陶瓷之谜第 14 课

Adding colored decoration had always been difficult 彩绘向来是高难度的工作
because few pigments could withstand the high temperatures needed to fire the white clay.因为鲜有染料可以承受 烧制素胎所需的高温

Ground cobalt, a blackish pigment, imported from Iran could be mixed with water and painted on an unfired piece of porcelain. 进口自伊朗的黑色钴料 加水混合后描绘在生坯上

Glaze would then be applied, either by dipping or blowing it through a bamboo pipe; 再以蘸染或竹管喷绘透明釉
a process simplified in the modern age. 现代陶匠则已将此简化

This glaze later becomes transparent when fired, 烧制后的釉透明晶莹
to reveal the intricate designs painted underneath. 其下描绘的细致图案 也就一览无遗

During firing, the cobalt would turn a rich shade of blue, 在烧制过程中 钴料会转为靛青色
like a butterfly magically emerging from a cocoon. 宛如蝴蝶破茧而出

This enchanting Chinese blue and white porcelain would soon be shipped ound the world - 令人心动的青花瓷 很快行销全球
captivating Europeans and Egyptians, Japanese and Javanese alike for centuries to come. 风靡欧洲，埃及，日本和爪哇 达数百年之久

Well before Europeans discovered the sea-routes to Asia, 早在欧洲人发现 通往亚洲的航路前
in junks like these Ming blue and white ceramics were being 一船又一船的明代青花瓷
exported to Southeast Asia, Africa, India, 便已运往东南亚，非洲和印度
and a few even got to Europe through Arab and Italian traders. 少数更透过阿拉伯 和意大利商人，登上欧陆

The mystique of Chinese ceramics affected many Southeast Asian cultures. 神秘的中国陶瓷 影响了东南亚各国的文化
The Dayaks of Indonesia so cherished a Chinese glazed mataban jar as a family heirloom, 印尼达雅克族人往往将来自中国的陶瓮 当作传家宝
that Dayak men in debt would sometimes sell a family member into slavery rather than part with the jar. 欠了债宁可将家人卖作奴隶 也不愿卖掉陶瓮

As far away the Philippines, 而远在菲律宾
Chinese ceramics were included as burial objects, a testament to their importance in ancient Filipino culture. 中国陶瓷更是葬礼的必备品在说明陶瓷对菲国古文化的重要性