【外国人眼中的“中国白”】中国白的影响（一）——约翰 盖尔 - 憨鼠网

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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170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: some reflections by John Ayers

中国白的影响（一）——约翰 盖尔

（翻译：孙延燕）

The so-called blanc de Chine wares come from a smallish group of kilns that lies somewhat apart from the mainstream of Chinese production. Dehua, a district or xian in the province of Fujian bordering the south-easterly coast of China, has been making these mainly useful wares and decorative figure models for a period of several centuries and, it is worth remarking, the kilns are still working today. Already in the seventeenth century some quantities of Dehua ware had begun coming to Europe, and even in its export varieties, blanc de Chine must be reckoned a very superior kind of porcelain. It was greatly admired here in the eighteenth century-as shown by the extent to which both its forms and the material itself were imitated in our earlier porcelain factories-from Meissen, St Cloud, Vince

es and Chantilly through to Chelsea, Bow, Bristol, and many others. Like most Chinese porcelains -and unlike some of the European imitations-it is a hard paste, yet its often creamy white, somewhat glassy appearance is directly mirrored in a number of the Western products, and was clearly seen as an ideal. As for the term'blanc de Chine, exactly how and when this came into use is not known, but the ware has always been greatly admired and collected in France and the French writers who pioneered the study of Chi nese ceramics in the mid-nineteenth century were well accustomed to its use.

所谓的中国白瓷器来自一个与中国的主流生产有些距离的小型的窑炉群。德化，与中国东南沿海接壤的福建省的一个县/区，几个世纪以来，一直在主要制造这些有用的器皿和装饰人物造像，值得注意的是，这些窑炉至今仍在使用。早在十七世纪，一些德化瓷器就已经开始流入欧洲，甚至在它的出口品种中，中国白肯定被认为是一种非常优质的瓷器。它在18世纪的时候在这里受到了极大的赞赏，从它的形式和材料本身在我们早期的瓷器工厂中被模仿的程度可以看出来。例如这从梅森，圣克劳德，樊尚、和尚蒂利到切尔西，鲍尔，布里斯托，还有许多其他的瓷器工厂。和大多数中国瓷器一样，不同于欧洲的一些仿制品，它是一种“硬瓷”；它通常是乳白色的，直接在许多西方产品中映射出玻璃状的外观，并被视为一种完美的东西。至于“中国白”这个词，确切的使用方式和时间尚不清楚，但这种瓷器在法国一直备受推崇和收藏，十九世纪中叶开创中国陶瓷研究的法国作家，对其使用习以为常。

So much we are reminded of by P J. Do