本文旨在探討雲南地區青花瓷的變遷，並論及其與江西景德鎮和越南青花瓷的關連。筆者將以批判性的角度檢視目前已發表的考古調查資料，從雲南高溫瓷器的燒造—青瓷—的觀察開始探討。再結合到青花瓷的發展，經由與江西景德鎮青花瓷器風格演變的比對，以及景德鎮工匠於洪武年間(1368-1398)至雲南地區開窯之紀錄，修正過去將雲南青花瓷的出現視為元代的看法，並結合紀年資料以釐清雲南青花瓷的發展階段及演變軌跡，提出雲南青花瓷始燒於明初洪武時期，經歷三個階段延續至少到明晚期。

此外，本文也會在釐清雲南與越南青花瓷變遷的基礎上，討論雲南與越南兩地青花瓷在風格、裝燒工藝及原料使用上的共通性，並提示在江西景德鎮青花瓷生產的主流影響外，兩地窯址間可能也有一定的來往關係；雖然今日政治疆界的劃分將兩地截然分開，但在地理上它們十分相近，且雲南重要的青花瓷產地玉溪窯及建水窯，與越南主要青花窯址群同屬於紅河流域。希望藉由雲南青花與越南青花關係的探討，提供江西景德青花瓷主流影響外另一個面向的思考。

This paper discusses the development of Yunnan blue-and-white porcelain, and its close relationship to the porcelain manufactures of Jingdezhen (in Jiangxi province) and Vietnam. It critically reviews the most recent archaeological evidence of Yunnan ceramic production, which reveals that the production of Yunnan blue-and-white ware was actually based on slightly earlier celadon. In addition, through a detailed comparison with the stylistic development of Jingdezhen wares, the paper identifies three distinct stages in the development of Yunnan blue-and-white from early to late Ming period. Together with the record of Jingdezhen immigrants from the Hongwu reign (1368-1398), this observation suggests that the previous notion of Yunnan blue-and-white production beginning in the Yuan period should be revised.

Attention is also directed at the relationship between Yunnan and Vietnamese blue-and-white wares, which share many stylistic, technological and material features. Discussion follows the approximate chronological order of the two groups, so as to supplement the Jingdezhen-centric focus of mainstream scholarship blue-and-white porcelain with a comparative regional account. Although divided by political boundaries, it may nonetheless be possible to speak of Yunnan and Vietnamese blue-and-white as belonging to a single macro-regional tradition, as the production centers for both abut the Red River and its tributaries.

雲南; 越南; 景德鎮; 青花瓷

Yunnan; Vietnam; Jingdezhen; blue-and-white