珍稀天然宝石的收集和鉴赏由来已久，在中国和其他亚洲国家已有 1000 多年的历史。文房珍玩中的供石作为自然景观的缩影，通常在书斋被当作文人雅士凝神静思的载体。

故宫博物院, 石海九如图卷, 清，石海绘，绢本，设色，237.厘米，28.厘米
Palace Museum, Stone Sea Nine Painting, Qing Dynasty, L. 237cm, W. 28cm, Beijing, China

As Harvard Art Museum’s Curator Emeritus Robert D. Mowry says, “like a landscape painting, the rock represented a microcosm of the universe on which the Scholar could meditate within the confines of his studio or garden.”

正如哈佛艺术博物馆名誉馆长罗伯特·莫里 (Robert D. Mowry) 所说，“供石犹如泼墨山水画，岩石代表了宇宙的缩影，学者可以在书房或花园的一方天地内沉思冥想。”

宋 · 米芾《研山铭》, 北京故宫博物院藏, 绢本手卷，行书，卷纵36厘米，横136厘米
Palace Museum, Ming Shan Yan, Mi Fu, W. 36cm, L. 136cm, Beijing, China

A few of the mountainscapes may recall specific peaks but most represent imaginary mountains. The abstract forms may recall a variety of images to the viewer, such as dragons, phoenixes and even human figures. It was the abstract qualities that appealed to the Chinese Literati.

一些供石可能会让人想起特定山脉，但大多数代表的是想象中的山峰。 观者发挥想象力还可以联想到各种图像，例如龙凤甚至人物。 正是这种抽象的特质深深吸引着中国文人。

蘇州獅子林太湖石
Taihu Stone, Lion Garden, Suzhou, China

Mi Fu was one of the most famous calligrapher in Song Dynasty. He was so obsessed collecting stones, bow to them as he regard them as his ‘older brothers”. Because of the stones, Mi Fu lost his official position but had no regrets, instead he wrote “Worshiping Stones Picture” to express his pride.

宋朝大书法家米芾爱石痴迷至极，他称供石为自己的兄弟。米芾因为拜石丢了官却无悔，反而自写《拜石图》，倾诉得意之情。

Many factors contribute to the fantastic Chinese Scholar’s Stones, ranging from geographic origin to the colour and texture of the stone. A number of terms were created to describe the desired qualities in a Chinese Scholar’s Stone, the most common standards are shou (thin, 瘦), tou (openess,透), lou(perforation, 漏) and zhou(wrinkling, 皱). It would be highly valued by the hollow part of the stone to be able to create a strong contrast with the material and light.

供石的评判标准有很多，从原产地到石头的颜色和纹理。人们创造了许多术语来描述供石所需的品质，最常见的标准是“瘦”、“透”、“漏”和“皱”。供石中空的部分能与石体和光线形成强烈对比则备受推崇。

Taihu Stone, Liu Garden, Suzhou, China苏州留园冠云峰太湖石

The finest Chinese Scholar’s Stones often come from riverbeds or mountains. There are three main Chinese sources for the stones: Lingbi stone from Lingbi, Anhui province; Taihu stone from Lake Tai, Jiangsu province; Yingde or Ying stone from Yingde, Guangdong Province. Many valued Chinese Scholar’s Stones were varying forms of ancient marine lime- stone or metamorphic rocks from carbonate-based materials.

最精致的供石通常来自河床或山川中。珍罕供石的主要产地有三个，分别是中国安徽省北部灵璧县出产的灵璧石，江苏省太湖出产的太湖石和广东省英德市出产的英德石也称英石。许多供石都是不同形式的古海洋石灰岩或碳酸盐基材料的变质岩。

Unlike the Lingbi Stone and Ying Stone shaped mostly by water, Gobi Desert stones are shaped by wind and sands with deep, rich, and lustrous appearance which became very collectable. Gobi Chalcedony stones are stones that appear waxy, lustrous, sometimes semi-transparent, and they occur in a variety of colours.

与灵壁石、莹石大多由水塑造而成的不同，戈壁石由风沙塑造而成，其深邃、丰富、光泽的外观备受文人墨客的喜爱。 戈壁玉髓石是一种呈蜡状、有光泽、有时呈半透明状的宝石，有多种颜色。

Most Chinese stones tend to be varying shades of grey and black along with the white mineral formations of the stones. In contrast the harder, Gobi stones were often varying shades of yellow, red, browns, and are lighter colors than the more southern rocks.

大多数供石往往呈不同深浅的灰色和黑色，以及白色矿物结构。 相比之下，戈壁石更加坚硬，其颜色通常有不同深浅的黄色、红色和棕色，并且比南部的供石的颜色更浅也更丰富鲜艳。

The post Chinese Scholar‘s Stone 中國供石文化 appeared first on Chinese Wood Stands.

托普卡匹皇宫博物馆展出了近12000件中国瓷器藏品，不间断地揭示了13世纪至19世纪中国瓷器演变的历史年表。
A nearly 12,000-piece collection of Chinese porcelain is on display in the Topkapi Palace Museum, revealing an uninterrupted historical chronology of the evolution of Chinese porcelains from the 13th to the 19th century.

托普卡匹皇宫最初由君士坦丁堡的征服者苏丹穆罕默德二世于1460年至1478年间建造，并在其悠长历史中多次被扩建和被改造。
The Topkapi Palace originally built between 1460 and 1478 by Sultan Mehmed II, the conqueror of Constantinople, and has been enlarged and remodelled several times during its long history.

直到19世纪中叶，托普卡匹皇宫一直是奥斯曼帝国苏丹及其宫廷的所在地。
Until the mid-19th century, the Ottoman Sultan and his court located in the Topkapi Palace.

1922年废除了奥斯曼君主制后，托普卡匹皇宫于1924年4月3日由Mustafa Kemal Atatürk下令改建为博物馆。
After the abolition of the Ottoman monarchy in 1922, the Topkapi Palace was converted into a museum by order of Mustafa Kemal Atatürk on 3 April 1924.

托普卡匹皇宫厨房占地超过5,250平方米，在奥斯曼帝国的鼎盛时期曾经每天为5,000多人提供食物。
Spanning over an area of over 5,250 square meters, a palace kitchen in Istanbul’s European side was once feeding over 5,000 people per day, during the heydays of the Ottoman Empire.

为了使宫廷厨房和餐桌更加富丽堂皇，13世纪的奥斯曼苏丹开始收集最精美的中国瓷器。
In order to make the court kitchens and tables more opulent, the Ottoman sultans of the 13th century began collecting the finest Chinese porcelain.

所有的瓷器每天都在被使用，而不仅仅是用于展示， 这些瓷器是他们唯一用来装食物的容器。
All the porcelain were using every day and not just for displayed. It was the only containers they had for food.

咖啡对于土耳其人来说是非常重要的。尽管在19世纪，土耳其宫廷咖啡文化依旧以传统的方式继续，但贵族会在日常生活中使用由咖啡杯、杯托和咖啡壶组成的中国瓷器咖啡用具套装。
The coffee was very important in Turkey. Although coffee culture at the palace continued in the traditional manner during 19th century, consisting of coffee cups, cup holders and coffee jugs, Chinese porcelain coffee sets were used in their daily life.

果酱在宫廷生活中也占有重要地位。奥斯曼帝国的苏丹还有专门厨房，制作果酱、果汁和糖果。劳伦斯女士在参观结束后，受到展览的启发，自己开始尝试用土耳其的新鲜草莓制作果酱。
Jam also had an important place in court life. The Ottoman sultans had special kitchen for making jams, juices and sweets. Inspired by the exhibition, Mrs Laurence Paul began making jam using fresh strawberries from Turkey by herself.

历史学家认为，奥斯曼宫殿中实际使用的中国瓷器数量超过10万件，但其中大部分在几次地震和火灾中丢失或毁坏。
Historians believe that the actual number of Chinese porcelains used in the Ottoman palaces was over 100,000, but most of them were lost or destroyed in several earthquakes and fires.

其中一些藏品是高级官员或外交使团赠送的礼物，但其中很大一部分，是通过古代丝绸之路，从中国运到奥斯曼宫殿中的。
Some of these pieces were presented as gifts from high-level state men or foreign diplomatic missions, and a significant part of the collection was transferred from China to the palaces through the ancient Silk Road.

直到1700年代初，中国是世界上唯一的瓷器生产国，中国生产的瓷器非常昂贵，在当时被称为“白金”。
Until the early 1700s, China was the only porcelain producer in the world, and the pieces it produced were very precious known as White Gold.

在宫廷厨房中，最受欢迎的中国瓷器类型之一是青瓷，因为土耳其人认为青瓷有验毒的功能。如果食物里被加入了毒药，用青瓷装盛后，青瓷会变色或破裂。
One of the most preferred types of Chinese porcelains in the palace kitchens was celadons because they were believed to change colour or get cracked when poison was added.

16世纪后期，奥斯曼苏丹定制和购买了许多绘制有古兰经经文的青花瓷用作餐具。
In the late 16th century, the Ottoman sultans customised and purchased many porcelains with Qur’anic verses for use as tableware.

从19世纪开始，土耳其艺术家通过模仿和再创造，也自己尝试制作了许多瓷器，其中大部分灵感来自中国的青花瓷。
From the 19th century, Turkish artists, through imitation and reinvention, also experimented with their own porcelain. Most of them inspired by Chinese blue and white porcelain.

托普卡匹皇宫博物馆收藏的中国瓷器，包含了宋、元、明、清时期的青瓷、青花瓷、单色瓷、彩色瓷共约一万多件中国瓷器收藏。
The collection of Chinese porcelain in the Topkapi Palace Museum includes over 10,000 pieces of celadon, blue and white, monochrome and coloured porcelain from the Song, Yuan, Ming and Qing dynasties.

托普卡匹皇宫博物馆收藏的中国瓷器，是当今海外博物馆中数量最多，价值最高的收藏之一。
The collection of Chinese porcelain in the Topkapi Palace Museum is one of the largest and most valuable collections in overseas museums today.

托普卡匹皇宫藏品囊括了13至20世纪初中国销往奥斯曼帝国兼中近东各伊斯兰国家的各种瓷器。
The collection of the Topkapi Palace includes a wide range of porcelain from China to the Ottoman Empire and the Islamic countries of the Middle East from the 13th to the early 20th century.

托普卡匹皇宫藏品是中国陶瓷生产、制造和远销贸易历史与发展的重要佐证。
The Topkapi Palace Collection is an important testimony to the history and development of Chinese ceramic production, manufacture and export trade.

参考资料References：
1.联合国教科文组织：https://zh.unesco.org/silkroad/content/tuopukapagongbowuguan
2.Chinese porcelains used in Ottoman palace on display in Istanbul: https://www.chinadaily.com.cn/a/202010/06/WS5f7c2e99a31024ad0ba7d505.html
3.TOPKAPI PALACE MUSEUM: https://muze.gen.tr/muze-detay/topkapi

The post Chinese Porcelain in Topkapi Palace Museum-土耳其皇宫中的中国瓷器 appeared first on Chinese Wood Stands.