自隋唐以來(lái),，隨著造船和航海技術(shù)日臻進(jìn)步成熟，海上交通航線開(kāi)辟,，大量的中國(guó)絲綢、茶葉,、瓷器等商品,，從揚(yáng)州、明州（今寧波）,、廣州等港口出發(fā),，行銷東亞、東南亞和中東地區(qū),，并由此轉(zhuǎn)運(yùn)擴(kuò)散到地中海沿岸,。自宋代開(kāi)始，瓷器漸漸成為外銷的主要貨物,。明代中后期,，歐洲各國(guó)的海上風(fēng)帆開(kāi)始將數(shù)以億計(jì)的中國(guó)瓷器運(yùn)向西方。

Since the Sui and Tang Dynasties, with the progress of shipbuilding and navigation technology, Chinese silk, tea, porcelain and other commodities were carried down the new sea routes in mass quantities to East Asia, Southeast Asia and the Middle East from ports such as Yangzhou, Mingzhou( now Ningbo in Zhejiang province) and Guangzhou. From there they were transported to the Mediterranean coast. Since the Song Dynasty, porcelain gradually became the major commodity for export. In the middle and late Ming Dynasty, hundreds of millions of Chinese porcelain products were transported to the West by fleet of European merchant ships.

明萬(wàn)歷三十五年（1607）以前,，景德鎮(zhèn)瓷業(yè)生產(chǎn)一直是官窯占據(jù)統(tǒng)治地位,；此后，因?yàn)閷?duì)歐洲市場(chǎng)出口的劇增和國(guó)內(nèi)市場(chǎng)的擴(kuò)大,，民窯逐漸成為景德鎮(zhèn)陶瓷的主業(yè),。“克拉克瓷”是最早的成規(guī)模的外銷瓷種類,，隨著中國(guó)瓷器與外銷地文化的碰撞和交流,，來(lái)樣加工訂制的瓷器在后來(lái)的外銷瓷器中占有主導(dǎo)地位。資源豐富,、朝廷青睞加上海外貿(mào)易,，使景德鎮(zhèn)逐步發(fā)展成為天下瓷都。

Before the 30th year of the Wanli reign, Ming Dynasty (1607), the production of Jingdezhen porcelain was mainly carried out in imperial kilns. Thereafter, as the demand soared in the European market and the domestic market expanded, folk kilns rose to become the major producers of Jingdezhen porcelain. Kraak ware was among the first Chinese export ware to arrive in Europe in mass quantities. With the collision and exchanges between Chinese porcelain culture and local culture of the import countries, specially ordered porcelain with supplied samples gradually accounted for a great part in the later export porcelain. Such advantages as abundant resources, government support and booming overseas trade enabled Jingdezhen to develop into the world's porcelain capital.

青花纏枝花紋梅瓶,，江西省博物館藏

明 （1368-1644）

高31.7厘米,，口徑5.5厘米， 底徑12.2厘米

Blue-and-white Plum Vase with Interlocking branches and flowers design, Jiangxi Provincial Museum, China

Ming Dynasty (1368-1644)

Height 31.7cm, mouth diameter 5.5cm, bottom diameter12.2cm

青花芙蓉手花盆紋盤,，大阪市立東洋陶瓷美術(shù)館藏

1660—1670年代 日本有田窯

高8.3厘米,，直徑39.5厘米

Blue-and-white Porcelain Plate, Kraak style（Fuyode） with design of flower, The Museum of Oriental Creamics, Osaka

1660—1670 , produced in Arita kiln, Japan

Height 8.3cm, Diameter 39.5cm

五彩人物紋大盤，江西省博物館藏

清康熙（1662—1722）

高5.2厘米,，口徑35.3厘米,，底徑19.5厘米

Multi-colored Painted Plate with Figures Design, Jiangxi Provincial Museum, China

Kangxi reign, Qing Dynasty (1662—1722)

Height 5.2cm, mouth diameter 35.3cm, bottom diameter 19.5cm

青花山水樓閣圖葫蘆形浴盆,，廣州博物館藏

清乾隆（1736—1795）

高14.6厘米,，長(zhǎng)61.5厘米,，寬39厘米

Blue-and-white Gourd-shaped Bathtub with Landscape and Pavilion Design, Guangzhou Museum, China

Qianlong reign, Qing Dynasty (1736—1795)

Height 14.6cm, length 61.5cm, width 39cm

此浴盆用于歐洲新生兒接受洗禮。

This tub is used to baptize European newborns.

五彩婦人紋剃須盤,，大阪市立東洋陶瓷美術(shù)館藏

1720—1740年代  

高8.7厘米,，寬27.2厘米

Multi-colored Dish Depicting a Woman, The Museum of Oriental Creamics, Osaka

1720—1740

Height 8.7cm, width 27.2cm

五彩婦人紋六棱大罐，大阪東洋陶瓷美術(shù)館藏

1700—1730年代  

高78.5厘米,，直徑39.4厘米

Large Hexagonal Jar with design of ladies in overglaze polychrome enamels, The Museum of Oriental Creamics, Osaka

1700—1730

Height 78.5cm, diameter 39.4cm

咖啡壺和啤酒杯,，黑提恩斯—德國(guó)陶瓷博物館藏

1720—1725年

咖啡壺：高18厘米，

啤酒杯：高14.8厘米,，直徑10.2厘米 

Coffee Pot and Beer Mug, Hetjens—German Museum of Ceramics, Düsseldorf

1720—1725

Coffee pot: Height 18cm,，

Mug: height 14.8cm , diameter10.2cm

雪球花茶壺，梅森瓷器博物館藏

1750年

高24厘米,，長(zhǎng)30厘米,，寬29厘米

Snowball Blossoms Teapot, Meissen Porzellan-Museum, Germany

1750

Height 24cm, length 30cm, width 29cm 

猴子樂(lè)團(tuán)，梅森瓷器博物館

指揮：高17厘米,，長(zhǎng)12厘米,，寬7厘米

其他：高15厘米，長(zhǎng)7厘米,，寬 6厘米

樂(lè)譜架：高9厘米,，長(zhǎng)2.5厘米，2.5厘米

指揮：1934年

其他：1978—1979年

樂(lè)譜架：1924年

Monkey orchestra, Meissen Porzellan-Museum

Conductor: height17cm,，length12 cm,，width7cm

Other: height 15 cm，length 7cm,，width 6cm

Music stand: height 9 cm,，length 2.5 cm，width 2.5cm

Conductor: 1934

Other: 1978—1979

Music stand: 1924

傳奇塑像大師約翰·約阿希姆·坎德勒于1753年創(chuàng)作了一個(gè)由21個(gè)猴子音樂(lè)家組成的滑稽管弦樂(lè)隊(duì)草圖,，這些扮成人樣的精巧雕像是用來(lái)裝飾宴會(huì)桌的作品,。他的猴子管弦樂(lè)隊(duì)一直是18世紀(jì)中期的工廠制造的眾多完美雕像中最受歡迎的產(chǎn)品?？驳吕绽眠@些小猴子,，以幽默手法諷刺了當(dāng)時(shí)的宮廷社會(huì)。

Legendary master modeller Johann Joachim Kaendler (1706—1775) drafting in 1753 a zany orchestra of 21 monkey musicians dressed up as human beings - whimsical, minutely detailed figures wit which to decorate the banqueting table. His Monkey Orchestra has always remained the most loved of all the numerous consummate figure groups produced at the factory in the mid-18th century. Kaendler ironically and humorously holds a mirror up to courtly society with his little monkeys.

梅森塑像筆架套件,，黑提恩斯—德國(guó)陶瓷博物館藏

1750年 

高41厘米,，長(zhǎng)37厘米，寬 45厘米

Chinese Inspired Figurines from Meissen in a Writing Kit that was Put Together in Paris, Hetjens—German Museum of Ceramics, Düsseldorf

1750

Height 41cm , length 37cm, width 45cm,

梅森的塑像在法國(guó)非常受歡迎,。法國(guó)人為這些塑像安裝了鍍金青銅底座,，以便作為筆架使用,。它的中央是一對(duì)“中國(guó)風(fēng)”裝飾的夫婦。女子原手持一把高過(guò)男子頭頂?shù)膫?，男子手拿一卷中?guó)典籍,。周圍飾以田園鮮花和兩只羊羔，還有一只哈巴狗,。

Meissen figures were much appreciated in France. There they were mounted with gilded bronze in order to serve as a writing set. At the center, we find a Chinese inspired couple. A female figure is supposed to hold an umbrella over the head of a dignitary. In his hand, there is a book with Chinese characters. These human figures are surrounded by the flower-tendrils of an idyllic landscape, which also includes two lambs and a pug.

俄國(guó)芭蕾舞人物雕塑,，梅森瓷器博物館藏

男子像：1914年

女子像：1913年

男子像：高18 厘米，長(zhǎng)19厘米,，寬10厘米

女子像：高 29厘米,，長(zhǎng)17厘米，寬12厘米

Russian Ballet Figure Statue, Meissen Porzellan-Museum, Germany

Gentleman: 1914

Lady:1913

Gentleman: height 18cm, length 19cm, width 10cm

Lady: height 29cm , length 17cm, width12cm 

雕塑形象源于《嘉年華》中的“俄羅斯芭蕾舞”人物,，這是一部基于羅伯特·舒曼（1810—1856）的同名鋼琴曲創(chuàng)作的芭蕾舞劇。1910年至1912年,，謝爾蓋·迪亞吉列夫芭蕾舞團(tuán)經(jīng)常在柏林演出,。保羅·斯庫(kù)里奇（1883—1945）對(duì)這種新式芭蕾舞風(fēng)格十分著迷，并設(shè)計(jì)了此類芭蕾舞瓷人像作品,。

The “Russian Ballet” figures represent characters from Carnival, a ballet based on a cycle for piano of the same name by Robert Schumann (1810—1856). The Sergei Diaghilev ballet company performed it frequently in Berlin in both 1910 and 1912. Paul Scheurich (1883—1945) was fascinated by the new ballet style. He repeatedly alluded to the new art in his work. The influence of dancing can be felt in the way he implemented other designs, too.

神話雕塑,，梅森瓷器博物館藏

1926年

高88厘米，長(zhǎng)68.5厘米,，寬63厘米 

Mythology Sculpture, Meissen Porzellan-Museum, Germany

1926

Height 88cm , length 68.5cm, width 63cm 

雕塑取材于希臘神話中大力神赫拉克勒斯的形象,，作者奧維德是一位精通古代神話的大師。這種雕塑一般放置于餐桌中央作為裝飾品,。

The sculpture is based on the image of Herakles, the Hercules in Greek mythology. Ovid, author of this sculpture, is a master of ancient myths. Usually, such sculptures are placed in the middle of a dining-table as decorations.

藍(lán)地白花貼塑小天使紋盒,，上海市歷史博物館藏

19世紀(jì)  英國(guó)韋奇伍德碧玉炻器

高3.5厘米，長(zhǎng)9.5,，寬7.5厘米 

Blue Ground Box with White Cherub Reliefs, Shanghai History Museum, China

19th century, Wedgwood blue Jasperware

Height 3.5cm , length 9.5cm, width 7.5cm, 

韋奇伍德制作的無(wú)釉,、質(zhì)地細(xì)膩而堅(jiān)硬的陶瓷，開(kāi)始以綠色為主,，被稱為“碧玉細(xì)炻器”,。蓋盅和天使盒上白色的小巧精致的浮雕裝飾與藍(lán)色的器物背景相互襯托，十分高雅,，洋溢著濃重的古典主義風(fēng)格,。

Unglazed, fine and hard-paste porcelain made by Wedgwood, known as 'Jasper ware'. Early Jasperware was mainly coloured by green. The small and delicate relief decoration on the cup and box is set against the blue objects, demonstrating a highly elegant and classical style.

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