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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(qǐng)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“” (五)——何翠媚

（翻譯：孫延燕）

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

不僅“頭頓”號(hào)沉船上有許多瓷器，而且許多同樣的瓷器也表明，為了獲得穩(wěn)定的市場(chǎng)，商品組裝通常是固定的。一些青花瓷器上的伊斯蘭圖案表明，頭頓貨物的一部分可能是為穆斯林客戶設(shè)計(jì)的。與哈徹號(hào)貨船不同的是，頭頓沉船裝的物品似乎是有了更多的客戶群。

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.

東南亞的白瓷市場(chǎng)在十九世紀(jì)初及之后繼續(xù)繁榮。1822年在爪哇附近沉沒的泰興號(hào)，在德化和景德鎮(zhèn)的許多青花瓷器中，夾雜了一小部分瓷。泰興號(hào)沉船的瓷器與十七世紀(jì)的有很大不同。像獅子、三腳架、酒杯或神仙雕像這樣的花哨物品很少,取而代之的是大多數(shù)實(shí)用性商品。銷售目錄顯示了一個(gè)方形花瓶，許多帶有少許藍(lán)色顏料的相同的小男孩雕像、圓盒子、有模制圖案的蓋碗、碗和勺子，這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

盡管東南亞收藏品中瓷器的原始消費(fèi)者無法確定，但在雅加達(dá)等地，這些瓷器的存在在一定程度上反映區(qū)域市場(chǎng)的存在。目前的證據(jù)表明，在18世紀(jì)早期歐洲瓷器市場(chǎng)興起之前，東南亞是17世紀(jì)后半葉瓷器的主要出口市場(chǎng)。亞洲市場(chǎng)已經(jīng)足夠成熟，可以委托特定的設(shè)計(jì)。毫無疑問，隨著更多的考古證據(jù)的出現(xiàn)，我們將更多地了解中國古代在地區(qū)/民族市場(chǎng)上的差異。

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.

如果不是唐納利為西方學(xué)者定了基礎(chǔ)，徐本章對(duì)窯址資料的搶救和記錄傾注了畢生的汗水，陶瓷歷史學(xué)研究將一直是一個(gè)模糊的領(lǐng)域。盡管這兩位學(xué)者從未謀面，但?？死詹睾瓦@本目錄使他們的精神相聚。

Chuimei Ho is an independent scholar who is interested in ceramic archaeology in Asia何翠梅是一位對(duì)亞洲陶瓷考古學(xué)感興趣的獨(dú)立學(xué)者。

責(zé)任編輯：陳美珠