外國人眼中的“中國白”|鮑氏基金會收藏的德化陶瓷（一）
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小陶陶
2022-08-08 德化陶瓷文化研究院1767
10330
編者按：
2011年11月，由北京故宮博物院、中國古陶瓷學會、福建省文物局、德化縣人民政府共同主辦的“2011中國瓷都?德化窯學術研討會”在瓷都德化舉辦，近百位國內外博物館館長、從事陶瓷文化研究的專家學者齊聚瓷都德化，以“的故鄉、瓷藝術的搖籃”為主題，共同研討深厚的德化窯陶瓷文化。
研討會共提交專題論文39篇，其中不乏外國專家的作品。與會的專家學者以翔實的圖文史料為佐證，從學術專業的角度對德化窯在國內外陶瓷文化領域的歷史地位和影響做了全面深刻的闡述，是一筆難得的、豐碩的學術成果。
近期，《外國人眼中的“”》欄目將再次回顧刊載該研討會的相關論文，并對其中的論文進行翻譯，為廣大德化陶瓷文化研究愛好者提供學習、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，也非出于實際的用途，而是用來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.
當鮑氏收藏藝術館于1964年對外開放的時候，很少有人會想到這座私人博物館竟然成為中國陶瓷在歐洲最重要的收藏館之一。阿爾佛雷德·鮑爾的收藏品無論是規模、原創性還是瓷器的質量，都成為繼北京故宮和臺北故宮皇家收藏之外的杰作，在業內享有盛譽。令阿爾佛雷德·鮑爾時常感到遺憾的是由于二十世紀30年代和40年代的政治局勢讓當時的旅行和購買都變得異常困難，所以他直到1928年才開始收藏中國瓷器。然而在1928年到1939年的十年的時間里，他共收集到了516件中國瓷器。1939年之后，經濟狀況和戰爭阻礙了收藏的繼續擴大，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·鮑爾想以他所說的“小型中國陶瓷器”、“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”、“質量特別，無可取代”或“從一定程度上打破乏味”的作品而對此標準作出妥協。鮑爾想用“各個時期收藏的代表作”來反映“中國陶瓷藝術傳統的精華”。曾經唐代以前的中國陶瓷和小人物塑像從不受收藏家的關注。他時常提醒他的好友，一位日本籍專家Tomita不要收藏裝飾得過于繁復的作品。阿爾佛雷德·鮑爾也想收藏品質完善的稀世珍品，為此他的日本專家K.Tomita到歐洲、中國上海和北京以及日本不斷地進行搜尋，并參加daimy?和其他收藏家破產所余下的遺產拍賣。
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·鮑爾迷上中國陶瓷是從收藏著名的宋元時期的單色瓷開始的。這種瓷器在造型和釉色方面找到了最佳的平衡點，從而成為陶瓷藝術的典范。明代1368年至1644年的多數重要的年號也都代表一種時代的風格。阿爾佛雷德·鮑爾對中國清代宮廷用的單色釉瓷投入巨大的收藏，這點大大超越了歐洲同時代的收藏者，這些成為了博物館中中國陶瓷最為輝煌、最重要的組成部分，這也是中國宮廷收藏之外絕無僅有的。阿爾佛雷德·鮑爾珍視這些陶瓷的優雅和簡潔，并且被這些陶瓷和諧的胎釉、種類和光影的細微差別所深深吸引。
責任編輯：陳美珠
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