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前言
肯德勒与梅森陶瓷塑像
令女皇叶卡捷琳娜着迷的梅森瓷器
巴黎之风——阿西埃和舍恩海特的时代
对梅森瓷的憧憬
梅森瓷杯碟的魅力
十九世纪的新创作
从晚宴定制餐具看梅森瓷的革新
从“新艺术”运动到装饰艺术
争相竞艳的欧洲瓷器

梅森，在地理上虽只是德国的一个小镇，但在文化上却是欧洲首屈一指的瓷都。 德国梅森瓷器厂是全欧洲最早成立的陶瓷厂，也是全世界最佳的瓷器制造商之一。 萨克森公国时代，经过无数次仿制中国瓷器的试验，狂热的拥趸解开了中国瓷土的秘密，并掌握了烧制技术，使梅森瓷器大放异彩， 其不断发展的建模范式及美术风格引领了整个欧洲的瓷器制造业。 历经300多年历史变迁，梅森瓷器至今仍然享有世界级声誉。

此次展览，遴选了日本岐阜县现代陶艺美术馆收藏的100余件（套）梅森瓷器精品，包括以人物形象为中心的装饰瓷器、带有欧洲风情的精巧摆件、典雅华美的成套餐具。 展览较为全面地讲述了梅森瓷器的发展历史、独特工艺、创新与展望，以及在历史长河中对梅森瓷发展产生过重要影响的人物，旨在为大家呈现更为立体的瓷器艺术。

今年恰逢中德建交50周年、中日邦交正常化50周年，本次展览是进一步加深中德交流，展示德国文化和西方艺术的良好契机。 同时，常州博物馆与日本岐阜县现代陶艺美术馆的成功合作，增加了彼此之间的了解和友谊。

文明因多样而交流，因交流而互鉴，因互鉴而发展，中国与世界在文化和艺术方面的相互影响与彼此欣赏，共同绘就了人类“各美其美、美美与共”的和谐画卷。

Preface

Meissen, a small German town, is put on the map as the leading porcelain capital of Europe. The place cradles the Meissen porcelain manufactory which is not only the first porcelain factory in Europe, but also one of the leading porcelain manufacturers in the world. After numerous attempts were made to reproduce Chinese porcelain, devotees in Saxony finally unlocked the secrets of Chinese porcelain clay and mastered the craftsmanship of making porcelain. Meissen porcelain, their outcome, wowed the Europe, and its ever-evolving modeling paradigms and artistic styles led porcelain manufacturers around this continent. After more than 300 years of ups and downs, this old brand still remains internationally renowned.

This exhibition showcases more than 100 selected pieces/sets of Meissen porcelain wares collected by the Museum of Modern Ceramic Art, Gifu, including decorative figural porcelain wares, exquisite European ornaments, and elegant dinner services. As an overall picture showcasing porcelain art, the exhibition details the unique craftsmanship of Meissen porcelain, its history, its prospect, its innovation, as well as people who shaped the past and future of Meissen porcelain.

This year coincides with both the 50th anniversary of the establishment of China-Germany diplomatic ties and that of the normalization of China-Japan diplomatic relations. Therefore, we held this exhibition in hopes of further promoting exchanges between China and Germany, and showcasing German culture and Western art. At the same time, the success in organizing this exhibition also formed deeper understanding and closer friendship between the Changzhou Museum and the Museum of Modern Ceramic Art, Gifu.

Diversity spurs interaction among civilizations, which in turn promotes mutual learning and further development. Chinese culture and art are influenced and appreciated by other countries, and the converse is also true. In this way, all countries can prosper respectively and together.

第一章
肯德勒与梅森陶瓷塑像

在梅森瓷兴起之前，洋溢着异域风情的东方瓷器对西方当权者有着极大的吸引力。 同时，他们对瓷器本土化的创造始终持有高涨的热情。18世纪的欧洲宫廷宴会极尽奢华，以糖雕点缀佐餐食品是甜点桌的一大特色。 梅森瓷的诞生，为欧洲瓷器的发展奠定了基础，瓷雕也逐渐出现在欧洲的甜点宴会之上，并成为流行趋势。 伴随社交场合由大型宴会厅转向个人沙龙，适用于小型空间的瓷雕需求激增。 才华横溢的雕塑家约翰·约阿希姆·肯德勒（Johann Joachim Kaendler）将巴洛克、洛可可等欧洲装饰艺术与瓷器结合，主题涉及宫廷风俗与神话传说， 使梅森瓷完美契合了新时代的需求。时至今日，梅森瓷塑像的魅力仍未褪色。

Chapter I
Kaendler and Meissen Porcelain Figurines

Before the rise of Meissen porcelain, the nobility in Europe were fascinated by the exotic porcelain from Asia. Apart from buying this “white gold”, they were also eager to reproduce porcelain on their own continent. In the 18th century, court banquets in Europe were extremely luxurious, and featured sugar sculptures that were used to decorate appetizers on dessert tables. The birth of Meissen porcelain not only laid the foundation for the development of European porcelain, but also brought about the emergence and prevalence of porcelain sculptures in European dessert banquets. As personal salons edged out large banquets, the demand for porcelain figurines suitable for small rooms surged. It was Johann Joachim Kaendler who suited Meissen porcelain perfectly to this demand. The talented sculptor embedded European decorative art—Baroque, Rococo, etc.—into porcelain, and produced porcelain on the themes of court customs and myths. Even today, the charm of Meissen porcelain figurines does not fade.

第二章
令女皇叶卡捷琳娜着迷的梅森瓷器

对萨克森侯国的王公贵族而言，梅森瓷是与其他国家和地区构筑友好关系的桥梁。据统计，在叶卡捷琳娜二世（Ekaterina Ⅱ）统治时期，梅森制造的瓷器中约有40%出口到俄罗斯。即便欧洲权力、势力更迭，俄罗斯与普鲁士的联系在一段时期内变得紧密，且柏林瓷厂的产品在俄罗斯占主导地位，但叶卡捷琳娜二世依然很喜欢梅森瓷。每逢重要的宴会、仪式召开之际，她总是向梅森瓷器厂预定产品，便可看出她的痴迷。此外，普鲁士的弗里德里希大帝（Frederick the Great）也酷爱梅森瓷，他曾一度统治萨克森，并将瓷器厂掌握在自己手中，他钟情于梅森瓷器的中式风格和洛可可风格，多次订购相关作品。由此可见，梅森瓷在当时的国际关系中发挥了重要作用。

Chapter II
Ekaterina II's Passion for Meissen Porcelain

To the royals and nobles of Saxony, Meissen porcelain acted as a bridge of friendship connecting other countries and regions. According to statistics, during the reign of Ekaterina II, about 40% of Meissen porcelain was exported to Russia. Amidst changes of power in Europe, the products from the porcelain factory in Berlin once dominated the Russian market during the honeymoon period between Russia and Prussia. Even so, Ekaterina II was still obsessed with Meissen porcelain. She would order Meissen porcelain whenever there was a momentous banquet or ceremony, which demonstrated her obsession with these products. Another fan of Meissen porcelain was Frederick the Great, king of Prussia, who once controlled Saxony and the Meissen porcelain manufactory. He favored porcelain in Chinese and Rococo styles, and purchased many such wares from Meissen. All these show that Meissen porcelain played an important role in international exchanges at that time.

第三章
巴黎之风——阿西埃和舍恩海特的时代

在欧洲瓷器史上，18世纪前半叶为“梅森时代”。18世纪中叶，梅森瓷器发展至顶峰。此后，因欧洲七年战争（1756-1763）和英、法两国在瓷器领域的崛起，梅森瓷器开始衰落。为了扭转这种局面，梅森瓷器厂将其成员派往巴黎和其他欧洲城市寻求突破。1764年，梅森聘请到了法国雕塑家米歇尔·维克多·阿西埃（Michel Victor Acier），他完善了梅森瓷器的洛可可风格，并根据自身经验，创作了新古典主义风格的瓷器。他作品的题材通常是牧羊人、园丁或纯真的孩子，生动反映了法国哲学家、教育学家让·雅克·卢梭（Jean Jacpues Rousseau）回归自然的思想，受到贵族和新兴阶层的喜爱。19世纪，当洛可可风再度风靡，阿西埃和他的艺术继承者——约翰·卡尔·舍恩海特（Johann Carl Schonheit）创作的优秀作品被再次生产制作。

Chapter III
A Breeze from Paris: The Era of Acier and Schonheit

In the history of European porcelain, the first half of the 18th century was referred to as “the Meissen period”. In the mid-18th century, Meissen porcelain reached its peak. After that, because of the Seven Years' War (1756–1763) and the rise of British and French porcelain, the appeal of Meissen porcelain began to wane. To turn the tide, the manufactory sent people to Paris and other European cities in search of breakthroughs. In 1764, Meissen hired Michel Victor Acier, a French sculptor who later improved Meissen's Rococo porcelain and brought out neoclassical porcelain on the basis of his own experience. Acier often made porcelain figurines of shepherds, gardeners, and naive children, which vividly reflected Rousseau's idea of returning to nature. Therefore, his works were feted by noble families and the emerging class. In the 19th century, when Rococo came back in vogue, people found again in the market the fine works designed by Acier and his successor, Johann Carl Schonheit.

第四章
对梅森瓷的憧憬

梅森瓷器厂于18世纪初在欧洲首次成功烧制出硬瓷，并将其烧制技法视为最高机密。然而，在梅森习得了知识与技术的匠人分散到欧洲大城市，“秘方”泄露，制作工艺很快就传遍了欧洲大陆，新的窑口也随之诞生。从18世纪末开始，尽管梅森的地位因众多竞争者的崛起而动摇，但其在19世纪依然具有强大的影响力。特别对中欧的窑口而言，梅森对洛可可时期作品的复兴，即所谓的新洛可可风格，被视为典范。这些窑口对梅森的憧憬反映在各种形式的作品中，其中一些只能说是仿制品。这类仿制品的大量出现一方面令梅森瓷器厂担忧，但另一方面也无形增加了梅森瓷器的价值。

Chapter IV
A Longing for Meissen Porcelain

In the early 18th century, the Meissen porcelain manufactory successfully produced the first hard-paste porcelain in Europe. The ruler immediately guarded the formula as the top secret. However, after Meissen's craftsmen, together with the knowledge they learned in Meissen, scattered around Europe in big cities, they spread that secret formula across Europe in a short time. As a result, new kilns emerged. The rise of local competitors had undermined the dominance of Meissen porcelain since the end of the 18th century, but the brand remained influential in the 19th century. To kilns in Central Europe in particular, the so-called neo-Rococo style, Meissen's achievement of Rocco renaissance, was taken as a paradigm. The kilns' longing for Meissen porcelain was reflected in their various wares, some of which were nothing more than imitations. To Meissen, the emergence of many copycats was in one way a problem, and in another way an intangible booster to its value.

第五章
梅森瓷杯碟的魅力

大航海时代将咖啡、茶、可可带入欧洲，随着茶饮文化在17世纪下半叶起流行于上流社会，杯子和茶碟的需求也随之增加。梅森瓷器厂从设立之初便生产杯碟，但在创始时期无论设计还是装饰都是对东方彩瓷的复制。1733年，梅森瓷器厂的创始人、东方瓷器的忠实爱好者奥古斯特二世去世后，瓷器厂收紧了东方风格倾向，从以杯碟为首的餐具入手，设计突出独到的西式表达。特别是雕塑家肯德勒构筑的瓷器设计为一大亮点，他先是仿照金属器皿，然后摸索出适合瓷器的新器型，最后创作与雕塑元素结合的餐具，成为了支撑欧洲餐桌文化的重要部分。这是肯德勒的创新，也是梅森瓷器顺应时代潮流作出的积极改变。

Chapter V
Meissen Porcelain Cups and Saucers

During the Age of Sail, people took coffee, tea, and cocoa to Europe. As tea became popular in upper classes in the second half of the 17th century, the demand for cups and saucers increased. Although Meissen produced cups and saucers from the first day of its establishment, it only copied the designs and decorations of colorful oriental porcelain in the beginning. In 1733, August II died. He was the founder of the Meissen porcelain manufactory and a die-hard fan of oriental porcelain. His death weakened the dominance of the oriental style of Meissen, and unique western designs sprang up consequently. Such changes first appeared on tableware like cups and saucers. This period was highlighted by Kaendler and his porcelain works. At first, the sculptor tried to make porcelain in the shape of metal utensils. Based on such trials, he found new models suitable for making porcelain, and finally integrated figurines with tableware. The outcome formed an important part of European table culture. It is not just a personal innovation by Kaendler, but a positive change of Meissen in line with the trend.

第六章
十九世纪的新创作

19世纪初期到中期，梅森瓷器厂由海因里希·戈特利夫·库恩（Heinrich Gottliob Kühn）领导，进行了各方面的技术革新，在他的带领下梅森瓷器厂重新恢复了经济的发展。1849至1886年，担任设计部门负责人的恩斯特·奥古斯特·罗伊特里茨（Ernst August Leuteritz）提出了梅森瓷在19世纪应持有独特的表达方式，即重现梅森黄金时代的作品。在他的主持下，这一时期的梅森模型师和瓷器画家汲取了丰富的历史遗产，怀旧的历史主义成为一种时尚风格，随着新洛可可风成为人们追逐的焦点，梅森瓷也重新站回了历史主舞台。这些以18世纪中叶创作的作品为蓝本，加以新时代特征的作品在世界博览会上一经亮相便吸引了大量目光，尤其在英国收获了极高的人气。

Chapter VI
New Creations in the 19th Century

In the early to middle 19th century, the Meissen porcelain manufactory was run by Heinrich Gottliob Kühn, who carried out various technological innovations and rejuvenated the manufactory. From 1849 to 1886, Ernst August Leuteritz, head of Meissen's design department, stuck to the idea that Meissen porcelain should have its unique expression in the 19th century. He wanted to bring back the designs that fueled the golden age of Meissen porcelain. During his tenure, the model artists and porcelain painters drew on a rich inheritance of history. The nostalgic historicism became a fashion. With the neo-Rococo style gaining popularity, Meissen porcelain was restored to its former glory. Its craftsmen flavored the basic models born in the mid-18th century with the characteristics of the new era. Once shown at the world exposition, their works caught the eye of many people, especially those from Britain.

第七章
从晚宴定制餐具看梅森瓷的革新

欧洲的餐桌饮食文化随着瓷器的登场而迎来了变革的时代。一方面，瓷器的特性使其克服了欧洲餐桌上金属饮食器皿的诸多不足。另一方面，梅森瓷器厂最早投入生产的工艺及样式统一的高级定制餐具套装的出现，足以显示购买者的财力与审美，使得梅森瓷器的特别订单纷至沓来。在餐具的高级定制方面，梅森瓷器提供的服务可谓卓越，可根据客户的要求与喜好，装饰家族纹章、首字母，以及进行映射当时流行事物的设计、绘制反映社会风俗的装饰等。梅森瓷器厂相继推出的高定套组，基于极高的品质、设计感与艺术性，开启了后世欧洲定制餐具的先河，对西方乃至全球餐桌饮食文化产生了深远的影响。

Chapter VII
Innovations of Meissen Porcelain Reflected in Its Customized Dinnerware

The advent of porcelain transformed the culinary culture in Europe. On the one hand, porcelain wares had many merits over the metalware used in Europe. On the other hand, Meissen's upmarket customized dinner services boasted identical craftsmanship and consistent designs, which could prove the owners' wealth and tastes. As a result, Meissen received a flood of special orders. In terms of upscale customized tableware, Meissen provided excellent services. Customers could decorate their tableware with family crests, initials, designs that reflected contemporary fashion, and patterns that showed social customs. Meissen continually produced customized tableware that paired the exceptional quality with the outstanding design. In this regard, Meissen not only inaugurated the first customized tableware in Europe, but also made a profound impact on the culinary culture in the West and even around the world.

第八章
从“新艺术”运动到装饰艺术

约在1890年至1910年的二十年间，“新艺术”运动（Art Nouveau）席卷了欧洲大地，其影响遍布了绘画、设计、建筑、工艺美术等多个方面。艺术家们为摆脱保守艺术氛围，在“新艺术”运动中寻求突破传统装饰纹样的束缚，主张从自然主题中获取灵感，寻求线条与整体的统一。第一次世界大战之际，“新艺术”风格逐渐淡出，取而代之的是1925年巴黎“现代装饰美术产业美术国际展”得名而来的装饰艺术（Art Deco），这是一种装饰意图更强的风格，强调“形式服从于实用”，讲究从使用观点来设计形式。梅森瓷厂在“新艺术”到装饰艺术运动中积极响应，并在瓷器设计领域开辟了新天地，更多符合新时代精神的风格出现在梅森瓷器中。

Chapter VIII
From Art Nouveau to Art Deco

In the two decades from 1890 to 1910, the Art Nouveau movement swept across Europe, and influenced various fields such as painting, designing, architecture, and industrial art. During the Art Nouveau movement, artists wanted to get rid of the conservative atmosphere. They sought to design outside the box of traditional patterns, advocated getting inspiration from nature, and pursued the unity between individual lines and overall models. During World War I, Art Nouveau gradually faded out, and Art Deco took its place. The successor took its name from the International Exposition of Decorative Arts and Modern Industries held in Paris in 1925. This new style featured stronger decorative functions. It emphasized the idea that aesthetics should be subject to practicality, and that designers should follow the formula of practicality and function. Whether it was Art Nouveau or Art Deco in vogue, the Meissen porcelain manufactory swam with the tide. In other words, Meissen broke new ground in porcelain design, and created more wares that met the new spirits prevailing at that time.

第九章
争相竞艳的欧洲瓷器

自中国瓷器传入欧洲以来，瓷器的热潮便从未在这片土地上消退过。梅森瓷的诞生，激发了更多欧洲瓷窑的出现。这些瓷窑所生产的器具，从早期模仿东方风格或梅森样式到后期诞生出各自独有的风格特点，争相竞艳，欧洲瓷器的生命力也得以蓬勃发展。这既是一场不同文化之间的碰撞融合所表现出的璀璨结果，更验证了“文明因交流而多彩，文明因互鉴而丰富”。

Chapter IX
Intense Competition Among European Porcelain Factories

Since Chinese porcelain had been introduced to Europe, porcelain mania never waned in this land. The birth of Meissen porcelain encouraged the establishment of more European porcelain kilns. At first, these factories either imitated the oriental style or copied the Meissen style. Then, they created their own designs and styles. Consequently, a contest among European factories started and European porcelain prospered with vitality. This is not only an example showing that collision and integration between different civilizations can generate sweet fruits, but also the evidence proving the fact that civilizations are colorful and luxuriant because of exchanges and mutual learning.