編者按：
德化陶瓷制作歷史悠久，制瓷技術(shù)在不斷發(fā)展基礎(chǔ)上傳承創(chuàng)新。陶瓷制作過程看似原始和簡單，但實際上考驗了陶藝家對泥土特性的把握和操縱的熟練程度。
2002年由新加坡亞洲文明博物館出版的《中國白——德化白瓷》(Blanc de Chine—porcelain from Dehua)一書，收錄了Kenson Kwok(郭勒遜)：A Note on the Construction of Dehua Figures《德化瓷雕結(jié)構(gòu)的一點看法》一文，文中詳細(xì)討論了德化傳統(tǒng)陶瓷的制作工藝，是一篇不可多得的德化陶瓷研究資料。與此同時，該文結(jié)合收藏家�？死詹氐�160件德化窯精品，為了解、品鑒、研究德化白瓷提供借鑒。
在郭勒遜的文章中，總結(jié)了德化陶瓷三種主要制作方法，即模印成型、注漿成型、及手工捏塑成型，比較系統(tǒng)地對德化瓷雕制作工藝進(jìn)行詮釋。
A Note on the Construction of Dehua Figures by Kenson Kwok
德化瓷雕結(jié)構(gòu)的一點看法 (三)——郭勒遜
（翻譯：德化窯遺產(chǎn)文化研究院 孫延燕）
Given the persistence of the press-moulding technique for vessels from the early days of porcelain production in Dehua, it seems natural that this technique should have been extended to the construction of figure models from the mid-Ming period onwards. The rapid production possible with this method compared to hand-modelled figures was an advantage.
鑒于模印成型技術(shù)在德化器皿制作的早期階段便得到持續(xù)應(yīng)用，自明代中期起，這一技術(shù)便自然而然地拓展至瓷雕生產(chǎn)領(lǐng)域。與手工制作相比，其快速的生產(chǎn)速度或許可被視作一項顯著優(yōu)勢。
The Hickley collection has some forty free-standing figure models of all sizes, ranging from miniatures a few centimeters high to impressive pieces over 35 centimeters high. The collection therefore provides an excellent opportunity to study the construction of Dehua figures. The collection also has numerous examples of multiple figure groups. The construction of figures in group compositions would appear to be similar to that of single figures of the same size. Multiple figure groups are therefore excluded from consideration in this note. Such is the skill with which the Dehua potters cloak and embellish their figure sculptures that it is virtually impossible to tell how they are constructed by looking at the external surfaces. Hand-finishing of the piece further eliminates any tell-tale traces of the production process. It is therefore necessary to examine the figures more closely to gain some clues as to their construction.
�？死牟仄穬�(nèi)包含了約40件各式尺寸的獨立瓷雕，其范圍從僅有幾厘米高的微型瓷雕直至高度超 35 厘米的令人贊嘆不已的佳作，這些藏品為深入探究德化瓷雕的制作工藝提供了極好的契機(jī)。該收藏之中亦存有多個瓷雕群的樣本。瓷雕群里瓷雕的塑造手法和同等尺寸單個瓷雕的塑造途徑大體上頗為相近。故而，在此便不對瓷雕群的塑造（制作流程）予以更多的闡釋。德化陶藝工匠們對瓷雕塑進(jìn)行裝飾的技藝是如此精湛，以至僅憑對它外表的觀察，幾乎難以洞悉其裝飾手法。手工打造的瓷雕更是將生產(chǎn)過程中的奧秘隱匿得嚴(yán)嚴(yán)實實。因此，為了獲取有關(guān)其制作方法的蛛絲馬跡，對這些瓷雕展開更為細(xì)致深入的探究實屬必要。
圖3：大型模印成型觀音內(nèi)腔
