【世文联】陈光億宗师隆重公布新加坡收藏家协会举办2024新加坡暨景德镇御窑瓷器大展提前于8月15日预先展出

Grand Master Jason Tan Founder & Chief Global Councillor of 【FOWCAAS】 has officially announced the Collectors' Association (Singapore) hosting of the "2024 Singapore and China Jingdezhen Imperial Kiln Porcelain Grand Exhibition" previewing publicly on the 15 August

【中国景德镇御窑博物院】、【新加坡中国文化中心】及【新加坡收藏家协会】举办2024新加坡《丝路瓷行•天工造化》大展,【世文联】为支持单位。

2024 [Silk Road Porcelain Journey • Divine Craftsmanship] Co-organizers by China Jingdezhen Imperial Kiln Institute, China Cultural Centre in Singapore and Collectors’ Association (Singapore),

support by【FOWCAAS】.

2024新加坡暨景德镇御窑瓷器大展提前于8月15日预先展出。(图一)

2024 Singapore and China Jingdezhen Imperial Kiln Porcelain Grand Exhibition previewing publicly on the

15 August. (Photo 1)

2024新加坡暨景德镇御窑瓷器大展提前于8月15日预先展出。(图二)

2024 Singapore and China Jingdezhen Imperial Kiln Porcelain Grand Exhibition," which was previewed publicly on the 15 August. (Photo 2)

【皇家瓷器*辉𤾗遗珍】 - 景德镇出土明代御窑瓷器展

Royal Porcelain • Treasures of the Imperial Kiln - Ming Dynasty Imperial Kiln Porcelains Exhibition from Jingdezhen

“丝路瓷行•天工造化——景德镇御密出士明代瓷器展”，首次将中国景德镇御窑遗址出士瓷器带到东南亚，展出景德镇御窑博物馆珍藏的文物，涵盖永乐白釉、宣德青龙，成化斗彩等名器，体现“皇家遗珍”的历史、艺术及科技信息。从考古遗址发掘出士的一些瓷器是故宫博物院未收藏的，改写了陶瓷历史。

The "Silk Road Porcelain Journey • Divine Craftsmanship – Ming Dynasty Porcelain Unearthed from the Jingdezhen Imperial Kiln" exhibition is the first time that porcelain unearthed from the Jingdezhen Imperial Kiln site in China has been brought to Southeast Asia. The exhibition showcases artifacts from the Jingdezhen Imperial Kiln Institute, including renowned pieces such as Yongle white glaze, Xuande blue and white, and Chenghua doucai. These "Imperial Treasures" reflect the historical, artistic, and technological significance of the Ming Dynasty. Some of the porcrlain unearthed from the archaeological site, which are not part of the collections of the Palace Museum, have rewritten the history of porcelain.

景德镇有悠久的制瓷历史，明洪武二年【公元1369年】开始为宮廷烧造瓷器，宣德元年定名为“御器厂”，长期代表了中国创瓷工艺和制度的最高水平，并与民间窑场互动互补，共同促使景德镇成为世界制瓷中心，在中国乃至世界陶瓷史上占有特珠地位。

Jingdezhen has a long history of porcelain production, beginning in the second year of the Hongwu reign of the Ming Dynasty (1369 AD), when it started producing porcelain for the imperial court. In the first year of the Xuande reign, it was officially named the "Imperial Kiln Factory." For a long time, it represented the pinnacle of Chinese porcelain craftsmanship and institutional practices. The Imperial Kiln worked in tandem with private kilns, complementing each other, which collectively contributed to Jingdezhen's rise as the world's porcelain production centre. This unique status holds a special place in both Chinese and global ceramic history.

由景德镇市文化广电新闻出版旅避局、新加坡中国文化中心和新加坡收藏家协会主办，中国驻新加坡大使馆荣誉支持，世界文化艺术联合总会全球支持及景德镇御窑博物院承办的“丝路瓷行•天工造化—景德镇御窑出土明代瓷器展”，首次将景德镇御窑遗址出土瓷器带到东南亚，8月15日起在新加坡中国文化中心展厅，集中展示中国古代最杰出的制瓷工艺与制度，讲述“一带一路”中以瓷器为载体的文明交流互鉴故事。

The "Silk Road Ceramics Journey • Divine Craftsmanship - Exhibition of Ming Dynasty Porcelain Unearthed from the Imperial Kiln in Jingdezhen," jointly organized by the Jingdezhen Municipal Bureau of Culture, Radio, Television, Press and Publication and Tourism, the China Cultural Centre in Singapore, and the Singapore Collectors’ Association (Singapore), with the honorary support of Embassy of the People’s Republic of China in the Republic of Singapore, global support from the Federation of  World Cultural and Art Society (Singapore), and Co-organiser by the Jingdezhen Imperial Kiln Institute. will bring porcelain unearthed from the Jingdezhen Imperial Kiln Site to Southeast Asia for the first time. Starting on 2024 August 15, this exhibition will be held at the China Cultural Centre in Singapore, showcasing the most outstanding ancient Chinese porcelain craftsmanship and systems while narrating stories of cultural exchange and mutual learning through porcelain as a medium along the "Belt and Road" initiative.

世界文化艺术联合总会名誉顾问、景德镇陶瓷考古研究所名誉所长、研究馆员江建新教授（66岁）接受新加坡媒体《联合早报》访问时说，景德镇御窑出土明代瓷器新加坡展有别于一般瓷器展，其重要意义在于展品出自御窑厂，其断代权威性比其他遗址更有说服力。另外，它在发現过程中有地层信息，埋藏环境与各种品类，文化信息丰富，通过挖掘与埋藏遗物的信息，可知当时生产、曾理与工艺方面的情况。

Professor Jiang Jianxin, Honorary Advisor of the Federation of World Cultural & Art Society (Singapore) and Honorary President and Researcher of the Jingdezhen Ceramic Archaeology Research Institute, stated in an interview with Singapore press “Lianhe Zaobao” that the Ming Dynasty porcelain exhibition from the Jingdezhen Imperial Kiln in Singapore is different from typical porcelain exhibitions. Its significance lies in the fact that the exhibits originate from the Imperial Kiln Factory, which makes their dating authority more persuasive than that of other archaeological sites. Additionally, the discovery process includes stratigraphic information, and the burial environment features a rich array of cultural details across various categories. The information obtained from the excavation and buried artifacts allows us to understand the production, management, and craftsmanship conditions of that time.

江建新教授所说：“遗物成堆出土，非常丰厚，同一个地层或灰坑会出现同一时期的东西，当中有很多是故宫博物院没有收藏的。在过去，若不是在御窑厂出土，我们会以为不是一个时代的东西。因为埋藏年代非常可靠，我们根据这些孤品或从没见过的遗物来填补陶瓷研究的空白，有时候可以改写历史。“另外，遗址出土的一些重要标本有特殊记号，比如纪年，对当年工艺提供很好的参考价值，特别对陶瓷史的研究，对过去的认知起到补充或修改作用。总的来说，通过御窑遗址发掘的展览，意义是多方面的，对我们认识中国陶瓷，特别是官窑历史有非常重要的科学研究价值。”

Professor Jiang Jianxin said: " The unearthed relics are abundant and very rich. The same layer or ash pit may contain items from the same period, many of which are not collected by the Palace Museum. In the past, if these items had not been unearthed from the Imperial Kiln from the Imperial Kiln Factory, we would assume they were from different eras. Because the dating of the burial is very reliable, we can use these unique or previously unseen artifacts to fill gaps in ceramic research, and sometimes it can even rewrite history. Additionally, some important specimens excavated from the site have special markings, such as dates, which provide valuable references for understanding the craftsmanship of that time. This is particularly beneficial for the study of ceramic history, as it complements or revises our understanding of the past. Overall, the exhibition derived from the excavation of the Imperial Kiln site has multifaceted significance and holds very important scientific research value in helping us understand Chinese ceramics, especially the history of official kilns."

除了精良品其余全砸碎

Except for the finest pieces, the rest were all smashed

凭借皇家授予的特权，景德镇御窑广聚能工巧匠，博揽名窑技艺，选用上等原料生产，保证贡入宫廷的御窑瓷器选代创新，件件精良。景德镇御窑长期执行严格的拣选制度，贡余品、残次品、试验品均被砸碎、掩埋在御器厂内不影响生产的区域，为如今考古研究，还原当时的御窑面貌提供了详实证据。考古团队自20世纪70年代起，发掘、整理、拼对、修复，一大批明朝御窑瓷器得以“重见天日”。自1992年起，御窑瓷器在香港、日本、英伦、台北、巴黎、澳门、荷兰、北京、乌兹别克、上海等展出，如今来到新加坡。

With the privileges granted by the royal court, the Jingdezhen Imperial Kilns gathered skilled craftsmen and absorbed techniques from renowned kilns, using the finest materials to produce porcelain for the imperial court. This ensured that the porcelain sent to the palace was innovative and of exceptional quality. The Jingdezhen Imperial Kilns implemented a strict selection process, where surplus items, defective products, and experimental pieces were all smashed and buried in designated areas within the factory that would not interfere with production. This practice has provided invaluable evidence for modern archaeological research, allowing us to reconstruct the historical appearance of the imperial kilns. Since the 1970s, archaeological teams have been excavating, organizing, piecing together, and restoring a significant number of Ming dynasty imperial porcelain pieces that had been buried. Starting in 1992, these imperial porcelains have been exhibited in Hong Kong, Japan, the UK, Taipei, Paris, Macau, the Netherlands, Beijing, Uzbekistan, and Shanghai, and now they have arrived in Singapore.

到底御窑瓷器的烧制工艺有多严格，皇帝要求有多挑剔，瓷器砸毁率多高？江建新教授又说，通过考古挖掘情况来看，元朝的官窑遗址是没有埋藏堆积的，堆积情况是从明代洪武开始，延续至嘉靖。万历以后，官窑制度改变，官搭民烧，御密厂很难控到可以复原的瓷嚣碎片，有时候挖到的嘉万堆积坑都不能复原。

Just how strict were the firing techniques for imperial kiln porcelain, and how exacting were the emperors in their demands? How high was the destruction rate of these porcelains? Professor Jiang Jianxin explained that archaeological excavations reveal that there was no burial of piled-up shards at the Yuan dynasty imperial kiln sites. This practice of accumulation began during the early Ming dynasty, starting with the Hongwu reign and continuing until the Jiajing reign. After the Wanli reign, the official kiln system changed, with civilian kilns producing for the government, making it difficult to find shards that could be restored at the imperial kilns. In some cases, even the Jiajing and Wanli accumulation pits unearthed cannot yield restorable pieces.

部分明初残片可修复

Some fragments from the early Ming Dynasty can be restored

江建新教授再指出，明初洪武到嘉靖以前，皇家有意识地把多余的、残次品和试验品通通在御窑厂砸碎，不让流落到民间，这时期挖掘出来的残片，部可以修复成完整件。到了清代官窑，瓷器处理制度与明代不同，所有残次品标本堆在一起，因此难以修复。这和清代管理制度有关，唐英督窑时，上奏折给乾隆皇帝，点明库房积压了很多落选官窑瓷器的烦恼，皇帝批示除了五爪龙和黄釉瓷器之外，其他都可酌情处理，多余瓷器可以变卖。

Professor Jiang Jianxin further pointed out that during the early Ming period, from the Hongwu to Jiajing reigns, the imperial court deliberately destroyed surplus, defective, and experimental porcelain at the Imperial Kiln, preventing these items from reaching the public. The shards excavated from this period can often be restored into complete pieces. In contrast, during the Qing dynasty, the handling of defective porcelain was different. All defective samples were piled together, making them difficult to restore. This difference is related to the management system of the Qing dynasty. Tang Ying, the superintendent of the imperial kilns, once reported to Emperor Qianlong, highlighting the issue of surplus rejected porcelain in the storerooms. The emperor responded that, apart from five-clawed dragon and yellow-glazed porcelain, the other items could be disposed of at discretion, and surplus porcelain could be sold.

官窑瓷器砸毁率也与向瓷烧制工艺的难度有关，宣德时期的红釉瓷器成功率不高，十之八九是废品，甚至更少，砸毁率就很高。斗彩瓷器成功率较高，挖掘显示斗彩单一品种遗物很少。青花瓷器也不容易烧成功。江建新说，古代文献没具体记录砸毁率，考古专家是根据挖掘情况做推测。

The destruction rate of imperial kiln porcelain was closely related to the difficulty of the production process. During the Xuande period, for example, the success rate of red glaze porcelain was very low—about nine out of ten pieces were discarded as defective, sometimes even more. As a result, the destruction rate was quite high. On the other hand, doucai porcelain had a higher success rate, and excavations have shown that there are very few relics of a single type of doucai. Blue-and-white porcelain was also challenging to produce successfully. Professor Jiang Jianxin mentioned that although ancient records do not provide specific details on destruction rates, archaeologists have made estimations based on excavation findings.

明代宫窑更汉化

The imperial kilns of the Ming dynasty became more Sinicized

烧制了200多年的明代官窑瓷器，比起元、清，具有哪些重要特征与样式？江建新教授说，在元朝，青花资与釉里红比较常见。明代以后，瓷器品类丰富，除了青花、釉里紅、斗彩，还有各种颜色釉的瓷器。清代又比明代更丰富，有五彩、粉彩、斗彩，单一颜色高温秞瓷翠。他说，从器形来看，元代大件元青花受伊斯兰文化影响，因为销往中东地区，纹饰风格具异域风情，充满阿拉伯装饰风味；它同时受到阿拉伯陶器的影响，用的颜料是外来（西业）的苏麻里青钴料。

Ming dynasty imperial kiln porcelain, which was produced for over 200 years, possesses several distinctive characteristics and styles compared to those of the Yuan and Qing dynasties. Professor Jiang Jianxin explained that in the Yuan dynasty, blue-and-white and underglaze red porcelains were more common. However, after the Ming dynasty, the variety of porcelain types expanded significantly. In addition to blue-and-white and underglaze red, there were also doucai (contrasting colors) and various colored glazes. The Qing dynasty further enriched this diversity, introducing wucai (five colors), fencai (pastel colors), doucai, and monochrome high-temperature glazes like emerald green.

He also noted that in terms of shape, Yuan dynasty porcelain, particularly large pieces of blue-and-white, was influenced by Islamic culture, as it was often exported to the Middle East. The decorative style is rich in exotic, Arabesque patterns, reflecting the influence of Arab pottery. The pigments used, such as the cobalt blue, were imported from regions like Persia.

明代官窑有更多汉化的影响，各代皇帝都在官窑瓷器上留下重要痕迹，比如宣德皇帝的心爱之物蟋蟀罐烧得非常精美，以中国画意为特征，表现出中国传统文化的审美品味。明代中期成化开一代之风，将中国陶瓷的细腻精巧精英发挥到了极致。嘉靖万历时期随着国力衰扇，虽然瓷器仍有永宣成化的味道，但整个面貌不如前朝，工艺水平退步。

The official kilns of the Ming dynasty had a more sinicized influence, with emperors of all generations leaving important traces on the porcelain of the official kilns. For example, the Emperor Xuande's beloved cricket jars were beautifully burned, featuring Chinese pictorial meanings and demonstrating the aesthetic tastes of traditional Chinese culture. Chenghua in the middle of the Ming Dynasty opened a generation of wind, the delicate and refined elite of Chinese ceramics to the extreme. Jiajing Wanli period with the decline of national power fan, although porcelain still have Yongle, Xuande and Chenghua flavor, but its overall appearance did not match that of the earlier dynasties, and the level of craftsmanship regressed.

明官窑烧造了数以万计的御瓷精品，比如永乐宣德的青花、釉里紅、红釉，成化的斗彩：弘治、正德的黄釉、黄地绿彩；嘉靖、万历的五彩等品种。又如永乐青花压手怀、宣德青花蟋蟀罐、宣德斗彩鴛鸯莲池纹盘、正統青花大龙缸、成化斗彩鸡缸杯等，堪称一代珍品。明代晚期随着御窑厂停烧，民窑则发展兴旺，尤其是由荷兰东印度公司主导的外销瓷空前活跃，由此奠定了景德镇为国际瓷都的地位。

The Ming official kilns produced tens of thousands of exquisite imperial porcelain pieces, such as the blue and white and underglaze red from the Yongle and Xuande periods, as well as the Doucai from the Chenghua period, and the yellow glazes and yellow-ground green-decorated wares from the Hongzhi and Zhengde periods. Other notable examples include the Yongle blue-and-white "pressed hand" cup, the Xuande blue-and-white cricket jar, the Xuande Doucai "mandarin duck and lotus pond" dish, the Zhengde blue-and-white large dragon jar, and the Chenghua Doucai chicken cup, all of which are considered treasures of the era. In the late Ming Dynasty, as the Imperial Kiln Factory ceased production, the folk kilns flourished, particularly with the unprecedented activity in export porcelain led by the Dutch East India Company. This development established Jingdezhen's status as an international porcelain capital.

部分展品博物馆未收藏

Some exhibits have not been collected by museums 

本次展览分为：启明气象、国之重器、御前雅赏、膳宴用器、文化交融五个单元，井将部分瓷器作比对比展示，遴选了景德镇御窑博物馆珍戴的、极具时代代表性的文物110件（套），展品涵盖永乐白釉、宣德青花、成化斗彩等名器，还有近年来考古新发现的一批正统、景泰、天顺时期御窑瓷器精品，代表了当时中国瓷器制作的意

高水平。

The exhibition is divided into five sections: " The Dawn of Ming," "National Treasures," " Elegant Appreciation of the Emperor," " Tableware for Banquets," and " Cultural Diversity." Some of the porcelain will be displayed for comparison, and a selection of 110 pieces /sets of artifacts with significant historical representation from the Jingdezhen Imperial Kiln Museum will be showcased. The exhibits cover famous pieces such as the Yongle white glaze, Xuande blue and white, and Chenghua Doucai, as well as a batch of exquisite imperial kiln porcelain from the Zhengtong, Jingtai, and Tianshun periods discovered in recent archaeological findings, representing the high level of Chinese porcelain production at that time.

江建新教授说，清代官窑瓷器水平更高，尤其雍正乾隆时期集天下之大成。唐英督陶时著（陶成纪事》将历代各个时期烧制的品类做了总结，复原了570种不同品类的瓷器，样式奇巧，质地精美，斗彩、粉彩、珐琅彩工艺水平达到顶峰。之后官窑衰弱，但是仍然有一些不错的产品，如清后期慈禧的大雅斋，同治光绪大婚的瓷器都烧得不错，但是短暂一瞬，整体工艺制作水平退步。

Professor Jiang Jianxin stated that the quality of Qing Dynasty official kiln porcelain was higher, especially during the Yongzheng and Qianlong periods, which represented the culmination of porcelain craftsmanship. Tang Ying, during his tenure as the supervisor of the kilns, summarized the various types of porcelain produced throughout different dynasties in his work "Records of Porcelain Production," restoring 570 different categories of porcelain, characterized by intricate styles and exquisite textures. The craftsmanship of Doucai, Fencai, and Famille-rose reached its peak during this time. Later, the official kiln declined, but there were still some good products, such as the Dayazhai of Empress Dowager Cixi in the late Qing Dynasty, and the porcelain made for the marriage of Emperor Guangxu and Empress Dowager Cixi during the Guangxu period. However, it was only a brief moment, and the overall level of craftsmanship regressed.

事实上，御窑厂挖出的一些瓷器是连故宫两院〈北京和台北）与其他博物馆都没收藏，改写了历史。江建新举宣德的斗彩为例，之前以为斗彩工艺到成化才有，这个发现将之推前百多年。还有宣德蟋蟀罐挖出十多种，彩绘非常情美，但是故宫两院没有收，英宗九岁登基时，皇后可能命令砸掉宫里的蟋蟀罐，以防他玩物丧志，传达出陶瓷背后的文化信息。外销瓷器永乐时期的甜白釉三壶连通器，世界各地博物馆都未收藏。

In fact, some porcelain pieces unearthed from the Imperial Kiln Factory are not held in either of the two Palace Museums (in Beijing and Taipei) or in other museums, thus rewriting history. Professor Jiang Jianxin cited the Doucai from the Xuande period as an example; it was previously believed that the Doucai technique only emerged in the Chenghua period, but this discovery pushes it back by over a century. Additionally, more than ten varieties of the Xuande cricket jar have been excavated, showcasing beautiful and intricate decorations, yet neither of the Palace Museums has collected them. When Emperor Yingzong ascended the throne at the age of nine, the Empress might have ordered the destruction of the cricket jars in the palace to prevent him from being distracted by trivial pursuits. This act conveys the cultural significance behind the ceramics. Furthermore, White Glazed Three-Pot Connector from the Yongle is not found in the collections of museums around the world.

江建新教授总结说：“事实上两宫博物院烧造的东西，遗址一定会有，但在遗址发掘出来的，两宫博物院不一定有收藏。这些发现的新东西是改写历史，改变人们认知的很重要遗物。”

Professor Jiang Jianxin summarized by saying, "In fact, the items produced for the two Palace Museums will definitely be found at the kiln site, but the things unearthed from the site are not necessarily in the collections of the two Palace Museums. These newly discovered artifacts are significant relics that can rewrite history and change people's understanding."

“丝路瓷行•天工造化”第一单元“启明气象”展区。

"Silk Road Porcelain•Divine Craftsmanship Chapter 1 "The Dawn of Ming " exhibition area.

2014年景德镇珠山龙珠阁南侧考古挖掘现场。

Archaeological excavation site on the south of Longzhu Pavilion, Zhushan, Jingdezhen, 2014

景德镇珠山南麓西墙内侧发现的龙缸残片堆积。

A pile of dragon jar fragments was found inside the west wall at the southern foothill of Zhushan, Jingdezhen.

景德镇陶瓷考古研究所名誉所长江建新教授在御窑厂遗址考古发掘工作现场。

Professor Jiang Jianxin, Honorary President of the Jingdezhen Ceramic Archaeological Research Institute, at the archaeological excavation site of the Imperial Kiln Factory ruins.

明成化素三彩鸭形香熏，当熏香点燃置于鸭腹内，香气便会从鸭咀散发。

Ming Dynasty Chenghua Reign Duck-shaped incensory with Susancai Glaze. The aroma will emanate from the duck's maw when the incense is lit inside the duck's belly.

“丝路瓷行•天工造化”展品一。

Exhibit 1 of The "Silk Road Porcelain Journey • Divine Craftsmanship"

“丝路瓷行•天工造化”展品二。

Exhibit 2 of The "Silk Road Porcelain Journey • Divine Craftsmanship"

新加坡报道 黄向京

ngspg@sph.com.sg

《考古与瓷器图片由受访者提供》

Reported by Huang Xiangjing​ SINGAPORE

ngspg@sph.com.sg

"Archaeological and porcelain images provided by interviewees"

新加坡中国文化中心会议厅合影。

China Cultural Centre in Singapore conference room

右1：郑明炎（新加坡收藏家协会会长）

Right 1 - TAY BENG YAM（PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右2：孔媛（新加坡中国文化中心副主任）

Right 2 - KONG YUAN (DEPUTY DIRECTOR)CHINA CULTURE CENTRE IN SINGAPORE

右3：李维业（副会长）新加坡收藏家协会

Right 3 - LEE WEE GIAP （VICE PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右4：张裕民（副会长）新加坡收藏家协会

Right 4 - TEO JOO BING（VICE PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右5：吴秋赞（名誉会长）新加坡收藏家协会

Right 5 - GOH CHU CHUNG （HONORARY PRESIDENT）COLLECTORS’ ASSOCIATION (SINGAPORE)

右6：肖江华（主任）新加坡中国文化中心

Right 6 - XIAO JIANGHUA （DIRECTOR）CHINA CULTURE CENTRE IN SINGAPORE

右7：江建新（名誉院长/文博研究馆员）景德镇御窑博物院

Right 7 - JIANG JIAN XIN （HONORARY CURATOR/ RESEARCHER）JINGDEZHEN IMPERIAL KILN INSTITUTE

右8：邹媛（书记）景德镇御窑博物院

Right 8 - ZOU YUAN (SECRETARY)JINGDEZHEN IMPERIAL KILN INSTITUTE

右9：邓忠庆（安保主任）景德镇御窑博物院

Right 9 - DENG ZHONGQING (HEAD OF SECURITY) JINGDEZHEN IMPERIAL KILN INSTITUTE

右10：方婷婷（翻译）景德镇御窑博物院

Right 10 - FANG TINGTING  (INTERPRETER) JINGDEZHEN IMPERIAL KILN INSTITUTE

右11：陈原德（秘书长）新加坡收藏家协会

Right 12 - TAN YONG TECK （HONORARY SECRETARY-GENERAL） COLLECTORS’ ASSOCIATION (SINGAPORE)

右12：张世友（副秘书长）新加坡收藏家协会

Right 12 - ZHANG SHIYOU （DEPUTY HONORARY SECRETARY GENERAL）COLLECTORS’ ASSOCIATION (SINGAPORE)

【世文联】创会全球总顾问陈光億宗师(左三)、【新加坡收藏家协会】名誉会长吴秋赞先生(左二)、副会长李维业先生(左一)、秘书长陈原德先生(右一)及会长郑明炎先生(右二)。

[FOWCAAS] Founder & Global Chief Councillor, Grand Master Jason Tan (third from the left), Global Honorary Advisor of the Collectors’ Association Singapore, Honorary President Mr. Goh Chu Chung (second from left),

Vice President Mr. Lee Wee Giap, (first from left), President Mr. Tay Beng Yam (second from right) and

Honorary Secretary-General Mr. Tan Yong Teck (first from the right).

【新加坡中国文化中心】网站。

【China Cultural Centre in Singapore】Website.

https://cccsingapore.org/

【景德镇御窑博物院】网站。

【Jingdezhen Imperial Kiln Institute】Website.

http://www.jdzyybwy.com/jdzmu/frontend/pg/index

【新加坡收藏家协会】网站。

【COLLECTORS’ ASSOCIATION (SINGAPORE)】Website.

https://collectorsassociation.org/zh-hant/

《世文联》名誉顾问江建新教授。

【FOWCAAS】 Honorary Committee Advisor Prof. Jiang Jianxin

https://www.fowcaas.org/zhzzList.aspx?zlid=1683

《世文联》创办人全球总顾问陈光億宗师。

【FOWCAAS】 Founder & Global Chief Councillor, Grand Master Jason Tan Beng Siang, PhD.

【世文联】网站

FOWCAAS Website

https://www.fowcaas.org