十八世紀初，廣東琺瑯此種在銅胎上以琺瑯料繪畫紋飾的手工藝品開始在中國廣州生產並暢銷海外。由於它的裝飾跟當時景德鎮、廣東生產的外銷瓷十分相似，因此兩者的生產關係一直備受學界關注。本文以十八世紀上半葉流行於廣東琺瑯和外銷瓷上的「八方錦紋」為中心，透過比較兩種材質的紋飾使用、圖像差異和裝飾組合以探討它們的發展關係，並透過縱觀八方錦紋在各種材質上的發展，嘗試勾勒清初多種物質文化潮流如何交互作用，並對新興工藝品的面貌產生影響。本文將提出，八方錦紋在廣東琺瑯和琺瑯彩瓷上出現，是對康熙朝景德鎮生產的五彩瓷的模仿，此紋源於明代宋式錦中的「天華錦」，隨著十七世紀末至十八世紀初全國上下對宋式錦的喜愛，使得它短暫地成為風行南北的紋樣，亦促使此時期的廣東琺瑯和外銷瓷大量採用。

In the early 18th century, Canton enamels, a new type of handicraft with enamels painted on copper, began to be produced in Guangzhou, China, and sold to overseas markets. Since the decoration of Canton enamels had a strong resemblance to that of export porcelain made in Jingdezhen and Guangdong, the relationship between the two industries has drawn much scholarly attention. The “honeycomb” octagonal pattern is a decorative motif popular in Canton enamels and export porcelain. Using this pattern as a thread of investigation, this article compares Canton enamels and export ceramics in terms of their visual characteristics, overall designs, and applications of the motif to explore their relationship. By surveying the use of the motif on various materials in the late Ming and early Qing period, this article further considers how the trends of development of different materials interacted and impacted on the newly developed industry of Canton enamels. This article proposes that the honeycomb pattern was derived from Song-style brocade that came into fashion in the late Ming period. The pattern was first applied to painted enamel copperwares and ceramics as an attempt to imitate the decoration of famille verte, Kangxi wucai porcelain produced in Jingdezhen. The prevalence of Song-style brocade in the late 17th and early 18th centuries had led the honeycomb pattern to become one of the most popular decorative motifs in Qing China and was widely used for decorating Canton enamels and export porcelain of the time.

八方錦紋; 廣東琺瑯; 宋錦; 琺瑯; 康熙五彩

honeycomb pattern; Canton enamel; Song-style brocade; falang; famille verte