2026-5-20

在乾隆時代出口到歐洲的外銷瓷上面的花卉圖案中，有一幅是被稱為印度玫瑰的（Indian Rose）。

實際上，這些瓷器紋樣與印度沒有一毛錢的關係，也並非對真實玫瑰花卉的簡單描摹。許多被後人視作西洋風格的花卉裝飾，更多是歐洲陶瓷藝術再創造的產物。１７２０年，德國梅森瓷廠的宮廷畫師約翰·格里戈里烏斯·賀羅德（Johann Gregorius Horoldt，1696－1775）在吸收中國和日本瓷器裝飾元素的基礎上，又融入薔薇、菊花等歐洲植物紋樣與巴洛克裝飾趣味，經過重新組合與藝術加工，形成了一套兼具東方想象與歐洲審美特色的裝飾語言。

賀羅德是梅森瓷器（Meissen）歷史上最偉大的瓷器畫家和色彩配方化學家。首先，是他發明了顏色。在1720年之前，歐洲瓷器只有青花。是他研發出了紅、綠、黃、紫等全套能在高溫下燒制的不褪色的琺瑯彩顏料。

• Johann Gregorius Horoldt (1696-1775) was a painter at the royal court in charge of painting at the Meissen factory. Horoldt’s painting during his early phase were heavily influenced by East Asian modes and motifs. He is famed for his fantasy world chinoiseries influenced by Chinese and Japanese artefacts. Alongside these, under his direction, were created decorations of fleurs des Indes – flowers of the Far East usually ‘enlivened’ by the presence of brightly coloured birds and insects or animals. Through experimentation he developed techniques to make the porcelain whiter so as to better display the range of enamel colours he introduced, greens, yellows, purples and browns.

Meissen, (1725-1735) Hans C. Syz Collection, National Museum of American History

乾隆外銷瓷的粉彩顏色釉

其次，也是賀羅德定義了風格：上面提到的印度花卉（Indianische Blumen）以及著名的中國風情畫（Chinoiserie），正是由他在1720年代親手設計並推向巔峰的，可以說是他賦予了梅森瓷器長達三百年的色彩靈魂。

• The above pattern ‘Indian flowers’ Indianische Blumen is one of the oldest decorative motifs applied to Meissen porcelain dating back to 1720. East Asian stylistic references are described as ‘Indian’ as East Asian porcelain was shipped to Europe by the East India Companies and stylistically bear little or no relation to India. This pattern became a signature style of Meissen and continues to be used today.

上面這一段，換成了人話就是說：

• 印度花卉是梅森瓷器（Meissen）最古老的經典圖案，從1720年一直用到今天。雖然名字叫印度玫瑰，但它其實是東亞風格（中國和日本風格）。因為當時歐洲人購買的東亞瓷器都是東印度公司轉運的，這只是個歷史誤稱，跟真正的印度沒什麼關係。

這和美洲印第安人的名字是誤打誤撞一樣，當時的歐洲人深受馬可波羅遊記的影響，購買亞洲的好東西茶葉瓷器絲綢之類。通過荷蘭的東印度公司轉運，他們也誤以為這些東亞來的好東西都是從印度來的，都貼印度標籤。

Meissen Indianische Blumen plate, circa 1730

不過這麼說也不完全正確，畫鬼容易畫人難。賀羅德的印度花卉圖案設計不具一格，兼收並蓄，形式多樣。上面這個梅森瓷器印度花卉圖案的靈感，就是來源於日本陶瓷設計以及印度的紡織品，而這些商品在十七、十八世紀全球貿易體系中占據重要地位。花卉圖案是統治印度次大陸的莫臥兒帝國皇帝們特別偏愛的裝飾主題。最初，莫臥兒宮廷繪畫中的花卉紋樣較偏向自然寫實風格；但到了沙賈汗（Shah Jahan，1628—1658年在位）時期，更加程式化、風格化的花卉表現形式逐漸受到推崇，並進一步主導了莫臥兒棉紡織品的裝飾風格，也因此間接影響了歐洲的陶瓷設計。

• Indianisch blumen bear no strong resemblance to any known species of flower. The motif was instead developed at Meissen during the period in which Johann Gregorius Höroldt (1696-1775) was a key figure at the manufactory. He was inspired by Japanese ceramic design and Indian textiles, which played an important role in global trade of the seventeenth and eighteenth centuries. Floral designs were a favourite theme of the Mughal emperors who ruled the Indian subcontinent at the time. At first, Mughal court painting depicted floral motifs naturalistically, but under the rule of Shah Jahan (1628-1658), more stylised depictions were favoured and came to dominate Mughal cottons and, consequently, European ceramic design. Designs incorporating merchant trading scenes were also popular at Meissen, and attest to the continued cultural and economic role played by the trade of luxury items, including the Asian porcelain wares which Meissen had initially been set up to imitate.

康熙朝的伊萬里瓷器（1717）

乾隆外銷瓷上的印度玫瑰

這麼多年來，三哥們也心安理得默默享用，不承認不反對不考據也不做辯白，任憑歐洲人胡說八道，名字就這麼陰差陽錯，給誤傳了下來。