本研究基于18世纪亚洲与欧洲之间的贸易，尝试重新梳理和思考荷兰画家考奈利․ 普朗克设计的“执伞妇人”瓷器图样和相关外销瓷实物。“执伞妇人”是普朗克专门为荷兰 东印度公司设计的定制瓷器图样，在外销瓷研究中占有特殊地位。本文在前人研究基础 上，反思该图样的设计来源，分析这类瓷盘在中国、日本和欧洲的生产流变，进而探究 图像在跨文化交流中的生命史——即图像的产生、流通、生产、接收与改造，以及文化 相遇中有关“异域”的想象与创造。

Based on the trade between Europe and Asia in 18 th century, this essay offers are-evaluation of Lady with Parasol, a famous pattern on Chinese export porcelain by Dutch artist Cornelis Pronk. This pattern is designed for the Dutch East Indian Company for sending special porcelain order from China and plays an important role in the history of export porcelain. By rethinking the origin of Pronk’s design and the transformation of it on porcelain plates produced in China, Japan and Europe, this case reveals the life cycle of an image from design, delivery, production, accommodation to appropriation in a perspective of global history and transcultural communication, highlighting the creation and imagination of Exotic in cultural encounters.

内容摘要
Ⅰ、“执伞妇人”画样与普朗克的设计
Ⅱ、“执伞妇人”图样的设计来源
Ⅲ、“执伞妇人”瓷盘的流变
    1、中国生产
    2、日本生产
    3、欧洲生产
Ⅳ、图像的跨文化交流
参考文献

• 刘朝晖(复旦大学文物与博物馆学教授) | Zhaohui Liu (Professor, Department of Cultural Heritage and Museology, Fudan University)
• 戴若伟(复旦大学文物与博物馆学博士研究生) | Ruowei Dai (Doctoral Student, Department of Cultural Heritage and Museology, Fudan University)