【世文聯(lián)】陳光億宗師隆重公布新加坡收藏家協(xié)會(huì)舉辦2024新加坡暨景德鎮(zhèn)御窯瓷器大展提前于8月15日預(yù)先展出

Grand Master Jason Tan Founder & Chief Global Councillor of 【FOWCAAS】 has officially announced the Collectors' Association (Singapore) hosting of the "2024 Singapore and China Jingdezhen Imperial Kiln Porcelain Grand Exhibition" previewing publicly on the 15 August

【中國(guó)景德鎮(zhèn)御窯博物院】、【新加坡中國(guó)文化中心】及【新加坡收藏家協(xié)會(huì)】舉辦2024新加坡《絲路瓷行?天工造化》大展,【世文聯(lián)】為支持單位。

2024 [Silk Road Porcelain Journey ? Divine Craftsmanship] Co-organizers by China Jingdezhen Imperial Kiln Institute, China Cultural Centre in Singapore and Collectors’ Association (Singapore),

support by【FOWCAAS】.

2024新加坡暨景德鎮(zhèn)御窯瓷器大展提前于8月15日預(yù)先展出。(圖一)

2024 Singapore and China Jingdezhen Imperial Kiln Porcelain Grand Exhibition previewing publicly on the

15 August. (Photo 1)

2024新加坡暨景德鎮(zhèn)御窯瓷器大展提前于8月15日預(yù)先展出。(圖二)

2024 Singapore and China Jingdezhen Imperial Kiln Porcelain Grand Exhibition," which was previewed publicly on the 15 August. (Photo 2)

【皇家瓷器*輝遺珍】 - 景德鎮(zhèn)出土明代御窯瓷器展

Royal Porcelain ? Treasures of the Imperial Kiln - Ming Dynasty Imperial Kiln Porcelains Exhibition from Jingdezhen

“絲路瓷行?天工造化——景德鎮(zhèn)御密出士明代瓷器展”，首次將中國(guó)景德鎮(zhèn)御窯遺址出士瓷器帶到東南亞，展出景德鎮(zhèn)御窯博物館珍藏的文物，涵蓋永樂白釉、宣德青龍，成化斗彩等名器，體現(xiàn)“皇家遺珍”的歷史、藝術(shù)及科技信息。從考古遺址發(fā)掘出士的一些瓷器是故宮博物院未收藏的，改寫了陶瓷歷史。

The "Silk Road Porcelain Journey ? Divine Craftsmanship – Ming Dynasty Porcelain Unearthed from the Jingdezhen Imperial Kiln" exhibition is the first time that porcelain unearthed from the Jingdezhen Imperial Kiln site in China has been brought to Southeast Asia. The exhibition showcases artifacts from the Jingdezhen Imperial Kiln Institute, including renowned pieces such as Yongle white glaze, Xuande blue and white, and Chenghua doucai. These "Imperial Treasures" reflect the historical, artistic, and technological significance of the Ming Dynasty. Some of the porcrlain unearthed from the archaeological site, which are not part of the collections of the Palace Museum, have rewritten the history of porcelain.

景德鎮(zhèn)有悠久的制瓷歷史，明洪武二年【公元1369年】開始為宮廷燒造瓷器，宣德元年定名為“御器廠”，長(zhǎng)期代表了中國(guó)創(chuàng)瓷工藝和制度的最高水平，并與民間窯場(chǎng)互動(dòng)互補(bǔ)，共同促使景德鎮(zhèn)成為世界制瓷中心，在中國(guó)乃至世界陶瓷史上占有特珠地位。

Jingdezhen has a long history of porcelain production, beginning in the second year of the Hongwu reign of the Ming Dynasty (1369 AD), when it started producing porcelain for the imperial court. In the first year of the Xuande reign, it was officially named the "Imperial Kiln Factory." For a long time, it represented the pinnacle of Chinese porcelain craftsmanship and institutional practices. The Imperial Kiln worked in tandem with private kilns, complementing each other, which collectively contributed to Jingdezhen's rise as the world's porcelain production centre. This unique status holds a special place in both Chinese and global ceramic history.

由景德鎮(zhèn)市文化廣電新聞出版旅避局、新加坡中國(guó)文化中心和新加坡收藏家協(xié)會(huì)主辦，中國(guó)駐新加坡大使館榮譽(yù)支持，世界文化藝術(shù)聯(lián)合總會(huì)全球支持及景德鎮(zhèn)御窯博物院承辦的“絲路瓷行?天工造化—景德鎮(zhèn)御窯出土明代瓷器展”，首次將景德鎮(zhèn)御窯遺址出土瓷器帶到東南亞，8月15日起在新加坡中國(guó)文化中心展廳，集中展示中國(guó)古代最杰出的制瓷工藝與制度，講述“一帶一路”中以瓷器為載體的文明交流互鑒故事。

The "Silk Road Ceramics Journey ? Divine Craftsmanship - Exhibition of Ming Dynasty Porcelain Unearthed from the Imperial Kiln in Jingdezhen," jointly organized by the Jingdezhen Municipal Bureau of Culture, Radio, Television, Press and Publication and Tourism, the China Cultural Centre in Singapore, and the Singapore Collectors’ Association (Singapore), with the honorary support of Embassy of the People’s Republic of China in the Republic of Singapore, global support from the Federation of World Cultural and Art Society (Singapore), and Co-organiser by the Jingdezhen Imperial Kiln Institute. will bring porcelain unearthed from the Jingdezhen Imperial Kiln Site to Southeast Asia for the first time. Starting on 2024 August 15, this exhibition will be held at the China Cultural Centre in Singapore, showcasing the most outstanding ancient Chinese porcelain craftsmanship and systems while narrating stories of cultural exchange and mutual learning through porcelain as a medium along the "Belt and Road" initiative.

世界文化藝術(shù)聯(lián)合總會(huì)名譽(yù)顧問、景德鎮(zhèn)陶瓷考古研究所名譽(yù)所長(zhǎng)、研究館員江建新教授（66歲）接受新加坡媒體《聯(lián)合早報(bào)》訪問時(shí)說，景德鎮(zhèn)御窯出土明代瓷器新加坡展有別于一般瓷器展，其重要意義在于展品出自御窯廠，其斷代權(quán)威性比其他遺址更有說服力。另外，它在發(fā)現(xiàn)過程中有地層信息，埋藏環(huán)境與各種品類，文化信息豐富，通過挖掘與埋藏遺物的信息，可知當(dāng)時(shí)生產(chǎn)、曾理與工藝方面的情況。

Professor Jiang Jianxin, Honorary Advisor of the Federation of World Cultural & Art Society (Singapore) and Honorary President and Researcher of the Jingdezhen Ceramic Archaeology Research Institute, stated in an interview with Singapore press “Lianhe Zaobao” that the Ming Dynasty porcelain exhibition from the Jingdezhen Imperial Kiln in Singapore is different from typical porcelain exhibitions. Its significance lies in the fact that the exhibits originate from the Imperial Kiln Factory, which makes their dating authority more persuasive than that of other archaeological sites. Additionally, the discovery process includes stratigraphic information, and the burial environment features a rich array of cultural details across various categories. The information obtained from the excavation and buried artifacts allows us to understand the production, management, and craftsmanship conditions of that time.

江建新教授所說：“遺物成堆出土，非常豐厚，同一個(gè)地層或灰坑會(huì)出現(xiàn)同一時(shí)期的東西，當(dāng)中有很多是故宮博物院沒有收藏的。在過去，若不是在御窯廠出土，我們會(huì)以為不是一個(gè)時(shí)代的東西。因?yàn)槁癫啬甏浅？煽?，我們根?jù)這些孤品或從沒見過的遺物來填補(bǔ)陶瓷研究的空白，有時(shí)候可以改寫歷史?！傲硗?，遺址出土的一些重要標(biāo)本有特殊記號(hào)，比如紀(jì)年，對(duì)當(dāng)年工藝提供很好的參考價(jià)值，特別對(duì)陶瓷史的研究，對(duì)過去的認(rèn)知起到補(bǔ)充或修改作用?？偟膩碚f，通過御窯遺址發(fā)掘的展覽，意義是多方面的，對(duì)我們認(rèn)識(shí)中國(guó)陶瓷，特別是官窯歷史有非常重要的科學(xué)研究?jī)r(jià)值。”

Professor Jiang Jianxin said: " The unearthed relics are abundant and very rich. The same layer or ash pit may contain items from the same period, many of which are not collected by the Palace Museum. In the past, if these items had not been unearthed from the Imperial Kiln from the Imperial Kiln Factory, we would assume they were from different eras. Because the dating of the burial is very reliable, we can use these unique or previously unseen artifacts to fill gaps in ceramic research, and sometimes it can even rewrite history. Additionally, some important specimens excavated from the site have special markings, such as dates, which provide valuable references for understanding the craftsmanship of that time. This is particularly beneficial for the study of ceramic history, as it complements or revises our understanding of the past. Overall, the exhibition derived from the excavation of the Imperial Kiln site has multifaceted significance and holds very important scientific research value in helping us understand Chinese ceramics, especially the history of official kilns."

除了精良品其余全砸碎

Except for the finest pieces, the rest were all smashed

憑借皇家授予的特權(quán)，景德鎮(zhèn)御窯廣聚能工巧匠，博攬名窯技藝，選用上等原料生產(chǎn)，保證貢入宮廷的御窯瓷器選代創(chuàng)新，件件精良。景德鎮(zhèn)御窯長(zhǎng)期執(zhí)行嚴(yán)格的揀選制度，貢余品、殘次品、試驗(yàn)品均被砸碎、掩埋在御器廠內(nèi)不影響生產(chǎn)的區(qū)域，為如今考古研究，還原當(dāng)時(shí)的御窯面貌提供了詳實(shí)證據(jù)?？脊艌F(tuán)隊(duì)自20世紀(jì)70年代起，發(fā)掘、整理、拼對(duì)、修復(fù)，一大批明朝御窯瓷器得以“重見天日”。自1992年起，御窯瓷器在香港、日本、英倫、臺(tái)北、巴黎、澳門、荷蘭、北京、烏茲別克、上海等展出，如今來到新加坡。

With the privileges granted by the royal court, the Jingdezhen Imperial Kilns gathered skilled craftsmen and absorbed techniques from renowned kilns, using the finest materials to produce porcelain for the imperial court. This ensured that the porcelain sent to the palace was innovative and of exceptional quality. The Jingdezhen Imperial Kilns implemented a strict selection process, where surplus items, defective products, and experimental pieces were all smashed and buried in designated areas within the factory that would not interfere with production. This practice has provided invaluable evidence for modern archaeological research, allowing us to reconstruct the historical appearance of the imperial kilns. Since the 1970s, archaeological teams have been excavating, organizing, piecing together, and restoring a significant number of Ming dynasty imperial porcelain pieces that had been buried. Starting in 1992, these imperial porcelains have been exhibited in Hong Kong, Japan, the UK, Taipei, Paris, Macau, the Netherlands, Beijing, Uzbekistan, and Shanghai, and now they have arrived in Singapore.

到底御窯瓷器的燒制工藝有多嚴(yán)格，皇帝要求有多挑剔，瓷器砸毀率多高？江建新教授又說，通過考古挖掘情況來看，元朝的官窯遺址是沒有埋藏堆積的，堆積情況是從明代洪武開始，延續(xù)至嘉靖。萬歷以后，官窯制度改變，官搭民燒，御密廠很難控到可以復(fù)原的瓷囂碎片，有時(shí)候挖到的嘉萬堆積坑都不能復(fù)原。

Just how strict were the firing techniques for imperial kiln porcelain, and how exacting were the emperors in their demands? How high was the destruction rate of these porcelains? Professor Jiang Jianxin explained that archaeological excavations reveal that there was no burial of piled-up shards at the Yuan dynasty imperial kiln sites. This practice of accumulation began during the early Ming dynasty, starting with the Hongwu reign and continuing until the Jiajing reign. After the Wanli reign, the official kiln system changed, with civilian kilns producing for the government, making it difficult to find shards that could be restored at the imperial kilns. In some cases, even the Jiajing and Wanli accumulation pits unearthed cannot yield restorable pieces.

部分明初殘片可修復(fù)

Some fragments from the early Ming Dynasty can be restored

江建新教授再指出，明初洪武到嘉靖以前，皇家有意識(shí)地把多余的、殘次品和試驗(yàn)品通通在御窯廠砸碎，不讓流落到民間，這時(shí)期挖掘出來的殘片，部可以修復(fù)成完整件。到了清代官窯，瓷器處理制度與明代不同，所有殘次品標(biāo)本堆在一起，因此難以修復(fù)。這和清代管理制度有關(guān)，唐英督窯時(shí)，上奏折給乾隆皇帝，點(diǎn)明庫房積壓了很多落選官窯瓷器的煩惱，皇帝批示除了五爪龍和黃釉瓷器之外，其他都可酌情處理，多余瓷器可以變賣。

Professor Jiang Jianxin further pointed out that during the early Ming period, from the Hongwu to Jiajing reigns, the imperial court deliberately destroyed surplus, defective, and experimental porcelain at the Imperial Kiln, preventing these items from reaching the public. The shards excavated from this period can often be restored into complete pieces. In contrast, during the Qing dynasty, the handling of defective porcelain was different. All defective samples were piled together, making them difficult to restore. This difference is related to the management system of the Qing dynasty. Tang Ying, the superintendent of the imperial kilns, once reported to Emperor Qianlong, highlighting the issue of surplus rejected porcelain in the storerooms. The emperor responded that, apart from five-clawed dragon and yellow-glazed porcelain, the other items could be disposed of at discretion, and surplus porcelain could be sold.

官窯瓷器砸毀率也與向瓷燒制工藝的難度有關(guān)，宣德時(shí)期的紅釉瓷器成功率不高，十之八九是廢品，甚至更少，砸毀率就很高。斗彩瓷器成功率較高，挖掘顯示斗彩單一品種遺物很少。青花瓷器也不容易燒成功。江建新說，古代文獻(xiàn)沒具體記錄砸毀率，考古專家是根據(jù)挖掘情況做推測(cè)。

The destruction rate of imperial kiln porcelain was closely related to the difficulty of the production process. During the Xuande period, for example, the success rate of red glaze porcelain was very low—about nine out of ten pieces were discarded as defective, sometimes even more. As a result, the destruction rate was quite high. On the other hand, doucai porcelain had a higher success rate, and excavations have shown that there are very few relics of a single type of doucai. Blue-and-white porcelain was also challenging to produce successfully. Professor Jiang Jianxin mentioned that although ancient records do not provide specific details on destruction rates, archaeologists have made estimations based on excavation findings.

明代宮窯更漢化

The imperial kilns of the Ming dynasty became more Sinicized

燒制了200多年的明代官窯瓷器，比起元、清，具有哪些重要特征與樣式？江建新教授說，在元朝，青花資與釉里紅比較常見。明代以后，瓷器品類豐富，除了青花、釉里紅、斗彩，還有各種顏色釉的瓷器。清代又比明代更豐富，有五彩、粉彩、斗彩，單一顏色高溫秞瓷翠。他說，從器形來看，元代大件元青花受伊斯蘭文化影響，因?yàn)殇N往中東地區(qū)，紋飾風(fēng)格具異域風(fēng)情，充滿阿拉伯裝飾風(fēng)味；它同時(shí)受到阿拉伯陶器的影響，用的顏料是外來（西業(yè)）的蘇麻里青鈷料。

Ming dynasty imperial kiln porcelain, which was produced for over 200 years, possesses several distinctive characteristics and styles compared to those of the Yuan and Qing dynasties. Professor Jiang Jianxin explained that in the Yuan dynasty, blue-and-white and underglaze red porcelains were more common. However, after the Ming dynasty, the variety of porcelain types expanded significantly. In addition to blue-and-white and underglaze red, there were also doucai (contrasting colors) and various colored glazes. The Qing dynasty further enriched this diversity, introducing wucai (five colors), fencai (pastel colors), doucai, and monochrome high-temperature glazes like emerald green.

He also noted that in terms of shape, Yuan dynasty porcelain, particularly large pieces of blue-and-white, was influenced by Islamic culture, as it was often exported to the Middle East. The decorative style is rich in exotic, Arabesque patterns, reflecting the influence of Arab pottery. The pigments used, such as the cobalt blue, were imported from regions like Persia.

明代官窯有更多漢化的影響，各代皇帝都在官窯瓷器上留下重要痕跡，比如宣德皇帝的心愛之物蟋蟀罐燒得非常精美，以中國(guó)畫意為特征，表現(xiàn)出中國(guó)傳統(tǒng)文化的審美品味。明代中期成化開一代之風(fēng)，將中國(guó)陶瓷的細(xì)膩精巧精英發(fā)揮到了極致。嘉靖萬歷時(shí)期隨著國(guó)力衰扇，雖然瓷器仍有永宣成化的味道，但整個(gè)面貌不如前朝，工藝水平退步。

The official kilns of the Ming dynasty had a more sinicized influence, with emperors of all generations leaving important traces on the porcelain of the official kilns. For example, the Emperor Xuande's beloved cricket jars were beautifully burned, featuring Chinese pictorial meanings and demonstrating the aesthetic tastes of traditional Chinese culture. Chenghua in the middle of the Ming Dynasty opened a generation of wind, the delicate and refined elite of Chinese ceramics to the extreme. Jiajing Wanli period with the decline of national power fan, although porcelain still have Yongle, Xuande and Chenghua flavor, but its overall appearance did not match that of the earlier dynasties, and the level of craftsmanship regressed.

明官窯燒造了數(shù)以萬計(jì)的御瓷精品，比如永樂宣德的青花、釉里紅、紅釉，成化的斗彩：弘治、正德的黃釉、黃地綠彩；嘉靖、萬歷的五彩等品種。又如永樂青花壓手懷、宣德青花蟋蟀罐、宣德斗彩鴛鴦蓮池紋盤、正統(tǒng)青花大龍缸、成化斗彩雞缸杯等，堪稱一代珍品。明代晚期隨著御窯廠停燒，民窯則發(fā)展興旺，尤其是由荷蘭東印度公司主導(dǎo)的外銷瓷空前活躍，由此奠定了景德鎮(zhèn)為國(guó)際瓷都的地位。

The Ming official kilns produced tens of thousands of exquisite imperial porcelain pieces, such as the blue and white and underglaze red from the Yongle and Xuande periods, as well as the Doucai from the Chenghua period, and the yellow glazes and yellow-ground green-decorated wares from the Hongzhi and Zhengde periods. Other notable examples include the Yongle blue-and-white "pressed hand" cup, the Xuande blue-and-white cricket jar, the Xuande Doucai "mandarin duck and lotus pond" dish, the Zhengde blue-and-white large dragon jar, and the Chenghua Doucai chicken cup, all of which are considered treasures of the era. In the late Ming Dynasty, as the Imperial Kiln Factory ceased production, the folk kilns flourished, particularly with the unprecedented activity in export porcelain led by the Dutch East India Company. This development established Jingdezhen's status as an international porcelain capital.

部分展品博物館未收藏

Some exhibits have not been collected by museums

本次展覽分為：?jiǎn)⒚鳉庀?、?guó)之重器、御前雅賞、膳宴用器、文化交融五個(gè)單元，井將部分瓷器作比對(duì)比展示，遴選了景德鎮(zhèn)御窯博物館珍戴的、極具時(shí)代代表性的文物110件（套），展品涵蓋永樂白釉、宣德青花、成化斗彩等名器，還有近年來考古新發(fā)現(xiàn)的一批正統(tǒng)、景泰、天順時(shí)期御窯瓷器精品，代表了當(dāng)時(shí)中國(guó)瓷器制作的意

高水平。

The exhibition is divided into five sections: " The Dawn of Ming," "National Treasures," " Elegant Appreciation of the Emperor," " Tableware for Banquets," and " Cultural Diversity." Some of the porcelain will be displayed for comparison, and a selection of 110 pieces /sets of artifacts with significant historical representation from the Jingdezhen Imperial Kiln Museum will be showcased. The exhibits cover famous pieces such as the Yongle white glaze, Xuande blue and white, and Chenghua Doucai, as well as a batch of exquisite imperial kiln porcelain from the Zhengtong, Jingtai, and Tianshun periods discovered in recent archaeological findings, representing the high level of Chinese porcelain production at that time.

江建新教授說，清代官窯瓷器水平更高，尤其雍正乾隆時(shí)期集天下之大成。唐英督陶時(shí)著（陶成紀(jì)事》將歷代各個(gè)時(shí)期燒制的品類做了總結(jié)，復(fù)原了570種不同品類的瓷器，樣式奇巧，質(zhì)地精美，斗彩、粉彩、琺瑯彩工藝水平達(dá)到頂峰。之后官窯衰弱，但是仍然有一些不錯(cuò)的產(chǎn)品，如清后期慈禧的大雅齋，同治光緒大婚的瓷器都燒得不錯(cuò)，但是短暫一瞬，整體工藝制作水平退步。

Professor Jiang Jianxin stated that the quality of Qing Dynasty official kiln porcelain was higher, especially during the Yongzheng and Qianlong periods, which represented the culmination of porcelain craftsmanship. Tang Ying, during his tenure as the supervisor of the kilns, summarized the various types of porcelain produced throughout different dynasties in his work "Records of Porcelain Production," restoring 570 different categories of porcelain, characterized by intricate styles and exquisite textures. The craftsmanship of Doucai, Fencai, and Famille-rose reached its peak during this time. Later, the official kiln declined, but there were still some good products, such as the Dayazhai of Empress Dowager Cixi in the late Qing Dynasty, and the porcelain made for the marriage of Emperor Guangxu and Empress Dowager Cixi during the Guangxu period. However, it was only a brief moment, and the overall level of craftsmanship regressed.

事實(shí)上，御窯廠挖出的一些瓷器是連故宮兩院〈北京和臺(tái)北）與其他博物館都沒收藏，改寫了歷史。江建新舉宣德的斗彩為例，之前以為斗彩工藝到成化才有，這個(gè)發(fā)現(xiàn)將之推前百多年。還有宣德蟋蟀罐挖出十多種，彩繪非常情美，但是故宮兩院沒有收，英宗九歲登基時(shí)，皇后可能命令砸掉宮里的蟋蟀罐，以防他玩物喪志，傳達(dá)出陶瓷背后的文化信息。外銷瓷器永樂時(shí)期的甜白釉三壺連通器，世界各地博物館都未收藏。

In fact, some porcelain pieces unearthed from the Imperial Kiln Factory are not held in either of the two Palace Museums (in Beijing and Taipei) or in other museums, thus rewriting history. Professor Jiang Jianxin cited the Doucai from the Xuande period as an example; it was previously believed that the Doucai technique only emerged in the Chenghua period, but this discovery pushes it back by over a century. Additionally, more than ten varieties of the Xuande cricket jar have been excavated, showcasing beautiful and intricate decorations, yet neither of the Palace Museums has collected them. When Emperor Yingzong ascended the throne at the age of nine, the Empress might have ordered the destruction of the cricket jars in the palace to prevent him from being distracted by trivial pursuits. This act conveys the cultural significance behind the ceramics. Furthermore, White Glazed Three-Pot Connector from the Yongle is not found in the collections of museums around the world.

江建新教授總結(jié)說：“事實(shí)上兩宮博物院燒造的東西，遺址一定會(huì)有，但在遺址發(fā)掘出來的，兩宮博物院不一定有收藏。這些發(fā)現(xiàn)的新東西是改寫歷史，改變?nèi)藗冋J(rèn)知的很重要遺物?！?/p>

Professor Jiang Jianxin summarized by saying, "In fact, the items produced for the two Palace Museums will definitely be found at the kiln site, but the things unearthed from the site are not necessarily in the collections of the two Palace Museums. These newly discovered artifacts are significant relics that can rewrite history and change people's understanding."

“絲路瓷行?天工造化”第一單元“啟明氣象”展區(qū)。

"Silk Road Porcelain?Divine Craftsmanship Chapter 1 "The Dawn of Ming " exhibition area.

2014年景德鎮(zhèn)珠山龍珠閣南側(cè)考古挖掘現(xiàn)場(chǎng)。

Archaeological excavation site on the south of Longzhu Pavilion, Zhushan, Jingdezhen, 2014

景德鎮(zhèn)珠山南麓西墻內(nèi)側(cè)發(fā)現(xiàn)的龍缸殘片堆積。

A pile of dragon jar fragments was found inside the west wall at the southern foothill of Zhushan, Jingdezhen.

景德鎮(zhèn)陶瓷考古研究所名譽(yù)所長(zhǎng)江建新教授在御窯廠遺址考古發(fā)掘工作現(xiàn)場(chǎng)。

Professor Jiang Jianxin, Honorary President of the Jingdezhen Ceramic Archaeological Research Institute, at the archaeological excavation site of the Imperial Kiln Factory ruins.

明成化素三彩鴨形香熏，當(dāng)熏香點(diǎn)燃置于鴨腹內(nèi)，香氣便會(huì)從鴨咀散發(fā)。

Ming Dynasty Chenghua Reign Duck-shaped incensory with Susancai Glaze. The aroma will emanate from the duck's maw when the incense is lit inside the duck's belly.

“絲路瓷行?天工造化”展品一。

Exhibit 1 of The "Silk Road Porcelain Journey ? Divine Craftsmanship"

“絲路瓷行?天工造化”展品二。

Exhibit 2 of The "Silk Road Porcelain Journey ? Divine Craftsmanship"

新加坡報(bào)道 黃向京

ngspg@sph.com.sg

《考古與瓷器圖片由受訪者提供》

Reported by Huang Xiangjing SINGAPORE

ngspg@sph.com.sg

"Archaeological and porcelain images provided by interviewees"

新加坡中國(guó)文化中心會(huì)議廳合影。

China Cultural Centre in Singapore conference room

右1：鄭明炎（新加坡收藏家協(xié)會(huì)會(huì)長(zhǎng)）

Right 1 - TAY BENG YAM（PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右2：孔媛（新加坡中國(guó)文化中心副主任）

Right 2 - KONG YUAN (DEPUTY DIRECTOR)CHINA CULTURE CENTRE IN SINGAPORE

右3：李維業(yè)（副會(huì)長(zhǎng)）新加坡收藏家協(xié)會(huì)

Right 3 - LEE WEE GIAP （VICE PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右4：張?jiān)Ｃ瘢ǜ睍?huì)長(zhǎng)）新加坡收藏家協(xié)會(huì)

Right 4 - TEO JOO BING（VICE PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右5：吳秋贊（名譽(yù)會(huì)長(zhǎng)）新加坡收藏家協(xié)會(huì)

Right 5 - GOH CHU CHUNG （HONORARY PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右6：肖江華（主任）新加坡中國(guó)文化中心

Right 6 - XIAO JIANGHUA （DIRECTOR）CHINA CULTURE CENTRE IN SINGAPORE

右7：江建新（名譽(yù)院長(zhǎng)/文博研究館員）景德鎮(zhèn)御窯博物院

Right 7 - JIANG JIAN XIN （HONORARY CURATOR/ RESEARCHER）JINGDEZHEN IMPERIAL KILN INSTITUTE

右8：鄒媛（書記）景德鎮(zhèn)御窯博物院

Right 8 - ZOU YUAN (SECRETARY)JINGDEZHEN IMPERIAL KILN INSTITUTE

右9：鄧忠慶（安保主任）景德鎮(zhèn)御窯博物院

Right 9 - DENG ZHONGQING (HEAD OF SECURITY) JINGDEZHEN IMPERIAL KILN INSTITUTE

右10：方婷婷（翻譯）景德鎮(zhèn)御窯博物院

Right 10 - FANG TINGTING (INTERPRETER) JINGDEZHEN IMPERIAL KILN INSTITUTE

右11：陳原德（秘書長(zhǎng)）新加坡收藏家協(xié)會(huì)

Right 12 - TAN YONG TECK （HONORARY SECRETARY-GENERAL） COLLECTORS’ ASSOCIATION (SINGAPORE)

右12：張世友（副秘書長(zhǎng)）新加坡收藏家協(xié)會(huì)

Right 12 - ZHANG SHIYOU （DEPUTY HONORARY SECRETARY GENERAL）COLLECTORS’ ASSOCIATION (SINGAPORE)

【世文聯(lián)】創(chuàng)會(huì)全球總顧問陳光億宗師(左三)、【新加坡收藏家協(xié)會(huì)】名譽(yù)會(huì)長(zhǎng)吳秋贊先生(左二)、副會(huì)長(zhǎng)李維業(yè)先生(左一)、秘書長(zhǎng)陳原德先生(右一)及會(huì)長(zhǎng)鄭明炎先生(右二)。

[FOWCAAS] Founder & Global Chief Councillor, Grand Master Jason Tan (third from the left), Global Honorary Advisor of the Collectors’ Association Singapore, Honorary President Mr. Goh Chu Chung (second from left),

Vice President Mr. Lee Wee Giap, (first from left), President Mr. Tay Beng Yam (second from right) and

Honorary Secretary-General Mr. Tan Yong Teck (first from the right).

【新加坡中國(guó)文化中心】網(wǎng)站。

【China Cultural Centre in Singapore】Website.

https://cccsingapore.org/

【景德鎮(zhèn)御窯博物院】網(wǎng)站。

【Jingdezhen Imperial Kiln Institute】Website.

http://www.jdzyybwy.com/jdzmu/frontend/pg/index

【新加坡收藏家協(xié)會(huì)】網(wǎng)站。

【COLLECTORS’ ASSOCIATION (SINGAPORE)】Website.

https://collectorsassociation.org/zh-hant/

《世文聯(lián)》名譽(yù)顧問江建新教授。

【FOWCAAS】 Honorary Committee Advisor Prof. Jiang Jianxin

https://www.fowcaas.org/zhzzList.aspx?zlid=1683

《世文聯(lián)》創(chuàng)辦人全球總顧問陳光億宗師。

【FOWCAAS】 Founder & Global Chief Councillor, Grand Master Jason Tan Beng Siang, PhD.

【世文聯(lián)】網(wǎng)站

FOWCAAS Website

https://www.fowcaas.org