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2011年11月，由北京故宫博物院、中国古陶瓷学会、福建省文物局、德化县人民政府共同主办的“2011中国瓷都・德化窑学术研讨会”在瓷都德化举办，近百位国内外博物馆馆长、从事陶瓷文化研究的专家学者齐聚瓷都德化，以“中国白的故乡、瓷艺术的摇篮”为主题，共同研讨深厚的德化窑陶瓷文化。

研讨会共提交专题论文39篇，其中不乏外国专家的作品。与会的专家学者以翔实的图文史料为佐证，从学术专业的角度对德化窑在国内外陶瓷文化领域的历史地位和影响做了全面深刻的阐述，是一笔难得的、丰硕的学术成果。

近期，《外国人眼中的“中国白”》栏目将再次回顾刊载该研讨会的相关论文，并对其中的论文进行翻译，为广大德化陶瓷文化研究爱好者提供学习、交流、参考。

The Baur Foundation’s collection of Dehua porcelains（一）

作者：Monique Crick 翻译：德化陶瓷文化研究院 孙延燕 

I am not collecting ceramics either for ornamental purposes or for actual use, but for the purpose of having specimens showing the shape and above all the beauty of glazes and colours.

Alfred Baur,August 14,1931

“我收藏陶瓷既不是为了装饰的目的，也非出于实际的用途，而是用来展示瓷器外形以及一切釉和色彩美为目的。”

——阿尔佛雷德·鲍尔，1931年8月14日

When the Baur Collection opened in 1964,few people were aware that this private museum housed one of the most important European collections of Chinese ceramics. The scope, originality and quality of Alfred Baur's collection indeed rank it within this inner circle of exceptional collections outside the imperial collections of the Forbidden City and the Palace Museum in Taipei. One of Alfred Baur's constant regrets was that he had not started to collect Chinese ceramics before 1928 because the political situations prevailing in the 1930s and 1940s were to make travelling and purchasing difficult. Yet in the space of about ten years from 1928 to 1939 five hundred and sixteen pieces were to be assembled. From 1939 onwards the economic situation and the war prevented the collection from being enlarged but from 1945 until his death, A.Baur was still just as keen to acquire new pieces. The Chinese ceramics collection now comprises seven hundred and fifty-six pieces.

当鲍氏收藏艺术馆于1964年对外开放的时候，很少有人会想到这座私人博物馆竟然成为中国陶瓷在欧洲最重要的收藏馆之一。阿尔佛雷德·鲍尔的收藏品无论是规模、原创性还是瓷器的质量，都成为继北京故宫和台北故宫皇家收藏之外的杰作，在业内享有盛誉。令阿尔佛雷德·鲍尔时常感到遗憾的是由于二十世纪30年代和40年代的政治局势让当时的旅行和购买都变得异常困难，所以他直到1928年才开始收藏中国瓷器。然而在1928年到1939年的十年的时间里，他共收集到了516件中国瓷器。1939年之后，经济状况和战争阻碍了收藏的继续扩大，但是从1945年到他去世，阿尔佛雷德·鲍尔一直热衷于收藏新的藏品。至今为止，博物馆共收集了756件中国陶瓷。

A.Baur chose to confine himself to what he called the "Chinese porcelain-miniature pieces""to avoid having too large pieces, which are unwieldy and difficult to handle or to place in show cases". He set the dimensions at less than 40 centimetres, although he agreed to revise them for "pieces interesting in shape",for "the special quality of an article which warrants an exception being made""or to some extent to break the monotony". A.Baur wanted to form a collection of the "representative pieces of all periods"which show "the best traditions of Chinese ceramic art". The collector was never attracted by the Chinese ceramics before the Tang period or by figurines. He often used to recommend his Japanese expert, K.Tomita to avoid decorations that were overcrowded. A.Baur wanted also to collect only perfect pieces of outstanding quality. K.Tomita had prospected in Europe, China-at Shanghai and Peking-as well as in Japan, where he attended the auctions breaking up the heritage of daimyÔ and other collectors.

阿尔佛雷德·鲍尔想以他所说的“小型中国陶瓷器”、“避免收藏那些提放和装箱都不便和困难的超大作品”等收藏原则为限。他设定的收藏尺寸为40厘米以下，然而他也同意为一些“造型新颖”、“质量特别，无可取代”或“从一定程度上打破乏味”的作品而对此标准作出妥协。鲍尔想用“各个时期收藏的代表作”来反映“中国陶瓷艺术传统的精华”。曾经唐代以前的中国陶瓷和小人物塑像从不受收藏家的关注。他时常提醒他的好友，一位日本籍专家Tomita不要收藏装饰得过于繁复的作品。阿尔佛雷德·鲍尔也想收藏品质完善的稀世珍品，为此他的日本专家K.Tomita到欧洲、中国上海和北京以及日本不断地进行搜寻，并参加daimyÔ和其他收藏家破产所余下的遗产拍卖。

Alfred Baur's full commitment to Chinese ceramics began with the famous monochromes of the Song and Yuan dynasties, which embody the quintessence of the ceramic art, with a perfect balance between the shapes and glazes.The most important reigns of the Ming dynasty(1368-1644)are also all represented with a remarkable variety of style. A.Baur went a stage further than contemporary collectors in Europe, investing heavily in the imperial monochrome-glazed wares of the Qing dynasty, which are the most remarkable set of Chinese porcelains in the museum and are unparalleled outside the Chinese imperial collections. A.Baur prized the elegance and simplicity of these ceramics and was fascinated by the harmony between the form and the colour, and the variety and subtlety of shades.

阿尔佛雷德·鲍尔迷上中国陶瓷是从收藏著名的宋元时期的单色瓷开始的。这种瓷器在造型和釉色方面找到了最佳的平衡点，从而成为陶瓷艺术的典范。明代1368年至1644年的多数重要的年号也都代表一种时代的风格。阿尔佛雷德·鲍尔对中国清代宫廷用的单色釉瓷投入巨大的收藏，这点大大超越了欧洲同时代的收藏者，这些成为了博物馆中中国陶瓷最为辉煌、最重要的组成部分，这也是中国宫廷收藏之外绝无仅有的。阿尔佛雷德·鲍尔珍视这些陶瓷的优雅和简洁，并且被这些陶瓷和谐的胎釉、种类和光影的细微差别所深深吸引。