往昔異鄉｜漳州青花帆船紋盤

A Large Swatow Underglaze Blue Dish with Compass and Sailing Boat Design
作者：沐錦堂藏 Courtesy of the Mujintang Collection
創作年份：明末 Late Ming dynasty, early 17th century

陶瓷是碳與矽之間最古老的媒介。因為陶瓷的製作來自矽基礦物瓷土、碳火燃料、以及人類作為碳基生命的巧手巧思。陶瓷本身就是碳與矽共同作用的古老文明產物。「往昔異鄉」系列展出的明末漳州青花大盤及清代德化白瓷剛好是成為整個「往昔異鄉」系列的策展概念核心。《碳矽之間》不再只是 AI 與半導體，而是回到更根本的文明命題，也就是人類文明，本來就是建立在碳與矽的共同創造之上。

人類利用石英、矽砂等原始材料、經由碳火將矽酸鹽礦物轉化為陶瓷，生成出各式各樣的物件。本次展出的明代漳州青花帆船大盤原為葡萄牙私人收藏，代表著海洋貿易、全球流通與臺灣漢族的福建原鄉之一。

福建崎嶇的地形和有限的耕地使海上貿易對當地生存至關重要。明初的海禁導致了廣泛的走私甚至海盜，漳州月港逐漸成為主要的貿易港口。從15世紀中葉開始，月港在出口中國瓷器方面發揮了至關重要的作用；16世紀末歐洲商人的到來進一步擴大了貿易。1567年明政府正式將月港指定為合法的外貿港口，以減少腐敗，增加收入，並加強抵禦日本海盜。 這一決定鞏固了月港在明朝晚期作為國際貿易中心的地位。漳州豐富的陶瓷資源及靠近月港，再加上日本和東南亞諸國的貿易需求及歐洲人的商業野心的相互作用下，大力推動了漳州窯業的增長。

在營銷和定價策略上漳州窯遵循了宋元時期南方民窯的模式，針對海外低端市場大量生產傾銷。故在東南亞、日本、非洲和美洲的古代遺址、沉船和考古遺蹟中都有發現了大量漳州器。

明朝滅亡後，漳州的陶瓷產業也開始衰落。當國姓爺鄭成功將荷蘭人驅逐出臺灣時，福建沿海和廣東成為晚明抗清勢力的前線，清政府加強沿海撤離更加劇了漳州的衰落。海禁雖在1682年康熙年間解除，但月港的貿易作用已經被廈門接管，最終，漳州窯的生產被泉州的德化和周邊地區的窯業所取代。

漳州窯的研究可以為晚明海商世界的經濟、技術和文化交流提供了寶貴的見解。這些漳州器以其自由無拘束的裝飾風格、豪邁的尺寸，和獨特的沙礫而聞名，主要在漳州平和縣生產，並大量出口到東南亞、日本、中東、歐洲、甚至美洲。本件漳州釉下青花帆船羅盤大皿原為葡萄牙私人收藏家所有，現為臺灣沐錦堂收藏，類似的大盤也可見於日本大阪東洋陶磁館、東京出光美術館、東京靜嘉堂等。

Ceramics are among the oldest media that exist between carbon and silicon. Their creation depends on silica-rich minerals such as quartz, feldspar, and
kaolin, transformed by carbon-fuelled fire and shaped by the skilled hands and imagination of human beings. Ceramics are therefore one of humanity's earliest material manifestations of the collaboration between carbon and silicon.

The late Ming Swatow (Zhangzhou) underglaze blue dish and Qing dynasty
Dehua Blanc de Chine wares presented in Past Is a Foreign Land form the conceptual core of this exhibition. Between Carbon and Silicon is not simply an exhibition about artificial intelligence or semiconductors; rather, it returns to a more fundamental proposition—that human civilisation has always been built upon the continuous collaboration between carbon and silicon. Long before
silicon wafers became the foundation of contemporary computing, people had
already transformed silica-bearing minerals into ceramics through fire, producing objects that carried memory, belief, trade, and culture across
generations.

The large underglaze blue Swatow dish with compass and sailing boat decoration exhibited here was formerly in a private Portuguese collection. It represents not only maritime trade and global circulation during the late Ming dynasty, but also Fujian homeland from which many Han settlers later migrated to Taiwan.

Fujian's mountainous terrain and limited agricultural land made overseas trade essential to regional survival. During the Ming dynasty, restrictions on maritime trade encouraged widespread smuggling and piracy, while Yuegang (Moon
Harbour) in Zhangzhou gradually emerged as one of China's most important
international ports. From the mid-fifteenth century onwards, Yuegang became a major centre for the export of Chinese ceramics. The arrival of European merchants during the late sixteenth century further expanded global trade, and
in 1567 the Ming government officially opened Yuegang as a legal foreign trading port, strengthening its position as one of East Asia's principal maritime hubs.

Supported by abundant ceramic resources, proximity to Yuegang, growing demand from Japan and Southeast Asia, and expanding European commercial
networks, the Zhangzhou kilns flourished as one of the largest export ceramic industries of the late Ming period. Following the production model established by
provincial kilns during the Song and Yuan dynasties, Zhangzhou potters specialised in large-scale production for overseas markets. As a result, Zhangzhou wares have been recovered from archaeological sites, shipwrecks,
and historical settlements throughout Southeast Asia, Japan, the Middle East, Africa, Europe, and the Americas.

Following the fall of the Ming dynasty in 1644, Zhangzhou's ceramic industry gradually declined. The coastal wars surrounding Koxinga’s resistance against the Qing dynasty, together with the Qing coastal evacuation policy, severely disrupted maritime production and trade. Although the maritime ban was lifted
in 1682 during the Kangxi reign, Yuegang had already been replaced by Xiamen as the region's principal trading port, and Zhangzhou's ceramic production was gradually superseded by the kilns of Dehua and neighbouring Quanzhou.

Today, Zhangzhou ceramics continue to provide invaluable insights into the economy, technology, and cultural exchanges of the late Ming maritime world.

Renowned for their monumental scale, spontaneous brushwork, and distinctive sandy kiln grit, these export wares remain among the most recognisable
products of early globalisation. The present dish, formerly in a private Portuguese collection and now courtesy of the Mujintang Collection, is
comparable to examples preserved in the Osaka Municipal Museum of Art, the
Idemitsu Museum of Arts in Tokyo, and the Seikado Bunko Art Museum.