自隋唐以来，随着造船和航海技术日臻进步成熟，海上交通航线开辟，大量的中国丝绸、茶叶、瓷器等商品，从扬州、明州（今宁波）、广州等港口出发，行销东亚、东南亚和中东地区，并由此转运扩散到地中海沿岸。自宋代开始，瓷器渐渐成为外销的主要货物。明代中后期，欧洲各国的海上风帆开始将数以亿计的中国瓷器运向西方。
Since the Sui and Tang Dynasties, with the progress of shipbuilding and navigation technology, Chinese silk, tea, porcelain and other commodities were carried down the new sea routes in mass quantities to East Asia, Southeast Asia and the Middle East from ports such as Yangzhou, Mingzhou( now Ningbo in Zhejiang province) and Guangzhou. From there they were transported to the Mediterranean coast. Since the Song Dynasty, porcelain gradually became the major commodity for export. In the middle and late Ming Dynasty, hundreds of millions of Chinese porcelain products were transported to the West by fleet of European merchant ships.
明万历三十五年（1607）以前，景德镇瓷业生产一直是官窑占据统治地位；此后，因为对欧洲市场出口的剧增和国内市场的扩大，民窑逐渐成为景德镇陶瓷的主业。“克拉克瓷”是最早的成规模的外销瓷种类，随着中国瓷器与外销地文化的碰撞和交流，来样加工订制的瓷器在后来的外销瓷器中占有主导地位。资源丰富、朝廷青睐加上海外贸易，使景德镇逐步发展成为天下瓷都。
Before the 30th year of the Wanli reign, Ming Dynasty (1607), the production of Jingdezhen porcelain was mainly carried out in imperial kilns. Thereafter, as the demand soared in the European market and the domestic market expanded, folk kilns rose to become the major producers of Jingdezhen porcelain. Kraak ware was among the first Chinese export ware to arrive in Europe in mass quantities. With the collision and exchanges between Chinese porcelain culture and local culture of the import countries, specially ordered porcelain with supplied samples gradually accounted for a great part in the later export porcelain. Such advantages as abundant resources, government support and booming overseas trade enabled Jingdezhen to develop into the world's porcelain capital.
青花缠枝花纹梅瓶，江西省博物馆藏
明 （1368-1644）
高31.7厘米，口径5.5厘米， 底径12.2厘米
Blue-and-white Plum Vase with Interlocking branches and flowers design, Jiangxi Provincial Museum, China
Ming Dynasty (1368-1644)
Height 31.7cm, mouth diameter 5.5cm, bottom diameter12.2cm
青花芙蓉手花盆纹盘，大阪市立东洋陶瓷美术馆藏
1660—1670年代 日本有田窑
高8.3厘米，直径39.5厘米
Blue-and-white Porcelain Plate, Kraak style（Fuyode） with design of flower, The Museum of Oriental Creamics, Osaka
1660—1670 , produced in Arita kiln, Japan
Height 8.3cm, Diameter 39.5cm
五彩人物纹大盘，江西省博物馆藏
清康熙（1662—1722）
高5.2厘米，口径35.3厘米，底径19.5厘米
Multi-colored Painted Plate with Figures Design, Jiangxi Provincial Museum, China
Kangxi reign, Qing Dynasty (1662—1722)
Height 5.2cm, mouth diameter 35.3cm, bottom diameter 19.5cm
青花山水楼阁图葫芦形浴盆，广州博物馆藏
清乾隆（1736—1795）
高14.6厘米，长61.5厘米，宽39厘米
Blue-and-white Gourd-shaped Bathtub with Landscape and Pavilion Design, Guangzhou Museum, China
Qianlong reign, Qing Dynasty (1736—1795)
Height 14.6cm, length 61.5cm, width 39cm
此浴盆用于欧洲新生儿接受洗礼。
This tub is used to baptize European newborns.
五彩妇人纹剃须盘，大阪市立东洋陶瓷美术馆藏
1720—1740年代
高8.7厘米，宽27.2厘米
Multi-colored Dish Depicting a Woman, The Museum of Oriental Creamics, Osaka
1720—1740
Height 8.7cm, width 27.2cm
五彩妇人纹六棱大罐，大阪东洋陶瓷美术馆藏
1700—1730年代
高78.5厘米，直径39.4厘米
Large Hexagonal Jar with design of ladies in overglaze polychrome enamels, The Museum of Oriental Creamics, Osaka
1700—1730
Height 78.5cm, diameter 39.4cm
咖啡壶和啤酒杯，黑提恩斯—德国陶瓷博物馆藏
1720—1725年
咖啡壶：高18厘米，
啤酒杯：高14.8厘米，直径10.2厘米
Coffee Pot and Beer Mug, Hetjens—German Museum of Ceramics, Düsseldorf
1720—1725
Coffee pot: Height 18cm，
Mug: height 14.8cm , diameter10.2cm
雪球花茶壶，梅森瓷器博物馆藏
1750年
高24厘米，长30厘米，宽29厘米
Snowball Blossoms Teapot, Meissen Porzellan-Museum, Germany
1750
Height 24cm, length 30cm, width 29cm
猴子乐团，梅森瓷器博物馆
指挥：高17厘米，长12厘米，宽7厘米
其他：高15厘米，长7厘米，宽 6厘米
乐谱架：高9厘米，长2.5厘米，2.5厘米
指挥：1934年
其他：1978—1979年
乐谱架：1924年
Monkey orchestra, Meissen Porzellan-Museum
Conductor: height17cm，length12 cm，width7cm
Other: height 15 cm，length 7cm，width 6cm
Music stand: height 9 cm，length 2.5 cm，width 2.5cm
Conductor: 1934
Other: 1978—1979
Music stand: 1924
传奇塑像大师约翰·约阿希姆·坎德勒于1753年创作了一个由21个猴子音乐家组成的滑稽管弦乐队草图，这些扮成人样的精巧雕像是用来装饰宴会桌的作品。他的猴子管弦乐队一直是18世纪中期的工厂制造的众多完美雕像中最受欢迎的产品。坎德勒利用这些小猴子，以幽默手法讽刺了当时的宫廷社会。
Legendary master modeller Johann Joachim Kaendler (1706—1775) drafting in 1753 a zany orchestra of 21 monkey musicians dressed up as human beings - whimsical, minutely detailed figures wit which to decorate the banqueting table. His Monkey Orchestra has always remained the most loved of all the numerous consummate figure groups produced at the factory in the mid-18th century. Kaendler ironically and humorously holds a mirror up to courtly society with his little monkeys.
梅森塑像笔架套件，黑提恩斯—德国陶瓷博物馆藏
1750年
高41厘米，长37厘米，宽 45厘米
Chinese Inspired Figurines from Meissen in a Writing Kit that was Put Together in Paris, Hetjens—German Museum of Ceramics, Düsseldorf
1750
Height 41cm , length 37cm, width 45cm,
梅森的塑像在法国非常受欢迎。法国人为这些塑像安装了镀金青铜底座，以便作为笔架使用。它的中央是一对“中国风”装饰的夫妇。女子原手持一把高过男子头顶的伞，男子手拿一卷中国典籍。周围饰以田园鲜花和两只羊羔，还有一只哈巴狗。
Meissen figures were much appreciated in France. There they were mounted with gilded bronze in order to serve as a writing set. At the center, we find a Chinese inspired couple. A female figure is supposed to hold an umbrella over the head of a dignitary. In his hand, there is a book with Chinese characters. These human figures are surrounded by the flower-tendrils of an idyllic landscape, which also includes two lambs and a pug.
俄国芭蕾舞人物雕塑，梅森瓷器博物馆藏
男子像：1914年
女子像：1913年
男子像：高18 厘米，长19厘米，宽10厘米
女子像：高 29厘米，长17厘米，宽12厘米
Russian Ballet Figure Statue, Meissen Porzellan-Museum, Germany
Gentleman: 1914
Lady:1913
Gentleman: height 18cm, length 19cm, width 10cm
Lady: height 29cm , length 17cm, width12cm
雕塑形象源于《嘉年华》中的“俄罗斯芭蕾舞”人物，这是一部基于罗伯特·舒曼（1810—1856）的同名钢琴曲创作的芭蕾舞剧。1910年至1912年，谢尔盖·迪亚吉列夫芭蕾舞团经常在柏林演出。保罗·斯库里奇（1883—1945）对这种新式芭蕾舞风格十分着迷，并设计了此类芭蕾舞瓷人像作品。
The “Russian Ballet” figures represent characters from Carnival, a ballet based on a cycle for piano of the same name by Robert Schumann (1810—1856). The Sergei Diaghilev ballet company performed it frequently in Berlin in both 1910 and 1912. Paul Scheurich (1883—1945) was fascinated by the new ballet style. He repeatedly alluded to the new art in his work. The influence of dancing can be felt in the way he implemented other designs, too.
神话雕塑，梅森瓷器博物馆藏
1926年
高88厘米，长68.5厘米，宽63厘米
Mythology Sculpture, Meissen Porzellan-Museum, Germany
1926
Height 88cm , length 68.5cm, width 63cm
雕塑取材于希腊神话中大力神赫拉克勒斯的形象，作者奥维德是一位精通古代神话的大师。这种雕塑一般放置于餐桌中央作为装饰品。
The sculpture is based on the image of Herakles, the Hercules in Greek mythology. Ovid, author of this sculpture, is a master of ancient myths. Usually, such sculptures are placed in the middle of a dining-table as decorations.
蓝地白花贴塑小天使纹盒，上海市历史博物馆藏
19世纪 英国韦奇伍德碧玉炻器
高3.5厘米，长9.5，宽7.5厘米
Blue Ground Box with White Cherub Reliefs, Shanghai History Museum, China
19th century, Wedgwood blue Jasperware
Height 3.5cm , length 9.5cm, width 7.5cm,
韦奇伍德制作的无釉、质地细腻而坚硬的陶瓷，开始以绿色为主，被称为“碧玉细炻器”。盖盅和天使盒上白色的小巧精致的浮雕装饰与蓝色的器物背景相互衬托，十分高雅，洋溢着浓重的古典主义风格。
Unglazed, fine and hard-paste porcelain made by Wedgwood, known as 'Jasper ware'. Early Jasperware was mainly coloured by green. The small and delicate relief decoration on the cup and box is set against the blue objects, demonstrating a highly elegant and classical style.
【展览基本信息】
展览日期：2019年7月26日—2019年11月3日
展览地点：南京西路325号上海市历史博物馆(上海革命历史博物馆) 东楼南厅、西楼一楼
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