth diameter 28.5cm, foot diameter 15.3cm

青花花卉紋雙耳四足湯盆,，江西省博物館藏

清康熙（1662—1722）

高16.8厘米，口徑33厘米

Blue-and-white Tureen with Floral Design, Jiangxi Provincial Museum, China

Kangxi reign, Qing Dynasty (1662—1722)

Height 16.8cm, mouth diameter 33cm

湯盆口沿兩端飾彎曲觸角形耳,，四足飾折枝花卉紋,。此湯盆是為適應(yīng)西方人的飲食習(xí)慣而制的器皿。

The two handles at both ends of the mouth shapes like curved horns. The four feet are decorated with flower sprays. This tureen is designed to cater to the western eating habits.

青花花卉紋把杯,，江西省博物館藏

清（1644—1911）

高14.6厘米,，口徑8.8厘米，足徑8.2厘米

Blue-and-white Mug with Flower pattern, Jiangxi Provincial Museum, China

Qing Dynasty (1644—1911)

Height 14.6cm, mouth diameter 8.8cm, foot diameter 8.2cm

外口沿飾錦地開(kāi)光花卉紋,，腹部壓印數(shù)道弦紋,，中間繪折枝牡丹紋和蓮紋，脛部飾套勾花卉紋,，把手上繪三朵云紋,。牡丹內(nèi)心花瓣分向兩邊，是典型的康熙風(fēng)格雙犄牡丹,。扁平的大把手與西方的馬克杯相似,。

The outer rim is decorated with brocade-pattern paneled flower design. The abdomen is embossed with a number of bow string patterns. In the middle is the painting of peony and lotus. The shin part is decorated with a floral pattern, and three cloud patterns are painted on the handle. The inner petals of the peony radiate to two directions, which are typical Kangxi style two-horned peony. The flat handle resembles the Western mug.

青花花卉紋八角盤(pán),，江西省博物館藏

清（1644—1911）

高2厘米，口徑22.5厘米,，底徑12厘米

Blue-and-white Octagonal Dish with Floral Design, Jiangxi Provincial Museum, China

Qing Dynasty (1644—1911)

Height 2cm, mouth diameter 22.5cm, bottom diameter 12cm

八角形及其衍生的紋飾是阿拉伯裝飾藝術(shù)中應(yīng)用最為廣泛的造型,，它所蘊(yùn)涵的宇宙觀念，如同中國(guó)的八卦含義,。此盤(pán)利用東西方對(duì)宇宙理解的共通,，來(lái)滿足國(guó)外對(duì)中國(guó)瓷器的文化需求。

The octagonal shape and its derived ornamentation are the most widely used shapes in the Arab decorative arts. The concept of the universe contained in it is similar to the meaning of the Eight Diagrams of ancient China. This dish, by utilizing the common understanding of the universe between the east and west, meets the cultural needs of Chinese porcelain in foreign countries.

廣彩徽章雙耳冰酒桶,，廣州博物館藏

清乾?。?736—1795）

高19.4厘米，口徑19.7厘米,，足徑13.3厘米

Canton Enamel Ice Bucket with Two Handles and a Coat of Arms, Guangzhou Museum, China

Qianlong reign, Qing Dynasty (1736—1795)

Height 19.4cm, mouth diameter 19.7cm, foot diameter 13.3cm

藍(lán)彩描金瑞典旗紋飾,，瑞典“af Wirsén”家族訂購(gòu)，用于冰鎮(zhèn)各種酒水,。

The blue Swedish flag pattern with gilt borders was specially ordered by the Swedish “af Wirsén” family and the container was used to chill all kinds of drink. 

廣彩徽章折枝花卉紋咖啡壺,，廣州博物館藏

清乾隆（1736—1795） 

Canton Enamel Coffee Pot with of Flowers Sprays and a Coat of Arms, Guangzhou Museum, China

Qianlong reign, Qing Dynasty (1736—1795) 

Total height 17.5cm, mouth diameter 6.1cm, foot diameter 9.2cm

歐洲造型,，咖啡壺造型特別,，把和壺口成直角，與中國(guó)傳統(tǒng)的茶壺設(shè)計(jì)截然不同,。

The design of this European-style coffee pot is totally different from the traditional Chinese teapot. The handle is at right angles to the spout.

青花人物紋葫蘆瓶,，大阪市立東洋陶瓷美術(shù)館藏    

1650—1670

高40.8厘米,，底徑20.8厘米

Blue-and-white Gourd-shaped Vase with Figures, The Museum of Oriental Creamics, Osaka    

1650—1670

Height 40.8cm, bottom diameter 20.8cm

這種瓶被稱為“葫蘆瓶”,，是中國(guó)古代陶瓷的傳統(tǒng)造型,，因其諧音“福祿”,，在東亞較為流行。元代開(kāi)始,，景德鎮(zhèn)窯和龍泉窯生產(chǎn)的葫蘆瓶為中東地區(qū)人們所接受。歐洲早期不見(jiàn)葫蘆形的器物,，隨著瓷器貿(mào)易的開(kāi)展，漸為西方人所重視和喜愛(ài),。

This gourd-shaped vase, a traditional design of ancient Chinese porcelain, is called 'hulu' vase in China. It is popular in East Asia because 'hulu' is a homophone for 'fulu' (meaning happiness). Beginning in the Yuan Dynasty, the gourd-shaped vases produced in Jingdezhen Kiln and Longquan Kiln were well accepted by the Middle East. Gourd-shaped porcelain was not found in the early European ware. With the development of porcelain trade, this type of porcelain gradually won the favor of Westerners.

油畫(huà)《諸神之宴》,，華盛頓·美國(guó)國(guó)家美術(shù)館藏

The Feast of the Gods, oil painting, National Gallery of Art, Washington D.C.

意大利畫(huà)家喬凡尼·貝里尼1514年創(chuàng)作,，畫(huà)中眾神手上的青花瓷盤(pán),，體現(xiàn)了當(dāng)時(shí)中國(guó)瓷在歐洲主流社會(huì)中的地位。從形體,、風(fēng)格,、花紋，這三只瓷缽為明朝宣德成化年間之物,。

The Feast of the Gods is an oil painting created by the Italian Renaissance master Giovanni Bellini in 1514. The blue-and-white plates in the hands of the gods reflect the status of Chinese porcelain in the mainstream society of Europe at that time. In terms of shape, style and patterns, these three porcelain enamels were made in the Xuande and Chenghua periods of the Ming Dynasty.

 “中國(guó)皇帝”系列壁毯

“Chinese Emperor” Series Tapestry

 “中國(guó)皇帝”壁毯是巴黎Beauvais Tapestry（博韋掛毯場(chǎng)）的產(chǎn)品,，法國(guó)人Guy-Louis Vernansal 約設(shè)計(jì)于1690年,，織成于1697—1705年,。這一作品,以“中國(guó)皇帝”為題材，表現(xiàn)了歐洲人想象中的中國(guó)皇帝的生活場(chǎng)景和對(duì)東方異域風(fēng)情的追求。

The “Chinese Emperor” series tapestry is a product of the Beauvais Tapestry in Paris. It was designed by French painter Guy-Louis Vernansal in 1690 and woven between 1697 and 1705. This work, with the theme of “Chinese Emperor”, shows the European imagination of the Chinese emperor’s life and their longing for Oriental culture.

五彩花鳥(niǎo)紋廣口大瓶，大阪東洋陶瓷美術(shù)館藏 

1720—1740年代  

高61.4厘米，直徑28.0厘米  

Large Trumpet-mouthed Vase with flower-and-bird design in overglaze polychrome enamels, The Museum of Oriental Creamics, Osaka  

1720—1740

Height 61.4cm, diameter 28cm  

喇叭口狀的大型廣口瓶,，在歐洲也被稱為“Rollwagon”,，是出口伊萬(wàn)里瓷器的代表性器種之一。體部以鳳凰、鷹,、鶴等吉祥物為主題，牡丹、菊花,、桐花等花朵爭(zhēng)芳斗艷，并大量使用金彩繪制成華麗圖案?？诰墐?nèi)有櫻花、石榴、桃花的折枝紋。在歐洲的宮殿,，這樣的廣口瓶多與被稱作“沉香壺”的大壺一起左右對(duì)稱組合,，裝飾室內(nèi),。

This large jar that widens into a trumpet-like mouth is also called 'Rollwagon' in Europe. It is one of the representative type of Imari Porcelian which was exported. In the body, is the depiction of motifs of good luck such as a chinese phoenix, falcon and crane in the midst of flowers like peony, chrysanthemum and paulownia in full bloom. This depiction is drawn brightly using abundant gold color. The inner side of the rim has branches of cherry blossom, pomegranate and peach. These wide-mouthed jars decorated the rooms in the European palace and were arranged by combining several points in a symmetrical manner along with a large jar called 'Agalloch jar' of similar design.

青花茶杯和茶托，黑提恩斯—德國(guó)陶瓷博物館藏

清康熙（1662—1722）

碟：高1.6厘米,，直徑10.1厘米

杯：高3.6厘米,，直徑5.9厘米

Blue-and-white Teacup and Saucer, Hetjens-German Museum of Ceramics, Düsseldorf

Kangxi reign, Qing Dynasty (1662-1722)

Saucer: height 1.6cm,  diameter 10.1cm

Cup: height 3.6cm , diameter 5.9cm,

原屬“強(qiáng)力王”奧古斯都二世在德累斯頓的藏品。小茶杯和茶托繪制的是嬉鬧取樂(lè)的女子,，該主題來(lái)源于明代畫(huà)家仇英（1494-1552）創(chuàng)作的《漢宮春曉圖》,。

The small teacup and its saucer was collected by “The Strong”-— Augustus II. It depicts amused ladies, probably from the theme ‘Spring Morning in the Han Palace’ (Han gong chunxiao) created by Ming dynasty artist Qiu Ying (1494—1552) and still popular during Qing dynasty.

德化杯，黑提恩斯—德國(guó)陶瓷博物館藏

清（1644—1911）

高4.5厘米,，直徑6.5厘米

Blanc de Chine libation cup, Hetjens—German Museum of Ceramics, Düsseldorf

Qing Dynasty (1644—1911) 

Height 4.5 cm, diameter 6.5 cm

采用犀牛角狀杯托的德化白瓷酒杯,。兩邊裝飾著凸出的梅花,。

Plain white cup of Dehua porcelain was placed on a cup holder which shape looks like rhinoceros horn. The both sides of cup was decorated with moulded plum blossom

意大利美第奇軟瓷罐  意大利那不勒斯馬提納公爵博物館藏

Medici Soft-paste Porcelain Jug, Duke of Martina's Museum, Naples, Italy

意大利美第奇“瓷器”在1575年燒制成功。它的材料與景德鎮(zhèn)瓷器完全不同,，成品易碎,，不易保存，其實(shí)還是一種外表為白釉的陶器,。雖然釉色不勻,，表面伴有氣泡，但在歐洲制瓷史上已進(jìn)步巨大,。

The Medici “porcelain” of Italy was successfully manufactured in 1575. The materials it used was completely different from Jingdezhen porcelain. The finished porcelain was rather fragile and difficult to preserve. It was actually a pottery with a white glaze. Although the glaze was uneven and had air bubbles on the surface, it marked a great progress in the history of European porcelain making.

中國(guó)人物陶塑,，黑提恩斯—德國(guó)陶瓷博物館藏

1810年代

柏林生產(chǎn) 

高36厘米，寬12厘米

Pottery Sculpture of Chinese Figure, Hetjens—German Museum of Ceramics, Düsseldorf   

1810, produced in Berlin, Germany 

Height 36cm, width 12cm

這座男性人物雕像戴藍(lán)色的頭飾,，身著中國(guó)寬松的長(zhǎng)袍,，長(zhǎng)袍上裝飾著許多花卉。他的裝束打扮和姿態(tài)可能受到了雕刻師皮埃爾·吉薩特（Pierre Gissart）在1697年創(chuàng)作的水彩畫(huà)的影響,。該畫(huà)描繪了一位中國(guó)皇帝,。

A male figure is wearing a blue headgear and a loose robe, which is decorated with numerous flowers. Costume, headgear, and posture are probably influenced by a watercolor painting created in 1697 by the engraver Pierre Gissart. It depicts the emperor of China. 

梅森米酒瓶，黑提恩斯—德國(guó)陶瓷博物館藏

約1715—1720年 

高22厘米,，最寬9厘米

Meissen Sake Bottle, Hetjens—German Museum of Ceramics, Düsseldorf

Circa

About 1715—1720

Height 22cm, max width 9cm

梅森瓷器早期出產(chǎn)的米酒瓶外形受到了日本瓷器樣式的影響,。這種樣式的瓷器在“強(qiáng)力王”奧古斯都的瓷器藏品中極為常見(jiàn)。瓷器上呈現(xiàn)的花卉和獸首圖案卻采用了歐洲貴金屬器具上的凸紋飾技術(shù),。這個(gè)瓷瓶是真正由歐洲工廠生產(chǎn)的瓷器,。最早的梅森瓷是高嶺土和雪花石膏混合燒制而成的，從而取代了中國(guó)瓷,。后來(lái)他們改良了配方,，生產(chǎn)出更白的瓷器，和景德鎮(zhèn)瓷十分相似,。

The shape of the sake bottle was inspired by Japanese vessels during the first years of the Meissen porcelain production. Very conveniently, such models could easily be observed in the royal porcelain collection of August II the Strong. The flowers and mascarons that are applied to the vessel, however, use the embossing technique which usually works on precious metal in Europe. This porcelain vase is real porcelain that is produced in European factories. The earliest Meissen porcelain was a mixture of kaolin and alabaster, which replaced the chinastone. Later they improved the recipe and produced whiter porcelain, which was very similar to Jingdezhen porcelain.

1700年前后中國(guó)產(chǎn)的燭臺(tái)（左）和1727年梅森的仿制品（右）,，德國(guó)德累斯頓國(guó)家藝術(shù)收藏館藏

右側(cè)為梅森燭臺(tái)，其紋樣裝飾來(lái)源于J.E.希塔特勒的繪畫(huà),。

China-made candlestick circa 1700 (left) and Meissen-made imitation in 1727 (right), Staatliche Kunstsammlungen Dresden, Germany

On the right is the Meissen-made imitation decorated with patterns inspired by the paintings of Johann Ehrenfried Stadler.

青花盤(pán),，梅森瓷器博物館藏

1775年

高4.5厘米，直徑30厘米

Blue-and-white Plate, Meissen Porzellan-Museum, Germany

1775

Height 4.5cm,  diameter 30cm, 

此盤(pán)根據(jù)1740年的模具而制作,。德國(guó)人根據(jù)“強(qiáng)力王”奧古斯都二世的嚴(yán)格要求,，于1720年左右生產(chǎn)出第一個(gè)青花瓷器?！暗聡?guó)青花繪畫(huà)”充分展現(xiàn)了德國(guó)畫(huà)師精湛的青花繪畫(huà)技術(shù),。這種瓷器要第二遍燒制之后，才能看到透過(guò)釉下彩呈現(xiàn)的青花圖案,。

This plate is based on a mold from 1740.The first underglaze cobalt blue to meet the exacting demands of Augustus II the Strong was developed in around 1720. The art of painting in underglaze cobalt blue was executed with great mastery in “blue German flower painting”. It is not until the piece has been fired a second time that the cobalt blue shines through the glaze.

青花商標(biāo)紋大盤(pán),，上海市歷史博物館藏

20世紀(jì)  

德國(guó)梅森

直徑26厘米

Blue-and-white Plate with Trademark Design, Shanghai History Museum, China

20th century  

Meissen, Germany

Diameter 26cm

梅森瓷器通常以兩把藍(lán)劍交叉作為特征,，不同時(shí)期所用標(biāo)記有所變化，這個(gè)大盤(pán)上就是不同時(shí)期梅森的商標(biāo),。

The most commonly-used mark of Meissen porcelain is two blue crossed swords. A wide variety of forms and sizes of the sword marks seem to have been applied at different times. This large plate is decorated with the marks of Meissen in different periods.

藍(lán)洋蔥雙人用咖啡用具,，黑提恩斯—德國(guó)陶瓷博物館藏

19世紀(jì)

咖啡壺： 高20厘米，直徑 (最大) 16.2厘米;

奶壺:高9.4厘米,，直徑 (最大)  9.5厘米;

糖缸: 高8.7厘米,，直徑8.5 厘米;

咖啡杯：高6.3厘米，直徑8.2 厘米;

杯托：高3.4厘米,，直徑13.8厘米;

托盤(pán): 長(zhǎng) 43.7厘米,，寬31.5 厘米

Onion Pattern Coffee set for Two, Hetjens—German Museum of Ceramics, Düsseldorf

19th century

Coffee pot: height 20cm, diameter (max) 16.2cm;

Milk pot: height 9.4cm, diameter (max) 9.5cm;

Sugar pot: height 8.7cm, diameter 8.5cm;

Coffee cup: height 6.3cm, diameter 8.2cm;

Saucer: height 3.4cm, diameter 13.8cm;

Tray: length 43.7cm, width 31.5cm

這是一套雙人咖啡用具，它裝飾著藍(lán)洋蔥圖案,。這種圖案從大約1730年至今均有生產(chǎn),，變化不大。特別是在19世紀(jì),，這種圖案裝飾的瓷器面世時(shí)極受歡迎,。藍(lán)洋蔥最初的靈感來(lái)源是中國(guó)瓷器上的桃子和石榴圖案風(fēng)格。

This porcelain ensemble is specially made for the shared coffee pleasure of two people. It is decorated with the so-called onion pattern. This decoration has been produced from about 1730 to today with very little variation. Especially in the 19th Century, when these porcelain vessels were made, it enjoyed great popularity. It is hard to believe that this decoration, which is so common in Germany, was originally based on Chinese inspirations. The onions derive from the attempt to imitate the peaches and pomegranates of the Chinese models using more familiar imagery.

彩繪人物塑像,，上海市歷史博物館藏

19世紀(jì) 德國(guó)德累斯頓

高25厘米

Painted Figure Statue, Shanghai History Museum, China

19th century ,Dresden Germany

Height 25cm

德累斯頓花邊俑的做法是將真蕾絲浸入液體瓷中,再手工貼于人物塑像上,，這樣制出的瓷器相當(dāng)精美，看上去很像軟織物,。

Dresden lace figurine is mixture porcelain which real lace was dipped in the liquid porcelain and then applied to the figures by hand. The result was a stunningly delicate appearance that was almost indistinguishable from soft fabric.

【展覽基本信息】