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文献翻译：

众所周知，在17世纪末、18世纪初画珐琅技术传入中国之前，此技术在欧洲主要是应用于金属胎，少量用于玻璃胎， 当时欧洲并没有瓷胎画珐琅这一品种。原因很简单，在德国炼金术士Johann Friedrich Böttger在Meissen于1708年试制成功真正的硬质瓷(hard-paste porcelain)之前，欧洲还没有学会生产瓷器。画珐琅技术传到中国之后，较初如欧洲人一样，也主要是应用到金属胎上。但是不久，在康熙、雍正和乾隆三位皇帝的大力推动之下，这种技术很快就被成功地移植到瓷胎(porcelain body)上，而且就在中国所取得的发展、艺术成就和产量来而言，瓷胎画珐琅远远超过铜胎画珐琅，而且在18世纪晚期之后，铜胎画珐琅在中国便极少生产，而瓷胎画珐琅却一枝独秀，繁荣延续至今。那么为什么清朝皇帝们要在已经取得铜胎画珐琅的成功之后，仍然要把画珐琅技术移植到瓷器上，并持续不断地大力推动瓷胎画珐琅的发展呢?

As everyone knows, before being introduced to China during the late 17th century and the beginning of the 18th century, painted enamel technology was mainly applied to mental bodies or sometimes glass bodies, and enamel painted porcelain had not been developed in Europe at that time. The reason for this phenomenon is very simple: before 1708 when Johann Friedrich Böttger, German hermetist successfully produced the true hard-paste porcelain, European had not learned how to produce porcelain. After being introduced to China, painted enamel technology was mainly applied to mental bodies at first as it was in Europe. Soon after, the technology was successfully and quickly applied to porcelain bodies based on the strong support of Emperor Kangxi, Yongzheng and Qianlong; and enamel painted porcelain outdistances copper painted enamel vessels in the aspects of development, artistic achievement and output in China. And what is worth noticing is that copper painted enamel vessels were seldom produced after the late 18th century, but enamel painted porcelain enjoyed quick development and remains prosperous even by now. Why did Qing emperors exert effort to apply painted enamel technology to porcelain and continually promote the development of the enamel painted porcelain energetically when painted enamel on metal bodies had achieved a success?

首先，有一个不可忽视的可能性，即这与中国特殊的陶瓷文化与传统的儒家圣贤崇拜有关。在儒家思想里，向来以尧舜等人作为君王的较高理想道德的化身，相应地，历史上凡是希望有所作为的皇帝，也都喜欢声称效仿尧舜的德政，来标榜自己的德行和政权的正统性，而这一点在对自己非汉族身份十分敏感的满族皇帝身上显得尤其突出。如雍正五年六月雍正帝云: “我愿意与诸位大臣们一起互相警醒和勉励，仔细思考礼义廉耻的含义并身体力行，那么人民的道德和社会的风气就会不断得到提高， 而尧舜和夏商周三代的好政治，用不了多久就能重现。“[1]乾隆元年(1736 ) 四月，乾隆帝曾说: ” 我所向往的治理国家的方法，就是尧帝和舜帝传下来的道德之法······“。[2] 可见尧舜等古代贤君是清朝皇帝们所努力效仿的榜样，至少在口头上是如此。而由于中国特殊的历史文化，自上古时期起，“制陶”(making pottery)，尤其是制作好的陶瓷器，就与中国崇尚舜帝所具有的高尚道德的传统文化具有密切的联系。在某种程度上，这种联系很可能参与了促进清朝皇室努力将西洋画珐琅技术移植到瓷胎之上，并将瓷胎画珐琅发展成为中国陶瓷艺术史上较为成功的品种之一。

Firstly, Chinese special ceramics culture and the traditional worship to Confucian sages may be the important reasons that leaded to this phenomenon. All the two reasons can not be ignored. From the perspective of Confucianism, Yao, Shun and other sages are the moral examples of emperors, and as a result, emperors who want to amount to something in the history were all prone to declaring that they would practice the benevolent government of Yao and Shun so as to boast the orthodoxy of their moralities and regimes. And as to Manchu emperors who were sensitive to their status because they were not the Hans, they especially paid attention to boast the orthodoxy of their moralities and regimes. In the 5th year of Emperor Yongzheng period, Emperor Yongzheng said: “I would like to share mutual encouragement and motivation with you, and explore the meaning of sense of propriety,

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[1] 清世宗实录卷五十八，雍正五年六月壬寅。转引自《乾隆皇帝回向三代的理想追求》，高王凌，2010，07 Record of Emperor Yongzheng in Qing Dynasty, vol. 58, June, , the fifth year of Emperor Yongzheng period, quote from Emperor Qianlong's Pursuit for the Ideal of "Back to the Three Generations", Gao Wang-Ling, 2010

[2]清高宗实录卷十六，乾隆元年四月丙寅。见上注 Record of Qianlong Emperor in the Qing Dynasty, vol.16, April, 1736 (the first year of Emperor Qianlong), see the above note.