海外制瓷图中的“失败复制”

“Failed Reproduction” in Overseas Porcelain-Making Illustrations

摘要: 清代景德镇制瓷工艺精湛，在历史上，工艺技术和产量史无前例。为满足西方人了解制瓷过程的需要，外销制瓷图于18世纪兴起，作为商品画，直观地展示了瓷器的生产流程，大量的制瓷图流入海外。这些诞生于广州十三行的外销制瓷画，不仅是记录制瓷与运输流程的画册，更是外销画家主动构建的、关于制瓷工艺认知的“视觉文献”。这些图像暗含着“文化转译”的现象。外销画家们为了迎合西方购买者的偏好，对制瓷图像进行了调整与重构，但重构后的图像产生了一些“误读”。本文拟对法国、英国收藏的制瓷图像进行研究，基于各国收藏版本异同从窑炉，陶车结构、制瓷环节等角度，分析制瓷图像中的“失败复制”及原因。

Abstract: The porcelain production techniques of Jingdezhen during the Qing Dynasty were exceptionally refined, achieving unprecedented levels of craftsmanship and output in history. To meet Western interest in understanding the porcelain-making process, export porcelain production illustrations emerged in the 18th century as commercial paintings that visually depicted the stages of porcelain manufacturing. A significant number of these illustrations circulated overseas. Produced in the Thirteen Factories of Guangzhou, these export paintings were not merely albums showcasing production and transportation but also served as “visual documents” that actively constructed a perception of porcelain craftsmanship. These images inherently involved “cultural translation”, as the painters adjusted and reinterpreted the depictions to cater to Western buyers’ preferences, resulting in certain “misinterpretations”. This study examines porcelain production images held in French and British collections, analyzing instances of “failed reproduction”—such as in kiln structures, potter’s wheel designs, and production stages—across different versions, and explores the reasons behind these inaccuracies.