編者按：

由柯玫瑰(Rose Kerr)、約翰?蓋爾(John Ayers)所著《——德化白瓷》(Blanc de Chine—porcelain from Dehua)于2002年經(jīng)新加坡亞洲文明博物館出版，是繼唐納利《——福建德化瓷》之后的一本專門研究德化白瓷的專著，影響甚為深遠(yuǎn)。

該書收錄的都為國外研究德化白瓷的知名學(xué)者所撰寫德化白瓷研究資料。包括柯玫瑰的“德化器物款識(shí)介紹”，海蒂(Heidi Tan)的“鑒賞家探訪”，約翰?蓋爾的“的影響”，何翠媚(Chuimei Ho)的“考古眼光中的”，郭勒遜(Kenson Kwok)的“德化雕塑結(jié)構(gòu)的一點(diǎn)看法”， 埃娃?施特勒伯(Eva Strober)的“德累斯頓的斯特朗大帝收藏的德化瓷”，以及附錄介紹等七個(gè)部分，從不同角度介紹了德化白瓷。與此同時(shí)，該書收錄的160件德化窯精品，為Hickley家藏，后捐贈(zèng)給新加坡亞洲文明博物館，是了解、品鑒、研究德化白瓷不可多得的藝術(shù)精品。

本欄目將定期精選出相關(guān)代表性文章進(jìn)行翻譯，以饗讀者。然而，由于作者水平的局限，翻譯過程中難免有所錯(cuò)漏，不足之處敬請各位讀者提出寶貴意見。

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

考古眼光中的“” (二)——何翠媚

（翻譯：德化陶瓷文化研究院 孫延燕）

Production: Workshops of Blanc-de-chine Ware

Based on survey reports, Donnelly discussed the importance of Dehua as the centre of production for blanc de Chine ware since the sixteenth century. In Dehua itself the earliest datable evidence came from a burial which contained a tablet inscribed with the date 1519 in cobalt blue. Two other early tombs have been dated to 1559 and1644 respectively. It is significant to note that blanc de Chine pieces were present in all these three tombs. The 1644 tomb had more blanc de Chine pieces than the earlier two tombs, including one bronze-shaped censer, one lion, and one human figurine. Interestingly, the designs of vases and candlesticks of these three tombs are strikingly similar, even though they are more than a century apart.

生產(chǎn)：瓷器的作坊

根據(jù)調(diào)查報(bào)告，唐納利討論了自十六世紀(jì)以來德化作為瓷器生產(chǎn)中心的重要性。德化本身最早的資料證明來自一個(gè)墓葬，在它里面發(fā)現(xiàn)了一塊刻有1519年鈷藍(lán)色日期的墓碑。另外兩座早期墓葬分別追溯到1559年和1644年。值得注意的是，這三座墓葬中都有“”瓷器。1644年的墓葬比前兩座墓葬有更多的標(biāo)本，包括一個(gè)青銅器型的香爐、一頭獅子和一個(gè)人像。有趣的是，這三座墓葬的花瓶和燭臺(tái)的設(shè)計(jì)驚人相似，盡管它們相隔一個(gè)多世紀(jì)。

In terms of our understanding of blanc de Chine production sites, not much has been advanced since Donnelly's time as no ancient blanc de Chine kiln has ever been excavated. It is unfortunate that most of the kilns in question were urban kilns-they were located within Dehua township, where archaeological sites have little chance of survival intact. Fortunately, Xu Benzhang, a dedicated local scholar who single-handedly operated the Dehua Cultural Office and later the Dehua Museum, "thoroughly surveyed the area in the 1960s and 1970s Had Xu's records not existed, the general distribution of sixteenth-to seventeenth-century blanc de Chine kilns would have remained very unclear.

就我們對的生產(chǎn)地點(diǎn)的了解而言，因沒有發(fā)現(xiàn)更多古代瓷窯址，因此，自唐納利時(shí)代以來沒有更多進(jìn)展。同樣不幸的是，大多數(shù)窯址位于德化城關(guān)，考古遺址保存完好的可能性很小。幸運(yùn)的是，徐本章，作為一位在德化文化部門工作，后建立了德化陶瓷博物館的全心全意付出的地方學(xué)者，在上世紀(jì)60、70年代，對這一地區(qū)進(jìn)行了徹底的調(diào)查。如果沒有徐本章的記錄，十六世紀(jì)到十七世紀(jì)的總體分布情況就會(huì)很不清楚。

Xu identified thirty sixteenth-to seventeenth-century blanc de Chine kiln sites. The larger sites are Lingdou, Liuche and Zulonggong in Xunzhong district, and Tongling, Jiuyao and Xinyao in Sanban district. Very little of these sites remained intact when the author visited them in the mid-1990s. Even though Lingdou has not escaped the fate of being levelled for modern houses, it is the best documented one. Today a private ceramic factory sits on top of the ancient site(Fig. 1). Fortunately a fair amount of the kiln wasters has been kept by the current landowner.

徐本章確定了30處十六世紀(jì)至十七世紀(jì)瓷器窯址。較大的包括潯中的嶺兜、六車、祖龍宮，以及三班鎮(zhèn)的桐嶺、舊窯、新窯。當(dāng)作者在1990年代中期訪問這些遺址時(shí)，幾乎沒有完整的遺址保存。盡管嶺兜并沒有逃脫被夷為平地的命運(yùn)，但它是有記錄的最好一座瓷窯。如今，一家平民陶瓷廠坐落在這個(gè)古老的遺址上（圖1）。幸運(yùn)的是，相當(dāng)數(shù)量的窯爐廢棄被目前的所有者保留了下來。

(Figure 1: View of Lingdou area from a new ceramic studio. 圖1: 從一個(gè)新的陶瓷工廠看到的嶺兜地區(qū)。)

Using Donnelly's references and the le shipwreck materials I will discuss later as dating guidelines, Lingdou was likely to have been active in the last quarter of the seventeent th century Lingdou potters made fine utensils. There are beautifully crafted wine cups including rhino-horn shaped cups, plum-blossom cups, peach-shaped wine or tea cups, cups with openwork, and jue cups for wine. In addition, there are a few figurines. flutes, stationery items such as inkstones(Fig. 2)water-droppers, and incense-stick holders (Fig 3). While most of the Lingdou items can be found in Donnelly's illustrations, a few were not documented by the scholar. However, because of the Lingdou data, researchers can now tie an assemblage of blanc de Chine vessels to one particular production site.

利用唐納利的參考資料和我稍后將要討論的沉船資料作為年代測定的準(zhǔn)則，嶺兜很可能在十七世紀(jì)的后半期活躍，嶺兜陶工制作了精美的器皿。它們是制作精美的酒杯，有犀角杯、梅花杯、桃形酒杯或茶杯、鏤空杯、爵杯等。此外，還有一些小雕像，長笛，文具如硯臺(tái)（圖2）、滴水器和香燭架（圖3）。雖然在唐納利的書中可以找到大部分的嶺兜窯物品，但也有一些沒有被這位學(xué)者記錄下來。然而，由于嶺兜的資料，研究人員現(xiàn)在可以將一組容器與一個(gè)特定的生產(chǎn)地點(diǎn)相聯(lián)系。

（Wasters recovered at Lingdou. 在嶺兜找到的廢棄。

Figure 2:Inkstone in the shape of a duck’s foot. 圖2: 鴨腳形狀的硯臺(tái)。

Figure 3: Fragments of incense stick holders in the shape of lions. 圖3: 獅子形狀的香燭的瓷片。

Figure 4: Fragments of Guanyin and boy-attendant. 圖四: 觀音與侍童的瓷片。）

Lingdou was not a specialized workshop. It had a mixed output focusing on fine, artistic utensils. Lingdou produced a limited quantity and variety of figurines. Only fragments of three immortals have been recovered: Buddha, Guanyin (both standing and seated) and Guanyin's free-standing boy attendant(Fig, 4).A few other examples include small toys and small ewers in the shape of seated human figures(Fig 5). This production strategy is different from present day counterparts. Modern Dehua workshops tend to specialize in either figurines or utensils.

嶺兜不是專門的作坊，它生產(chǎn)精細(xì)、藝術(shù)性的形形色色的器皿。嶺兜生產(chǎn)的雕像數(shù)量和種類十分有限。目前只發(fā)現(xiàn)了佛像、觀音（站著和坐著）和觀音的獨(dú)立侍從三個(gè)瓷塑雕像的殘片（圖4），其他一些例子包括坐著的人像形狀的小玩具和小水壺（圖5）。這種生產(chǎn)策略不同于現(xiàn)在的?，F(xiàn)代的德化作坊傾向于生產(chǎn)雕像或器皿。

(Figure 5: Small ewers. 小型水罐)

The lack of figurines from kiln sites is hardly confined to Lingdou. It should be noted that, in general, very few kiln wasters of figurines have been recovered from Dehua. This is somewhat unexpected, not to mention disappointing, since the majority of complete blanc de Chine pieces surviving in private and public collections are figurines. I offer two explanations. First, the major production period of figurines did not coincide with Lingdou's peak; figurines were perhaps more fashionable a little later. Second, figurines were made and fired with greater care to ensure a high rate of success; hence the scarcity of wasters.

窯址上瓷塑的缺乏并不局限于嶺兜。需要指出的是，總體上，德化發(fā)現(xiàn)的窯尾俑很少。這有點(diǎn)出乎意料，更不用說令人失望了，因?yàn)榇蠖鄶?shù)保存在私人和公共收藏中的完整的作品都是雕像。我提供兩種解釋。一是瓷塑的主要生產(chǎn)時(shí)期與嶺兜的鼎盛時(shí)期不相吻合；小雕像可能后期更流行一點(diǎn)。二是瓷塑被精心制作和燒制來確保高成功率；因此，廢棄物稀缺。

What was the relationship between the famous blanc de Chine and the equally important contemporary Dehua blue-and-white ware? It is a question that has never been ad dressed. Thanks to Xu Benzhang's survey, the data indicates that the two ware types were closely related until the eighteenth century. Xu identified several blue-and-white sites which used the blanc de Chine methods of kiln-loading, or which made blanc de Chine pieces at the same kiln. As the two ware types required very different processes for finishing as well as artistic skills, it must have been a challenge to the workshop managers to produce both at one kiln.

著名的和同樣重要的當(dāng)代德化青花瓷有什么關(guān)系？這是一個(gè)從未被提出的問題。由于徐本章的調(diào)查，資料表明這兩種陶器類型直到18世紀(jì)才有密切的聯(lián)系。徐本章確定了幾個(gè)使用了裝窯方法的青花瓷的窯址，或在同一青花窯中制造了瓷器。由于這兩種類型的瓷器需要非常不同的加工工藝和藝術(shù)技巧，因此在一個(gè)窯中同時(shí)生產(chǎn)這兩種瓷器對作坊管理者來說肯定是一個(gè)挑戰(zhàn)。

責(zé)任編輯：陳美珠