Oriental Shipwreck Ceramics
Before becoming part of this museum’s collection, this dish belonged to an English private collector.
The motif of this dish is called- “Kezi” (Mother Tutoring Her Child). In the painting, the mother accompanies and guides her child in reading, forming a heartwarming indoor scene. Various other antiques can be observed on the table beside the mother and the child. The “Kezi” motif is one of the signature designs used during emperor Qianlong’s reign for falangchai porcelain painted enamels. This trend influenced later porcelains, and fenchai with painted figures became increasingly popular, eventually becoming the main feature for Canton ware.
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這個雍正胭脂红地粉彩仕女图盘，在成为本馆的珍藏之前，是英国私人收藏。
瓷盘的盘心绘有妇女闺中教子的日常亲子生活情况。画面中梳髻的母亲注视著指书朗读的小孩，桌面陈列仿古器具，一派温馨的室内小景。
课子图原是乾隆珐琅彩瓷的特色纹样，后来以人物为题的彩绘越来越受欢迎，广彩瓷器最主要的纹饰就是人物纹饰。
Before becoming part of this museum’s collection, this dish belonged to an English private collector.
The motif of this dish is called- “Kezi” (Mother Tutoring Her Child). In the painting, the mother accompanies and guides her child in reading, forming a heartwarming indoor scene. Various other antiques can be observed on the table beside the mother and the child. The “Kezi” motif is one of the signature designs used during emperor Qianlong’s reign for falangchai porcelain painted enamels. This trend influenced later porcelains, and fenchai with painted figures became increasingly popular, eventually becoming the main feature for Canton ware.
這個雍正胭脂红地粉彩仕女图盘，在成为本馆的珍藏之前，是英国私人收藏。
瓷盘的盘心绘有妇女闺中教子的日常亲子生活情况。画面中梳髻的母亲注视著指书朗读的小孩，桌面陈列仿古器具，一派温馨的室内小景。
课子图原是乾隆珐琅彩瓷的特色纹样，后来以人物为题的彩绘越来越受欢迎，广彩瓷器最主要的纹饰就是人物纹饰。
Before becoming part of this museum’s collection, this dish belonged to an English private collector.
The motif on this dish is a beautiful rooster. Roosters and chickens have long been traditionally featured in Chinese decorations because “chicken” and “ji” are homophonic in mandarin, meaning auspicious. Moreover, the Chinese word for the rooster’s comb rhymes with the word official, and becoming one was the goal of most Chinese scholars of the past.
The crowing of the heroically masculine rooster welcomes the arrival of day. The rooster is called “gongji” in mandarin, and its crow is “ming”. “Gongming” means – attaining achievements, success and fame, hence the popularity of the rooster.
The best-known porcelain work painted with chickens is the Ming dynasty Chenghua Doucai Chicken Cup. It depicts a hen with a few chicks foraging for food, a metaphor for a happy family.
The famous “Rooster Bowl” features a black-tailed rooster together with plantains and red flowers painted in simple colours of red, dark green and black. The artwork appears less refined and is also featured on small saucers, spoons, and flat plates meant for everyday use.
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這個雍正粉彩雄鸡图盘，在成为本馆的馆藏之前，是英国私人收藏。
鸡向来是中国人喜欢的传统纹饰图。因“鸡”与“吉”谐音，寓意吉利；此外，雄鸡的“冠”与“官”同音，而当官是古代学子奋斗的目标，加上雄鸡的形体英武轩昂，鸡鸣报晓，寓意光明到来。还有，公鸡的“公”与功名的“功”也同音，啼叫的“鸣”又与功名的“名”同音，种种加起来，公鸡打鸣喻功名。用今天的话来说，就是建立一番事业与名声。
瓷器界广为人知的明朝成化斗彩鸡缸杯，画的就是公鸡和母鸡带着几只小鸡觅食的温馨场景，一家和乐之意不言而喻。
“鸡公碗”在华人圈风行一时，也有人叫“公鸡碗”。鸡公碗通常以红、墨绿、黑等简单的色彩，描出黑尾公鸡、芭蕉和红花，其碗身很浅，口大底小。因为是百姓日常使用的餐具，一般说来，画风随意，工艺也并不细腻。公鸡图餐具除碗之外，也有小碟子、汤匙及平碟等。
Before becoming part of this museum’s collection, this dish belonged to an English private collector.
The motif on this dish is a beautiful rooster. Roosters and chickens have long been traditionally featured in Chinese decorations because “chicken” and “ji” are homophonic in mandarin, meaning auspicious. Moreover, the Chinese word for the rooster’s comb rhymes with the word official, and becoming one was the goal of most Chinese scholars of the past.
The crowing of the heroically masculine rooster welcomes the arrival of day. The rooster is called “gongji” in mandarin, and its crow is “ming”. “Gongming” means – attaining achievements, success and fame, hence the popularity of the rooster.
The best-known porcelain work painted with chickens is the Ming dynasty Chenghua Doucai Chicken Cup. It depicts a hen with a few chicks foraging for food, a metaphor for a happy family.
The famous “Rooster Bowl” features a black-tailed rooster together with plantains and red flowers painted in simple colours of red, dark green and black. The artwork appears less refined and is also featured on small saucers, spoons, and flat plates meant for everyday use.
這個雍正粉彩雄鸡图盘，在成为本馆的馆藏之前，是英国私人收藏。
鸡向来是中国人喜欢的传统纹饰图。因“鸡”与“吉”谐音，寓意吉利；此外，雄鸡的“冠”与“官”同音，而当官是古代学子奋斗的目标，加上雄鸡的形体英武轩昂，鸡鸣报晓，寓意光明到来。还有，公鸡的“公”与功名的“功”也同音，啼叫的“鸣”又与功名的“名”同音，种种加起来，公鸡打鸣喻功名。用今天的话来说，就是建立一番事业与名声。
瓷器界广为人知的明朝成化斗彩鸡缸杯，画的就是公鸡和母鸡带着几只小鸡觅食的温馨场景，一家和乐之意不言而喻。
“鸡公碗”在华人圈风行一时，也有人叫“公鸡碗”。鸡公碗通常以红、墨绿、黑等简单的色彩，描出黑尾公鸡、芭蕉和红花，其碗身很浅，口大底小。因为是百姓日常使用的餐具，一般说来，画风随意，工艺也并不细腻。公鸡图餐具除碗之外，也有小碟子、汤匙及平碟等。
Longquan celadon is a popular worldwide export. Potters from other countries always reference Longquan celadon for colour, shape and decoration styles. Thai Celadon potters are notorious for copying the Longquan double fish, Chinese lotus and foliate-rim designs, and they did so with a mould.
Please observe the shape of this plate. The Thai Celadon in the shipwreck collection is almost an exact copy of this Longquan celadon.
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龙泉青瓷远销世界各地，因此其他国家在烧造青瓷时都会模仿龙泉窑的颜色、器形和纹饰。例如龙泉青瓷有双鱼纹饰，之后泰国青瓷也以模印的方式模仿相同纹饰。此外，泰国的青瓷盘也经常模仿中国的莲瓣纹或菊瓣纹和花口的做法。
请仔细观察这个盘子的造型，您会发现，这个龙泉青瓷和海捞瓷展区的泰国青瓷，在造型上的异曲同工之妙。
Longquan celadon is a popular worldwide export. Potters from other countries always reference Longquan celadon for colour, shape and decoration styles. Thai Celadon potters are notorious for copying the Longquan double fish, Chinese lotus and foliate-rim designs, and they did so with a mould.
Please observe the shape of this plate. The Thai Celadon in the shipwreck collection is almost an exact copy of this Longquan celadon.
龙泉青瓷远销世界各地，因此其他国家在烧造青瓷时都会模仿龙泉窑的颜色、器形和纹饰。例如龙泉青瓷有双鱼纹饰，之后泰国青瓷也以模印的方式模仿相同纹饰。此外，泰国的青瓷盘也经常模仿中国的莲瓣纹或菊瓣纹和花口的做法。
请仔细观察这个盘子的造型，您会发现，这个龙泉青瓷和海捞瓷展区的泰国青瓷，在造型上的异曲同工之妙。
With maritime trade came the Age of Discovery, and porcelain decorations such as ships and ports in export porcelain have gradually increased. In addition, western ship captains or crew members often commissioned the manufacture of porcelain with such decorations as souvenirs.
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随著大航海时代开启全球海洋贸易，外销瓷中描绘海船和港口等纹饰也逐渐增多，如这件瓷盘的开光内绘有帆船。据说有些西方的船长或船员，往往喜欢定制港口或海船为纹饰的瓷器作为航行纪念。
With maritime trade came the Age of Discovery, and porcelain decorations such as ships and ports in export porcelain have gradually increased. In addition, western ship captains or crew members often commissioned the manufacture of porcelain with such decorations as souvenirs.
随著大航海时代开启全球海洋贸易，外销瓷中描绘海船和港口等纹饰也逐渐增多，如这件瓷盘的开光内绘有帆船。据说有些西方的船长或船员，往往喜欢定制港口或海船为纹饰的瓷器作为航行纪念。
Decorating the border panels with depictions of peaches is common. The peach fruit (Amygdalus persica) is believed to be a magical fruit, and the Chinese see it as a symbol of longevity. This symbolism likely originates from the legend of Xi Wang Mu and her peach tree that only bears fruit once every three thousand years. Another character, the God of Longevity, is often depicted in Chinese art and porcelain decorations as a bearded old man with a high brow, holding the peach of immortality in one hand and crooked staff in the other. In addition, peach is believed to be good against lung diseases, cough and rheumatism.
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桃子是盘壁边饰开光最常见的纹饰图案。桃子产于中国，有许多品种，它也被称为仙桃，象征长寿。桃象征长寿源于西王母的蟠桃树三千年一熟的传说，吃了蟠桃可以长生不老、得道成仙。而传说中的寿星(或寿老)手中即执持仙桃。桃总与仙、寿相关，或许是因为人们认为桃子对肺病、咳嗽和风湿病有益。
Decorating the border panels with depictions of peaches is common. The peach fruit (Amygdalus persica) is believed to be a magical fruit, and the Chinese see it as a symbol of longevity. This symbolism likely originates from the legend of Xi Wang Mu and her peach tree that only bears fruit once every three thousand years. Another character, the God of Longevity, is often depicted in Chinese art and porcelain decorations as a bearded old man with a high brow, holding the peach of immortality in one hand and crooked staff in the other. In addition, peach is believed to be good against lung diseases, cough and rheumatism.
桃子是盘壁边饰开光最常见的纹饰图案。桃子产于中国，有许多品种，它也被称为仙桃，象征长寿。桃象征长寿源于西王母的蟠桃树三千年一熟的传说，吃了蟠桃可以长生不老、得道成仙。而传说中的寿星(或寿老)手中即执持仙桃。桃总与仙、寿相关，或许是因为人们认为桃子对肺病、咳嗽和风湿病有益。
These Kraak plates were made during or after the Wanli period of the Ming Dynasty for export purposes. First introduced to Europe in the 17th to 18th century, Chinese porcelains were objects of great rarity and luxury. As a result, Chinese porcelain decorated with traditional motifs, such as landscapes, figures, flowers and birds, and large flower baskets, was very popular. Although the Westerners may not understand the meaning behind these traditional Chinese motifs, they were symbolically significant. For instance, the pomegranates symbolize progeny, and dragons represent imperial power. Porcelain with these motifs satisfied their curiosity, fuelling the western world’s growing fascination for the far-east.
The mouth of these Kraak plates is folded, matching European dining of using knives. However, these large-size plates were not suitable for the Chinese food serving practices and were only exported.
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这几件明代的万历年间或之后烧制的青花瓷，主要用于出口。在西方，这一类青花瓷被称为“克拉克瓷”。
西方人对有著悠久历史文化的遥远东方总是心向往之。17至18世纪的欧洲，贵族和富人，以拥有售价不菲的中国瓷器为炫耀本钱。传统的中国瓷器纹饰，如山水、人物、花鸟、大花篮等充满东方情调的内容，在欧洲倍受欢迎。虽然西方人不一定了解中国传统纹饰的寓意，比如石榴象征多子、龙纹代表吉祥和皇权，但绘有这些纹饰的中国瓷器，能满足他们的炫富心理和东方想象。克拉克瓷盘的口沿往往都有折边，相信那是为了迎合欧洲人用来放置刀叉的习惯；除此之外，直径大的盘子并不符合中国人的饮食习惯，故克拉克明显是为了外销而制作。
These Kraak plates were made during or after the Wanli period of the Ming Dynasty for export purposes. First introduced to Europe in the 17th to 18th century, Chinese porcelains were objects of great rarity and luxury. As a result, Chinese porcelain decorated with traditional motifs, such as landscapes, figures, flowers and birds, and large flower baskets, was very popular. Although the Westerners may not understand the meaning behind these traditional Chinese motifs, they were symbolically significant. For instance, the pomegranates symbolize progeny, and dragons represent imperial power. Porcelain with these motifs satisfied their curiosity, fuelling the western world’s growing fascination for the far-east.
The mouth of these Kraak plates is folded, matching European dining of using knives. However, these large-size plates were not suitable for the Chinese food serving practices and were only exported.
这几件明代的万历年间或之后烧制的青花瓷，主要用于出口。在西方，这一类青花瓷被称为“克拉克瓷”。
西方人对有著悠久历史文化的遥远东方总是心向往之。17至18世纪的欧洲，贵族和富人，以拥有售价不菲的中国瓷器为炫耀本钱。传统的中国瓷器纹饰，如山水、人物、花鸟、大花篮等充满东方情调的内容，在欧洲倍受欢迎。虽然西方人不一定了解中国传统纹饰的寓意，比如石榴象征多子、龙纹代表吉祥和皇权，但绘有这些纹饰的中国瓷器，能满足他们的炫富心理和东方想象。克拉克瓷盘的口沿往往都有折边，相信那是为了迎合欧洲人用来放置刀叉的习惯；除此之外，直径大的盘子并不符合中国人的饮食习惯，故克拉克明显是为了外销而制作。
The origin of the word ‘kamcheng’ is uncertain. However, it has its roots in the Hokkien term for ‘covered jar’ or, more literally, ‘covered teacup’; and ‘gai zhong’ (盖盅, ‘covered soup measure’) in Mandarin.
Kamchengs are typically decorated with symbolic motifs. To name a few, it includes the phoenix and peony, decorative bands with the auspicious Eight Buddhist Emblems around the rim of the cover, and lotus petal panels around the foot of the jar.
These distinctive jars come with domed covers, and while the larger ones are crowned with a Buddhist lion-dog, the smaller ones appear with a finial in the form of a peach.
The Kamcheng serves various functions, and it comes in a wide variety of sizes and colours. It is used as storage for drinking water, soup, desserts, and pickles for special occasions. The cute miniature versions were used as cosmetic containers, while in contrast, the largest ones were reportedly used as decorative or status symbols for wealthy families.
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“kamcheng”这个词的起源至今无法明确，有认为是來自闽南语“有盖的罐子”或“有盖的茶杯”，中文写作“盖盅”。
器身通常绘饰吉祥图案器，如凤凰和牡丹；盖子边缘周围一圈有佛教八吉祥，靠近底部绘以变形莲瓣纹。
较大型的kamcheng圆盖上饰有佛教狮子狗，而较小的则有桃形的钮。 kamcheng 具有多种用途，因之制成各种尺寸和颜色。
比较普遍的用途是作为储存饮用水、汤、甜点和腌菜，迷你版的kamcheng可当成化妆品的容器，而据说特大号的kamcheng是富裕家庭用来彰显其身份的展示品。
The origin of the word ‘kamcheng’ is uncertain. However, it has its roots in the Hokkien term for ‘covered jar’ or, more literally, ‘covered teacup’; and ‘gai zhong’ (盖盅, ‘covered soup measure’) in Mandarin.
Kamchengs are typically decorated with symbolic motifs. To name a few, it includes the phoenix and peony, decorative bands with the auspicious Eight Buddhist Emblems around the rim of the cover, and lotus petal panels around the foot of the jar.
These distinctive jars come with domed covers, and while the larger ones are crowned with a Buddhist lion-dog, the smaller ones appear with a finial in the form of a peach.
The Kamcheng serves various functions, and it comes in a wide variety of sizes and colours. It is used as storage for drinking water, soup, desserts, and pickles for special occasions. The cute miniature versions were used as cosmetic containers, while in contrast, the largest ones were reportedly used as decorative or status symbols for wealthy families.
“kamcheng”这个词的起源至今无法明确，有认为是來自闽南语“有盖的罐子”或“有盖的茶杯”，中文写作“盖盅”。
器身通常绘饰吉祥图案器，如凤凰和牡丹；盖子边缘周围一圈有佛教八吉祥，靠近底部绘以变形莲瓣纹。
较大型的kamcheng圆盖上饰有佛教狮子狗，而较小的则有桃形的钮。 kamcheng 具有多种用途，因之制成各种尺寸和颜色。
比较普遍的用途是作为储存饮用水、汤、甜点和腌菜，迷你版的kamcheng可当成化妆品的容器，而据说特大号的kamcheng是富裕家庭用来彰显其身份的展示品。
Nyonyaware is a term used for the Chinese export porcelain possibly made in Jingdezhen to suit the taste of Peranakan Chinese communities in Southeast Asia (Singapore, Malaysia and Indonesia).
It is a distinctive blend of bright, contrasting colours and elaborate designs, decorated with traditional Chinese auspicious and symbolic motifs.
As shown in this specific piece, the bowl and its lid rim are adorned with Eight Buddhist Emblems.
Most Nyonya wares belong to the Fencai family. Although it is not as delicate as the domestic Fencai porcelain from the official kilns, it has its artistic style showing the distinctive and personalised tastes and characteristics of the Straits Chinese.
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娘惹瓷指的是可能在景德镇烧造的中国贸易瓷器，专为东南亚岛屿（新加坡，马来西亚和印度尼西亚）土生华人社区的喜好而生的瓷器。
它融合了明亮且对比鲜明的色彩和设计，并饰有寓意吉祥的中国传统图案。比方说这件展品，碗和盖的边缘都绘饰了佛教的八吉祥图腾。
娘惹瓷大多属于粉彩，虽不及中国内销粉彩瓷器，尤其是官窑器的精致，但它拥有属于自己的艺术风格，凸显出海峡华人的独特性。
Nyonyaware is a term used for the Chinese export porcelain possibly made in Jingdezhen to suit the taste of Peranakan Chinese communities in Southeast Asia (Singapore, Malaysia and Indonesia).
It is a distinctive blend of bright, contrasting colours and elaborate designs, decorated with traditional Chinese auspicious and symbolic motifs.
As shown in this specific piece, the bowl and its lid rim are adorned with Eight Buddhist Emblems.
Most Nyonya wares belong to the Fencai family. Although it is not as delicate as the domestic Fencai porcelain from the official kilns, it has its artistic style showing the distinctive and personalised tastes and characteristics of the Straits Chinese.
娘惹瓷指的是可能在景德镇烧造的中国贸易瓷器，专为东南亚岛屿（新加坡，马来西亚和印度尼西亚）土生华人社区的喜好而生的瓷器。
它融合了明亮且对比鲜明的色彩和设计，并饰有寓意吉祥的中国传统图案。比方说这件展品，碗和盖的边缘都绘饰了佛教的八吉祥图腾。
娘惹瓷大多属于粉彩，虽不及中国内销粉彩瓷器，尤其是官窑器的精致，但它拥有属于自己的艺术风格，凸显出海峡华人的独特性。
These small ceramic cups from the late 19th to early 20th century imitate the designs of DaYaZhai. Dayazhai is porcelain ware made especially for Cixi, the Empress Dowager. As Dayazhai porcelain is Fencai porcelain, most are painted in overglaze enamels against a light blue, light green, mauve or light purple ground. Vines, birds and grapes with flowers are usually depicted. The painting style is relatively soft, and the drawings are pretty exquisite.
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这几个杯子是19世纪末至20世纪初年之间模仿大雅斋瓷器的制作。大雅斋瓷器是慈禧太后专用瓷。大雅斋属于粉彩瓷器，大多在蓝色、浅青色、藕荷色、浅紫色的地子上淡墨彩绘，其纹饰题材多描绘藤萝花鸟、葡萄花鸟、鹭鸶莲花等。大雅斋的特色是画风细柔，图案精巧。
These small ceramic cups from the late 19th to early 20th century imitate the designs of DaYaZhai. Dayazhai is porcelain ware made especially for Cixi, the Empress Dowager. As Dayazhai porcelain is Fencai porcelain, most are painted in overglaze enamels against a light blue, light green, mauve or light purple ground. Vines, birds and grapes with flowers are usually depicted. The painting style is relatively soft, and the drawings are pretty exquisite.
这几个杯子是19世纪末至20世纪初年之间模仿大雅斋瓷器的制作。大雅斋瓷器是慈禧太后专用瓷。大雅斋属于粉彩瓷器，大多在蓝色、浅青色、藕荷色、浅紫色的地子上淡墨彩绘，其纹饰题材多描绘藤萝花鸟、葡萄花鸟、鹭鸶莲花等。大雅斋的特色是画风细柔，图案精巧。
Straits Chinese blue and white porcelain were ubiquitous in Peranakan households, where they were used for dining or ancestral offerings.
Same bowls are available in the shipwreck porcelain collections too. Unfortunately, those excavated from the shipwrecks did not make their destination, but these became heirlooms to be passed down through the generations in the Straits Chinese families.
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海峡华瓷的青花瓷器在土生华人家庭中非常普遍，用为餐具或祭祀祖先的供器。
本馆的沉船瓷器藏品中也展示了一模一样的碗，那些瓷碗在运送过程中沉于海底，而这里的碗则在几代海峡华人家庭世代传承。
Straits Chinese blue and white porcelain were ubiquitous in Peranakan households, where they were used for dining or ancestral offerings.
Same bowls are available in the shipwreck porcelain collections too. Unfortunately, those excavated from the shipwrecks did not make their destination, but these became heirlooms to be passed down through the generations in the Straits Chinese families.
海峡华瓷的青花瓷器在土生华人家庭中非常普遍，用为餐具或祭祀祖先的供器。
本馆的沉船瓷器藏品中也展示了一模一样的碗，那些瓷碗在运送过程中沉于海底，而这里的碗则在几代海峡华人家庭世代传承。
This large bowl is most likely a punch bowl custom-made for the West. Although the large shape of the vessel was made in response to market demand, traditional Chinese decorative patterns were applied.
The interior and exterior of the bowl are painted with peony, the most classic floral pattern in Chinese porcelain. The peony symbolizes abundance, honor, wealth and nobility. Pomegranates, which symbolize many sons, are also observed, alongside other florals.
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这个粉彩大碗极可能是西方订制的大型杂果酒酒碗(punch bowl)。虽然器形之大是因应市场需求，然而彩绘还是采用中国传统纹饰图案。
器内外均绘有牡丹这一款中国瓷器最经典的花卉纹饰。牡丹花以它特有的富丽、华贵和丰茂，被视为“繁荣昌盛、幸福和平”的象征。此外也绘有象征多子的石榴和其他花卉。
This large bowl is most likely a punch bowl custom-made for the West. Although the large shape of the vessel was made in response to market demand, traditional Chinese decorative patterns were applied.
The interior and exterior of the bowl are painted with peony, the most classic floral pattern in Chinese porcelain. The peony symbolizes abundance, honor, wealth and nobility. Pomegranates, which symbolize many sons, are also observed, alongside other florals.
这个粉彩大碗极可能是西方订制的大型杂果酒酒碗(punch bowl)。虽然器形之大是因应市场需求，然而彩绘还是采用中国传统纹饰图案。
器内外均绘有牡丹这一款中国瓷器最经典的花卉纹饰。牡丹花以它特有的富丽、华贵和丰茂，被视为“繁荣昌盛、幸福和平”的象征。此外也绘有象征多子的石榴和其他花卉。
This type of bottle is modelled following the European glass ware. Such bottles were used mainly for spirits on long sea voyages where the square shape is convenient for transporting and stowing. They would have been fitted with a pewter screw top, which is indicated by the narrow cylindrical ridged neck.
Although the bottle is European in shape, the decoration is entirely Chinese. One of the vases, the body was painted with blue and white lotus flowers and egrets to form a traditional pattern of “continuous rising all the way”, in which it means progressing life and soaring career. Whereas the other vase was painted with panels of peonies and chrysanthemum sprays, which are notably popular motifs on Chinese porcelains.
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这兩个瓷瓶的造型是模仿欧洲的玻璃器皿，其用途是作为长途海上行旅用的盛装烈酒的酒瓶。由瓶子颈部的螺旋纹可以看出它原先配备了锡制的盖子，而方形的瓶身设计则易于存放及运输。
虽然瓶子的形式是欧式，但装饰却是全然中式。其一在瓶身以青花彩绘莲花和白鹭鸶组成的 “一路（鹭）连（莲）升” 纹样，寓意仕途青云直上及事业飞黄腾达；另一只瓷瓶则各面都绘有牡丹及菊花等常见的中国瓷器传统装饰图案。
This type of bottle is modelled following the European glass ware. Such bottles were used mainly for spirits on long sea voyages where the square shape is convenient for transporting and stowing. They would have been fitted with a pewter screw top, which is indicated by the narrow cylindrical ridged neck.
Although the bottle is European in shape, the decoration is entirely Chinese. One of the vases, the body was painted with blue and white lotus flowers and egrets to form a traditional pattern of “continuous rising all the way”, in which it means progressing life and soaring career. Whereas the other vase was painted with panels of peonies and chrysanthemum sprays, which are notably popular motifs on Chinese porcelains.
这兩个瓷瓶的造型是模仿欧洲的玻璃器皿，其用途是作为长途海上行旅用的盛装烈酒的酒瓶。由瓶子颈部的螺旋纹可以看出它原先配备了锡制的盖子，而方形的瓶身设计则易于存放及运输。
虽然瓶子的形式是欧式，但装饰却是全然中式。其一在瓶身以青花彩绘莲花和白鹭鸶组成的 “一路（鹭）连（莲）升” 纹样，寓意仕途青云直上及事业飞黄腾达；另一只瓷瓶则各面都绘有牡丹及菊花等常见的中国瓷器传统装饰图案。
This handleless pot has a special name: kendi. It is generally believed that “kendi” is the transliteration of Sanskrit “knudikā”. Also known as “junchi”, which is a water vessel for both religious and daily use, it is also available in various materials such as copper and porcelain. Kendi is a vessel used by Buddhist monks to drink water, clean hands or as a religious instrument. It is also a tool for the Muslims to drink water or clean hands before they worship.
Kendi was not originated from China, but it was produced from the Tang Dynasty to the Qing Dynasty, and became one of the important categories for export porcelain, mainly sold to South and Southeast Asia.
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这种沒有把手的壶有个特定名称：军持。一般认为“军持”（kendi）是梵语“knudikā”的译音，也称“君迟”，为宗教和俗世兼用的水器，有铜、瓷等各种质地。
军持是佛教僧侣用以饮水、净手的器皿或作为法器，也是伊斯兰教信徒做礼拜时饮水或净手的用器。
这个原型并非起源于中国的器形，却在唐代到清代都有烧造，并发展成为外销瓷的一种重要类别，主要在南亚和东南亚使用。
This handleless pot has a special name: kendi. It is generally believed that “kendi” is the transliteration of Sanskrit “knudikā”. Also known as “junchi”, which is a water vessel for both religious and daily use, it is also available in various materials such as copper and porcelain. Kendi is a vessel used by Buddhist monks to drink water, clean hands or as a religious instrument. It is also a tool for the Muslims to drink water or clean hands before they worship.
Kendi was not originated from China, but it was produced from the Tang Dynasty to the Qing Dynasty, and became one of the important categories for export porcelain, mainly sold to South and Southeast Asia.
这种沒有把手的壶有个特定名称：军持。一般认为“军持”（kendi）是梵语“knudikā”的译音，也称“君迟”，为宗教和俗世兼用的水器，有铜、瓷等各种质地。
军持是佛教僧侣用以饮水、净手的器皿或作为法器，也是伊斯兰教信徒做礼拜时饮水或净手的用器。
这个原型并非起源于中国的器形，却在唐代到清代都有烧造，并发展成为外销瓷的一种重要类别，主要在南亚和东南亚使用。