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Over 400 pieces or sets of Dehua white porcelain (德化白瓷) are on display in the National Museum of China in Beijing, with the exhibition running from Aug 26 for three months.

400余件（組）德化白瓷作品自8月26日起在中國國家博物館展出，本次展覽為期三個(gè)月。

 

Dehua white porcelain is famous for its pure white color. According to Chen Chao, an artist dedicated to porcelain research, Dehua porcelain is extraordinarily pure and white because the kaolin (高嶺土) in Dehua county in Fujian has a low percentage of iron, making the porcelain stainless (無瑕的) like white jade, earning it the French name “Blanc de Chine”, or “white from China”.

德化白瓷因其白、透、潤而名揚(yáng)天下。據(jù)青年陶藝家陳超介紹，德化白瓷色澤純凈無暇、有如白玉，這得益于其用料——福建德化地區(qū)高嶺土，含鐵量較低。德化白瓷也因此在世界上享譽(yù)著“中國白”的美稱。

 

Sitting in Quanzhou city, where the ancient Maritime Silk Road started, Dehua white porcelain has sold like hotcakes at home and abroad since the Song Dynasty (960-1279). In 2006, Dehua white porcelain was listed as a national intangible cultural heritage.

不僅如此，德化縣位于福建泉州，這里是海上絲綢之路的起點(diǎn)，自宋代（960-1279）以來，德化白瓷就因其精美而暢銷海內(nèi)外。2006年，德化瓷燒制技藝列入國家首批非物質(zhì)文化遺產(chǎn)保護(hù)名錄。

 

Despite the past glories, Dehua craftsmen (工匠) never stop refining (精進(jìn)) their skills. One impressive skill is “the eggshell technique” (薄胎技藝).

德化白瓷藝術(shù)歷久彌新，有賴于德化工匠一直以來對于技藝追求精益求精。德化瓷燒制技藝中，最令人嘆服的莫過于“薄胎技藝”。

 

The eggshell technique in Dehua dates back to the Ming Dynasty. With the technique improved by generations of craftsmen, today’s eggshell porcelain can be made as thin as paper and gauze (薄紗).

“薄胎技藝”明代以來就有。歷代德化工匠不斷對“薄胎技藝”進(jìn)行挖掘、改進(jìn)、發(fā)展，時(shí)至今日，依托這一技藝燒制而成的瓷器藝術(shù)作品可以薄如紙紗。

 

Standing before an artwork named “Paper” at the exhibition, many of the attendees wondered how it could be made from porcelain. “First, a layer of kaolin is applied to sheets of paper. Then, the paper is heated in a kiln (窯) for several days until it turns into ashes (灰). Finally, what’s left is kaolin. This is how the artwork was made,” explained Chen.

站在《紙》這件展出的藝術(shù)作品前，觀眾無不嘆服這樣的工藝是怎樣造就的。陳超解釋道：“首先，工匠們會(huì)將一層高嶺土附在一張紙上。接著，附在紙上的高嶺土將被放入窯中進(jìn)行燒制，直至幾天之后所附之紙被燒成灰。去紙留瓷，這樣，作品《紙》最終就完成了。”

 

However, this is much easier said than done. Careful attention is given to make sure the clay (黏土) stays the same as when it was sent to the kiln.

不過，說起來簡單做起來難。保持黏土入窯前后狀態(tài)的一致，是需要非常小心謹(jǐn)慎的。

 

“The temperature and formula (配方) of the clay are key. Every component (成分) in the clay has its function,” said Su Xianzhong, the artist who created Paper. “The failure rate is extremely high, so every work consumes the craftsman’s time and energy.” He added that even a small artwork like Paper needs continuous focus for a whole week.

“窯內(nèi)溫度控制和黏土混合配方是燒制成功的關(guān)鍵?；旌隙傻酿ね?，其中含有的每一種成分，都有它的作用，”作品《紙》的作者，中國陶瓷藝術(shù)大師、蘊(yùn)玉瓷莊第四代傳人蘇獻(xiàn)忠說，“燒制失敗的幾率非常高，每一件作品都飽含著工匠的心血和時(shí)間。”蘇獻(xiàn)忠還說，哪怕像《紙》這樣一件小規(guī)模作品，都需要花費(fèi)一整周的時(shí)間專注去做。

 

Chen said that the refined eggshell technique is just one of the achievements that Chinese porcelain craftsmen have made on the long path of innovation.

陳超指出，經(jīng)過改進(jìn)發(fā)展的“薄胎技藝”，只是中國陶瓷工匠堅(jiān)持守正創(chuàng)新，達(dá)成的偉大藝術(shù)成就之一。

 

“By combining traditional Chinese artistic skills with modern disciplines (學(xué)科) like material science and humanities, Blanc de Chine will continue to enhance the cultural confidence of the Chinese people as they create even more outstanding works,” said Chen.

“將中國傳統(tǒng)美學(xué)和工藝與現(xiàn)代學(xué)科技藝，比如材料科學(xué)和人文科學(xué)相結(jié)合，擁有‘中國白’美稱的德化白瓷藝術(shù)，未來也將繼續(xù)探索更加巧奪天工的技藝，不斷加強(qiáng)我們的文化自信。”陳超說。

 

以上文章內(nèi)容選自《21世紀(jì)英文報(bào)》高二921期