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2011年11月，由北京故宮博物院、中國(guó)古陶瓷學(xué)會(huì)、福建省文物局、德化縣人民政府共同主辦的“2011中國(guó)瓷都?德化窯學(xué)術(shù)研討會(huì)”在瓷都德化舉辦，近百位國(guó)內(nèi)外博物館館長(zhǎng)、從事陶瓷文化研究的專(zhuān)家學(xué)者齊聚瓷都德化，以“的故鄉(xiāng)、瓷藝術(shù)的搖籃”為主題，共同研討深厚的德化窯陶瓷文化。

研討會(huì)共提交專(zhuān)題論文39篇，其中不乏外國(guó)專(zhuān)家的作品。與會(huì)的專(zhuān)家學(xué)者以翔實(shí)的圖文史料為佐證，從學(xué)術(shù)專(zhuān)業(yè)的角度對(duì)德化窯在國(guó)內(nèi)外陶瓷文化領(lǐng)域的歷史地位和影響做了全面深刻的闡述，是一筆難得的、豐碩的學(xué)術(shù)成果。

近期，《外國(guó)人眼中的“”》欄目將再次回顧刊載該研討會(huì)的相關(guān)論文，并對(duì)其中的論文進(jìn)行翻譯，為廣大德化陶瓷文化研究愛(ài)好者提供學(xué)習(xí)、交流、參考。

The Baur Foundation’s collection of Dehua porcelains（一）

作者：Monique Crick 翻譯：德化陶瓷文化研究院 孫延燕

I am not collecting ceramics either for ornamental purposes or for actual use, but for the purpose of having specimens showing the shape and above all the beauty of glazes and colours.

——Alfred Baur,August 14,1931

“我收藏陶瓷既不是為了裝飾的目的，也非出于實(shí)際的用途，而是用來(lái)展示瓷器外形以及一切釉和色彩美為目的。”

——阿爾佛雷德·鮑爾，1931年8月14日

When the Baur Collection opened in 1964,few people were aware that this private museum housed one of the most important European collections of Chinese ceramics. The scope, originality and quality of Alfred Baur's collection indeed rank it within this inner circle of exceptional collections outside the imperial collections of the Forbidden City and the Palace Museum in Taipei. One of Alfred Baur's constant regrets was that he had not started to collect Chinese ceramics before 1928 because the political situations prevailing in the 1930s and 1940s were to make travelling and purchasing difficult. Yet in the space of about ten years from 1928 to 1939 five hundred and sixteen pieces were to be assembled. From 1939 onwards the economic situation and the war prevented the collection from being enlarged but from 1945 until his death, A.Baur was still just as keen to acquire new pieces. The Chinese ceramics collection now comprises seven hundred and fifty-six pieces.

當(dāng)鮑氏收藏藝術(shù)館于1964年對(duì)外開(kāi)放的時(shí)候，很少有人會(huì)想到這座私人博物館竟然成為中國(guó)陶瓷在歐洲最重要的收藏館之一。阿爾佛雷德·鮑爾的收藏品無(wú)論是規(guī)模、原創(chuàng)性還是瓷器的質(zhì)量，都成為繼北京故宮和臺(tái)北故宮皇家收藏之外的杰作，在業(yè)內(nèi)享有盛譽(yù)。令阿爾佛雷德·鮑爾時(shí)常感到遺憾的是由于二十世紀(jì)30年代和40年代的政治局勢(shì)讓當(dāng)時(shí)的旅行和購(gòu)買(mǎi)都變得異常困難，所以他直到1928年才開(kāi)始收藏中國(guó)瓷器。然而在1928年到1939年的十年的時(shí)間里，他共收集到了516件中國(guó)瓷器。1939年之后，經(jīng)濟(jì)狀況和戰(zhàn)爭(zhēng)阻礙了收藏的繼續(xù)擴(kuò)大，但是從1945年到他去世，阿爾佛雷德·鮑爾一直熱衷于收藏新的藏品。至今為止，博物館共收集了756件中國(guó)陶瓷。

A.Baur chose to confine himself to what he called the "Chinese porcelain-miniature pieces""to avoid having too large pieces, which are unwieldy and difficult to handle or to place in show cases". He set the dimensions at less than 40 centimetres, although he agreed to revise them for "pieces interesting in shape",for "the special quality of an article which warrants an exception being made""or to some extent to break the monotony". A.Baur wanted to form a collection of the "representative pieces of all periods"which show "the best traditions of Chinese ceramic art". The collector was never attracted by the Chinese ceramics before the Tang period or by figurines. He often used to recommend his Japanese expert, K.Tomita to avoid decorations that were overcrowded. A.Baur wanted also to collect only perfect pieces of outstanding quality. K.Tomita had prospected in Europe, China-at Shanghai and Peking-as well as in Japan, where he attended the auctions breaking up the heritage of daimy? and other collectors.

阿爾佛雷德·鮑爾想以他所說(shuō)的“小型中國(guó)陶瓷器”、“避免收藏那些提放和裝箱都不便和困難的超大作品”等收藏原則為限。他設(shè)定的收藏尺寸為40厘米以下，然而他也同意為一些“造型新穎”、“質(zhì)量特別，無(wú)可取代”或“從一定程度上打破乏味”的作品而對(duì)此標(biāo)準(zhǔn)作出妥協(xié)。鮑爾想用“各個(gè)時(shí)期收藏的代表作”來(lái)反映“中國(guó)陶瓷藝術(shù)傳統(tǒng)的精華”。曾經(jīng)唐代以前的中國(guó)陶瓷和小人物塑像從不受收藏家的關(guān)注。他時(shí)常提醒他的好友，一位日本籍專(zhuān)家Tomita不要收藏裝飾得過(guò)于繁復(fù)的作品。阿爾佛雷德·鮑爾也想收藏品質(zhì)完善的稀世珍品，為此他的日本專(zhuān)家K.Tomita到歐洲、中國(guó)上海和北京以及日本不斷地進(jìn)行搜尋，并參加daimy?和其他收藏家破產(chǎn)所余下的遺產(chǎn)拍賣(mài)。

Alfred Baur's full commitment to Chinese ceramics began with the famous monochromes of the Song and Yuan dynasties, which embody the quintessence of the ceramic art, with a perfect balance between the shapes and glazes.The most important reigns of the Ming dynasty(1368-1644)are also all represented with a remarkable variety of style. A.Baur went a stage further than contemporary collectors in Europe, investing heavily in the imperial monochrome-glazed wares of the Qing dynasty, which are the most remarkable set of Chinese porcelains in the museum and are unparalleled outside the Chinese imperial collections. A.Baur prized the elegance and simplicity of these ceramics and was fascinated by the harmony between the form and the colour, and the variety and subtlety of shades.

阿爾佛雷德·鮑爾迷上中國(guó)陶瓷是從收藏著名的宋元時(shí)期的單色瓷開(kāi)始的。這種瓷器在造型和釉色方面找到了最佳的平衡點(diǎn)，從而成為陶瓷藝術(shù)的典范。明代1368年至1644年的多數(shù)重要的年號(hào)也都代表一種時(shí)代的風(fēng)格。阿爾佛雷德·鮑爾對(duì)中國(guó)清代宮廷用的單色釉瓷投入巨大的收藏，這點(diǎn)大大超越了歐洲同時(shí)代的收藏者，這些成為了博物館中中國(guó)陶瓷最為輝煌、最重要的組成部分，這也是中國(guó)宮廷收藏之外絕無(wú)僅有的。阿爾佛雷德·鮑爾珍視這些陶瓷的優(yōu)雅和簡(jiǎn)潔，并且被這些陶瓷和諧的胎釉、種類(lèi)和光影的細(xì)微差別所深深吸引。

責(zé)任編輯：陳美珠