觀察十八世紀早期廣彩的風格樣式，與景德鎮彩瓷、早期廣州銅胎畫琺瑯有著密不可分的關係。然而，大約在1735-1740年間，廣彩裝飾注入了鮮明的西洋風格與元素，大約在1760-1780年間來到高峰並持續到下一個世紀。進一步觀察後似乎又可發現，一些十七至十八世紀初日耳曼地區畫琺瑯工藝的風格樣式、裝飾元素與類似技法出現在廣彩裝飾中。過去雖有研究觸及此議題，認為麥森瓷器、奧古斯堡地區畫琺瑯器的一些裝飾元素出現在廣彩上，但未深究，而廣彩作為中西方宮廷與地方貿易、文化、工藝交流的見證者，凸顯來自日耳曼地區畫琺瑯器物及相關工藝的影響值得深入研究，本文即企圖探討廣彩具日耳曼畫琺瑯風格樣式、表現技法的裝飾圖樣，及其相應技術的發展。

The early style of 18th-century Canton porcelain (or guangcai in Chinese) had a close relation to porcelain with overglaze decoration from Jingdezhen and early painted enamel on copperware from Canton. However, between roughly 1735 and 1740, guangcai decoration evidently displayed the influence of Western styles and decorative elements, reaching new heights during the period from the 1760s to 1780s in a trend that continued into the next century. More specifically, particular designs and decorative elements, as well as the relevant techniques applied to painted enamelware from the Germanic regions of the 17th and early 18th centuries, seem to feature some of the designs of guangcai decoration. Early research has indicated that partial decoration of Meissen porcelain and painted enamelware from Augsburg can be observed on guangcai, but in-depth investigation and analysis are not given. However, as Guangzhou was the main port to the West during the Qing Dynasty, guangcai witnessed the golden age of global trade and the exchange of culture, art, and craftsmanship between Qing China and the West, and the court and the local, all of which deserve in-depth study. This paper aims to explore how Germanic-painted enamelware influenced and transferred its designs and relevant techniques to guangcai.

廣彩; 畫琺瑯; 墨彩描金; 黑色琺瑯針釉法; 日耳曼地區錫釉陶; 麥森瓷器; 維也納杜巴契瓷器

guangcai; Canton porcelain; painted enamel; encre de chine; Schwarzlot; German faience; Meissen porcelain; Du Paquier porcelain