傑·文化-深圳博物館展出清代廣琺瑯珍品2 Kit.Culture-Cantonese Enamel Treasures of the Qing Dynasty at Shenzhen Museum 2

展覽地點:
中國廣東省深圳市歷史民俗博物館
日期: 2023年5月至10月中
琺瑯器由西方傳入中國約五百年，以北京為首的地方擅於製作掐絲琺瑯，即通稱「景泰藍」，而作為對外貿易中心的廣州因中西融合却精於畫琺瑯，以繪畫精細、內容多元化及顏色豔麗而受到皇帝、宮廷及權貴喜愛，並且深受海外特別是歐洲各國上流人士青睞，更被譽為"廣琺瑯"。而廣東音樂亦如廣琺瑯一樣融合中西文化，在保留傳統文化之餘，也有創新及西方文化元素。本片試以廣東音樂作背景配樂，希望可襯托出廣琺瑯器的絢麗多姿。
畫琺瑯又稱“洋瓷"，據清代藍濱南在其《景德鎮陶錄》中記載，畫琺瑯是以金屬銅做器骨(胎)，用五顏六色的瓷粉（琺瑯釉）經燒製而成。簡單的説，就是先於紅銅胎上塗施白色琺琅釉，入窯燒結後，使其表面平滑，然後以各種顏色的琺瑯釉料繪飾圖案，再經焙燒而成。因富有繪畫趣味，故又稱“琺琅畫”。
畫琺瑯與明代銅胎掐絲琺瑯相比較而言的。兩者的主要區別在於，一個是掐絲顯以琺瑯料；一個是塗以琺瑯後，再在上面畫出花紋。最早在廣東製造，廣東稱作“燒青”、“廣琺瑯”或“洋琺瑯”。這種異常精美的工藝受到皇帝的喜愛與重視，清朝康熙、雍正、乾隆三帝皆於北京皇宮造辦處及廣東兩地設立琺瑯作坊，並多次從廣東選送優秀畫琺琅工匠進京效大量生產，所作琺瑯製品皆供皇室享用。琺瑯製品在清朝康、雍、乾三代曾達鼎盛，後歷經晚清國衰、民國戰亂，漸趨稀少。北京以掐絲琺瑯（俗稱景泰藍）為長，廣東以畫琺瑯為長，南北兩地工藝各有特色。同為中國傳統琺瑯工藝的兩大瑰寶，享譽中外。
畫琺瑯的製作技法起源於15世紀中葉歐洲比利時、法國、荷蘭三國交界的佛朗德斯地區。15世紀末，法國中西部的裏摩居，以其製作內填琺瑯工藝為基礎，發展成畫琺瑯的重鎮，初期製作以宗教為主題的器物，後來逐漸製做成裝飾性的工藝品。隨着東西貿易交往的頻繁，尤其自清康熙二十三年（1684年）清廷平定台灣以後，海禁開放，西洋製品開始湧入，西洋琺瑯便由廣州等港口傳入中國，並就地設廠研製，稱之為洋瓷，宮中則稱其為廣琺瑯。當時，廣州的產品多保留着西方文化的韻味，由於燒造技術不高，釉料呈色不穩定。康熙五十八年(1719年)，聘請法蘭西畫琺瑯匠人陳忠信來京，在內廷琺瑯處指導燒造畫琺瑯器。其式樣、圖案主要是中國風格，少有西方畫琺瑯的特點。
來源: 百度百科
Exhibition location:
Shenzhen History and Folklore Museum, Guangdong, China
Date: May to mid-Oct 2023
Enamel ware was introduced to China from the West for about 500 years. The places headed by Beijing are good at making cloisonné enamels, which are commonly known as "cloisonne" utensils, while Guangzhou, as the center of foreign trade, is good at painted enamels due to the integration of Chinese and Western countries. The fine, diverse content and bright colors are favored by emperors, courts and powerful people, and are favoured by the upper class people far abroad, especially in European countries, and are also known as "Canton enamel". Cantonese music, like Canton enamel, integrates Chinese and Western cultures. While retaining traditional culture, it also has elements of innovation and Western culture. This film tries to use Cantonese music as the background music, hoping to bring out the splendor of Canton enamelware.
Painted enamel is also called "foreign porcelain". According to the records of Lan Binnan in his "Jingdezhen Pottery Record" in the Qing Dynasty, painted enamel was made of metal copper bone (fetus) and fired with colorful porcelain powder (enamel glaze). Simply put, it is to apply white enamel glaze on the red copper body first, after sintering in the kiln, make the surface smooth, and then paint patterns with various colors of enamel glaze, and then bake it. Enamel painting is full of painting interest, so it is also called "enamel painting".
Painted enamel, also known as copper body painted enamel, is compared with the Ming Dynasty copper body cloisonné enamel. The main difference between the two is that one is filigree to show the pattern, and then filled with enamel; the other is painted with enamel, and then the pattern is drawn on it. It was first made in Guangdong, and Guangdong is called "burning blue" or "Guang enamel" and "foreign enamel". This unusually exquisite craftsmanship was loved and valued by the emperor. The three emperors Kangxi, Yongzheng and Qianlong of the Qing Dynasty all set up enamel workshops in the Imperial Palace in Beijing and Guangdong, and sent excellent enamel artisans from Guangdong to Beijing for many times. Mass-produced, the enamel products are all for the royal family to enjoy. Enamel products reached their peak in the three dynasties of Kang, Yong and Qian in the Qing Dynasty. Beijing is based on cloisonné enamel (commonly known as cloisonne), and Guangdong is based on painted enamel. The crafts in the north and south have their own characteristics. Both are two treasures of traditional Chinese enamel craftsmanship and are well-known both at home and abroad.
The technique of making enamel originated in the Flanders region where Belgium, France and the Netherlands bordered Europe in the mid-15th century. At the end of the 15th century, Limoju in central and western France developed into an important town for painting enamel based on its enamel-making process. Initially, it produced religious-themed utensils, and then gradually made decorative handicrafts. With the frequent trade exchanges between the East and the West, especially since the Qing Dynasty pacified Taiwan in the 23rd year of Emperor Kangxi of the Qing Dynasty (1684), the prohibition of the sea was opened, and Western products began to flow in. Western enamels were introduced to China from Guangzhou and other ports, and localized A factory was set up to develop it, and it was called foreign porcelain, while in the palace it was called Guang enamel. At that time, most of the products in Guangzhou retained the charm of Western culture. Due to the low firing technology, the color of the glaze was unstable. In the fifty-eighth year of Emperor Kangxi (1719), a French enamel artist, Chen Zhongxin, was hired to come to Beijing to guide the firing of enamelware in the inner court enamel. Its style and pattern are mainly Chinese style, and there are few characteristics of Western painting enamel.
Source: Baidu Encyclopedia