This study transcends the linear diffusion paradigm in enamel color studies by unveiling a polycentric interactive network of Eurasian enamel technologies from the 13th to 18th centuries. Through a tripartite analytical framework integrating technical experimentation, chemical data, and archival documentation, we identify three technological iterations in Chinese enamel development: foundational glaze formulations in the Yuan Dynasty, establishment of cobalt-blue and warm-tone systems in the Ming Dynasty, and gold-pink innovation during the Qing Dynasty. Key findings reveal Persian technological influences in Yuan-Ming glaze materials, while Qing gold-pink enamels synthesized European arsenic reduction techniques with indigenous formulations. This evolutionary process constitutes a transcontinental translation of chromatic technologies across civilizations, subverting the "core-periphery" narrative. Our research substantiates the hypothesis of Yuan Dynasty origins for Chinese enamel arts and illuminates the techno-collaborative mechanisms underlying the formation of global chromatic languages.
Key words
Chromatic Studies /
Enamel Glazes /
Technology Dissemination /
Global Historiography /
Interdisciplinarity
{{custom_sec.title}}
{{custom_sec.title}}
{{custom_sec.content}}
References
[1] 汪凌川. 粉彩工艺与艺术风格的演变[M]. 南昌: 江西高校出版社,2017(6):15.
[2] 祝重寿. 关于中国铜胎掐丝珐琅的起源问题[M]// 中央工艺美术学院学术委员会. 装饰艺术文萃. 北京: 北京工艺美术出版社,1991(10):438.
[3] 葛兆光. 从中国出发的全球史: 中[M]. 昆明: 云南人民出版社,2024(4):485.
[4]H. W. Catling, Kouklia. Late Bronze Age and Early Iron Age Tombs at Palaepaphos 1951-1954, Volumes I and II: Excavations of the Liverpool City Museum and St Andrews University Expedition to Palaepaphos[M], BAR Publishing, 2020.
[5] 曹昭. 格古要论( 钦定四库全书)[M]// 熊寥. 中国陶瓷古籍集成注释本. 南昌: 江西科学技术出版社,2000(4):74.
[6][ 明] 曹昭. 新增格古要论( 卷7)( 丛书集成初编本)[M]. 北京:中华书局,1985:155.
[7][ 元] 吴莱. 吴莱集( 卷2)[M]// 张文澍, 校点. 大食瓶. 长春: 吉林文史出版社,2010:20.
[8]王彦雯“. 燕京八绝”之首的景泰蓝色彩研究[J].流行色,2018(10):8-12.
[9] 故宫博物院. 清宫图典: 典藏卷[M]. 北京: 故宫出版社,2019(12):248.
[10] 张临生. 试论清宫画珐琅工艺发展史[J]. 故宫季刊,1983,17(3):25.
[11]Emily Byrne Curtis. 清朝的玻璃制造与耶稣会士在蚕池口的作坊[J]. 米辰峰, 译. 故宫博物院院刊,2003(1):63.
[12] 朱家溍. 清代画珐琅器制造考《工艺美术史料汇编》之一[J].故宫博物院院刊,1982(3):67-76.
[13] 许晓东. 康熙､雍正时期宫廷与地方画珐琅技术的互动[M]// 故宫博物院, 柏林马普学会科学史. 宫廷与地方: 十七至十八世纪的技术交流. 紫禁城出版社,2010(9):329.
[14] 周默. 雍正家具十三年: 雍正朝家具与香事档案辑录: 下[M].南京: 江苏凤凰美术出版社,2021(12):993.
[15] 刘瀚文, 王翯, 张荣, 等. 清代画珐琅金红彩的区分与研究[J].文物保护与考古科学,2023(5):17-26.
[16]GEYSSANT, J. Secret du verre rouge transparent de Bernard Perrot et comparaison avec celui de Johann Kunckel[M]//Bernard Perrot(1640-1709): Secrets et Chefs-d’oeuvre des Verreries Royales d’Orléans. Catalogue, Musée des Beaux-Arts d’Orléans. Paris: SOMOGY Éditions d’Arts, 2010: 51-54.
[17] 张福康. 清代的珐琅彩瓷[EB/OL].[2002-06-18].https://www.
cas.cn/zt/jzt/kpzt/hxyxcl/200206/t20020618_2665985.shtml
[18]施静菲.日月光华:清宫画珐琅[M].台北:国立故宫博物院,2012.
PDF(1907 KB)
