景泰藍與東西方工藝混搭風

The Jingtai Cloisonné and the Synthesis of Eastern and Western Crafts

張玉燕(Yuyen Chang)；鄭惠芳(Wai Fong Cheang)；陳鳳儀(Feng-Yi Chen)

景泰藍 ； 掐絲琺瑯 ； 東西方交流 ； 工藝 ； 創新 ； Cloisonné ； Enamel ； East-West Exchange ； Craftsmanship ； Innovation

中華科技史學會學刊

28期（2023 / 12 / 25）

56 - 64

繁體中文;英文

本文探討景泰藍工藝的歷史、發展及對文化的深遠影響。首先，對景泰藍的名稱來源深入闡釋，「藍」字可能源自琺瑯一詞的語音相似性，或因其器物的藍色底色而得名。這種藍色在古代象徵著皇室和貴族的高貴和吉祥。景泰藍色的精製過程，包括琺瑯粉料的運用和高溫燒結技術，實現其鮮明、生動和多彩的視覺效果。此外，本文重新爬梳景泰藍工藝的歷史，從其古代應用起，特別聚焦在元、明、清時期的演變。元朝時，景泰藍工藝或許受到外部文化影響，但在明代的景泰年間達到巔峰，成為宮廷藝術的代表。清朝時，景泰藍工藝逐漸普及至民間，擴展至國際市場。總之，東西方文化的相互影響景泰藍工藝，技術的傳播促進創新，包括對古代藝術作品的仿效和西方元素的融合，都突顯了這門工藝對東西方文化的深遠影響。

This article undertakes an in-depth examination of the historical trajectory, developmental dynamics, and far-reaching cultural ramifications of cloisonné enamel craftsmanship. Commencing with a meticulous elucidation of the etymology of "cloisonné," this investigation contemplates the potential phonetic linkage to the term "琺瑯" (fá lào) or its nomenclature grounded in the prevalent utilization of blue as the foundational hue for these artifacts. In antiquity, this azure tint was emblematic of the aristocracy, signifying regal nobility and luxury. The painstaking refinement process associated with cloisonné enamel is scrutinized, encompassing the judicious application of enamel powders and the employment of high-temperature sintering techniques to actualize its vivid, animate, and variegated visual manifestations. Furthermore, this study undertakes an exhaustive exploration of the historical continuum of cloisonné enamel craftsmanship, commencing from its origins in ancient applications, with particular emphasis directed towards the evolutionary trajectory during the Yuan, Ming, and Qing dynastic epochs. The Yuan Dynasty witnessed the potential influence of external cultural currents on the cloisonné enamel craft, but its zenith was attained during the Ming Dynasty, wherein it burgeoned into a quintessential representative of courtly artistic expression. Subsequently, in the Qing Dynasty, cloisonné enamel gradually disseminated to the broader populace and expanded its purview to encompass international markets. Lastly, this discourse deliberates upon the symbiotic interplay between Eastern and Western cultural spheres and the diffusion of cloisonné enamel craftsmanship. In brief, the innovative facets intrinsic to cloisonné enamel artistry encompassing the emulation of venerable artistic oeuvres and the amalgamation of Western elements exactly showcase the profound cultural imprint engendered by this craft on both regional and global scales.

1. 邱韻如(2022)。玻璃與琉璃：名詞溯源與概念演變。中華科技史學會學刊，27，55-71。
   連結：
2. 柯亞先(2015)。中國琉璃起源與玻璃科學考古：從文創企業琉璃工房與琉園談起。亞東學報，35，117-138。
   連結：
3. 倪晶瑋,王佳涵(2009)。明清時期琺瑯器、家具與建築中之抽象紋飾。設計學研究，12(2)，69-101。
   連結：
4. 〈景泰藍〉，《維基百科》Retrieved 06:11, June 30, 2023。
5. “Vitreous enamel,” In Wikipedia, The Free Encyclopedia. Retrieved 08:11, June 30, 2023.
6. 〈搪瓷〉，《維基百科》Retrieved 07:11, June 30, 2023。
7. De Corselas, Parada López Manuel,Vela-Rodrigo, Alberto A.(2021).Cultural Hybridization in Christian China: The Art of Cloisonné at The Service of God.Religions,12,1103.
8. Department of Asian Art (2004). “Chinese Cloisonné,” Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/clos/hd_clos.htm (October 2004)
9. Lu, P.(2023).Out of the Blue: Rethinking Early Chinese Cloisonné Enamel.Arts of Asia,SPRING
10. Norris, Dana(2022).Emulation and Technological Adaptation in Late 18th-Century Cloisonné-style Chinese Painted Enamels.Archaeometry,64(4),951-968.
11. 李麗紅(2020).琺瑯精工：琺瑯器與文化之特色.臺北市:崧燁文化出版發行.
12. 紅糖美學(2022).華之色：傳統紋樣絕美配色圖典:絢爛的中國傳統色彩 X 豐富的古風經典紋樣,織就 1100 款精采絕倫的色彩方案.臺北市:睿其書坊.
13. 胡櫨文,賴芷儀(2022).謎樣景泰藍.臺北市:故宮博物院故宮文物藝術發展基金總代理.
14. 許進雄(2019).紫禁城外一抹清脆：漢字與文物的故事.臺北市:台灣商務.
15. 郭浩,李健明(2021).故宮裡的色彩美學與配色事典：24 節氣、72 物候、96 件手繪文物、384 種中華傳統色,重現古典生活之美.臺北市:悅知文化.
16. 陳慧如(2020).故宮沒說的事: 古玩藏研,掐絲流光.新北市:聯合發行經銷.