20251230-浦美-卢浮宫-图案的奇迹1/3-INDIA

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上海浦东美术馆Museum of Art Pudong（MAP）位于浦东滨江大道2777号，地处小陆家嘴滨江核心区，于2021年7月正式开放。它由陆家嘴集团投资、建设和运营，法国著名建筑师让·努维尔设计。建筑主体占地1.3万平方米，总建筑面积40,590平方米，设有13个展厅，可展览面积超过1万平方米。 进入二楼，一幅巨大的卢浮宫照片展现在眼前，自己可以想象自己来到了巴黎，将开启一场与几百年前古人对话之旅。 卢浮宫是位于法国巴黎市中心塞纳河北岸的著名艺术博物馆。• 历史沿革：卢浮宫始建于1190年左右，由腓力二世·奥古斯都下令修建，最初是一座防御堡垒。14世纪，查理五世将其改造成王宫。16世纪，弗朗索瓦一世下令推倒重建，并兴起王室收藏之风。1793年，法国大革命期间，卢浮宫被正式改造为公共博物馆并对公众开放。20世纪80年代，在贝聿铭主持的“大卢浮宫计划”下，卢浮宫进行了大规模改造。• 建筑布局：卢浮宫占地19.8公顷，建筑占地4.8公顷，东西总长达680米。建筑群呈东西向布局，最东端是四方庭，由四方庭的西南隅和西北隅分别向西延伸出卢浮宫的南北两翼，皆呈横放的“日”字形布局。其东立面是法国古典主义建筑的代表性作品。• 馆藏文物：卢浮宫设有埃及文物部、东方文物部等九个策展部门，馆内陈列着约33000件艺术品，收藏范围上至公元前7000年下至19世纪中期。著名藏品有《萨莫色雷斯岛的胜利女神》《米洛的维纳斯》《蒙娜丽莎》等。 在走廊的两侧，一边是地图，一边是大幅展览海报。 图案的奇迹The Wonder of Patterns卢浮宫印度、伊朗与奥斯曼的艺术杰作Masterpieces from India, Iran and the Ottoman World from the Musee du Louvre 卢浮宫最初是法国王宫，1793年法国大革命期间转型为国家博物馆。自建馆之初，其藏品即包含伊斯兰艺术品。这些作品最初与西方艺术品共同展出，自1892年起逐步汇集，最终于2012年入驻由建筑师鲁迪·里齐奥蒂与马里奥·贝利尼精心设计的专属展区。如今，该收藏逾2万件，展示了从西班牙到印度横跨14个世纪的艺术瑰宝。本次展览精选卢浮宫伊斯兰艺术部约300件珍品，呈现16至19世纪印度、伊朗和奥斯曼世界的璀璨艺术。展览所聚焦的历史时期有着特殊意义:不间断的文化接触与交流，在一定程度上重塑了世界的面貌，同时也深刻影响了艺术创作，革新了审美范式与潮流，并在东西方之间构建全新的互动关系。展览分为三大板块:第一板块聚焦印度艺术，第二板块展现伊朗艺术，第三板块则设于四楼展厅，重点呈现奥斯曼帝国的艺术。说明:本展中所用“印度”“伊朗”“土耳其”等地名仅作现代地理参照,并非展品制作时期的国家名称。In the beginning, the Louvre was a royal palace.It became a national museum in 1793, during the French Revolution. From the outset, the museum's collections have included works of Islamic art. Initially displayed alongside Western artworks, these pieces were gradually grouped together from 1892 onwards. In 2012, they finally found their rightful home in a specially designed space created by architects Rudy Ricciotti and Mario Bellini. Today, the collection comprises over 20,000 works and offers a glimpse of 14 centuries of art from Spain to India.The exhibition presents the high quality of artistic creation from the Indian, Iranian, and Ottoman worlds from the 16th to the 19th centuries through about 300 pieces, all of which come from the core of the Louvre's Departmentof Islamic Art. It showcases a unique moment in history when constant contact and exchange helped to transform the face of the world, impacting artistic production, renewing models and fashions, and creating new dynamics between East and West.The exhibition is divided into three sections. The first focuses on India, the second, on Iran, and the third-located on the fourth floor-on the Ottoman Empire.Note: The names ‘India’, ‘Iran’, ‘Turkey’, and other such place names used in this exhibition serve solely as modern geographical references. They do not correspond to the names of political entities at the time the exhibits were made. 奥斯曼、萨法维与莫卧儿帝国(约1700年)OTTOMAN， SAFAVID AND MUGHAL EMPIRES, CA.1700本地图仅呈现与本次展览相关的地名，并非完整地理信息。This map presents only the place names relevant to this exhibition and does not constitute complete geographical information King Louis XIV (1638-1715)国王路易十四(1638一1715年)铜像雕塑设在正式展厅门口。 路易十四（1638-1715），波旁王朝法国国王，绰号太阳王，在位72年，是有确切记录的在位最久主权国家君主。统治核心：• 文化：建凡尔赛宫，将宫廷迁至此处，成为权力与艺术象征；赞助莫里哀、拉辛等，法国文化盛极一时。• 经济：任用柯尔贝尔推重商主义，发展工业、海外殖民，法国经济繁荣。• 军事：发动法荷战争、大同盟战争等，扩张领土，使法国成为欧洲霸主，但后期战争耗竭国力。历史影响：• 他将法国推向欧洲权力与文化中心，君主专制成为欧洲典范。• 长期战争与奢侈开支加剧财政负担，为日后法国大革命埋下隐患。 法国为什么会有这么多伊斯兰艺术品？缘起:一位国王的收藏15、16世纪之交，法国王室收藏初具雏形，这些早期珍品构成了现今卢浮宫馆藏的核心。国王路易十四(1638一1715年)雅好艺术，深谙艺术品收藏对于君主的重要意义，于是购置大量珍玩。他所收藏的硬石花瓶中，有部分来自莫卧儿帝国和奥斯曼帝国，这些珍品曾被用于装饰卢浮官、凡尔赛宫等王室宫殿，亦是首批入藏卢浮宫的伊斯兰艺术品。In the Beginning was a KingThe turn of the 15th and 16th centuries marks the birth of the royal collections, which form the core of the Musee du Louvre's current collection.King Louis XIV (1638-1715) was a true art lover. Recognising the importance for a prince in possessing a collection, he acquired numerous works of art. His collection of hardstone vases, some of which came from the Mughal Empire and the Ottoman Empire, was used to decorate royal residences such as the Louvre and Versailles. These vases were among the first works from the Islamic world to enter the Louvre collections. [1]玉杯(路易十四藏品)土耳其，16世纪中叶玉、金[1]Cup from the collection of Louis XIVTurkey, mid-16th c.Jade, gold [2]玉杯(路易十四藏品)土耳其，16世纪中叶玉、金、红宝石此杯为奥斯曼帝国硬石镶嵌工艺的精品佳作，系国王路易十四(1638一1715年)的个人藏品，曾于凡尔赛宫展出，1796年入藏卢浮宫。 [2]Cup from the collection of Louis XIVTurkey, mid-16th c.Jade,gold,rubyThis cup is an exceptional example of hardstone inlay from the Ottoman period. Collected by King Louis XIV (1638-1715),it was exhibited at the Chateau de Versailles before entering the Louvre's collections in 1796. [3]水晶杯印度，17世纪水晶、金、珐琅、石榴石、蓝宝石、祖母绿[3]CupIndia,17th cRock crystal,gold,enamel, garnet, sapphire, emerald 图案的奇迹:卢浮宫印度、伊朗与奥斯曼的艺术杰作The Wonder of Patterns:Masterpieces from the Musee du Louvre 印度1526-1858INDIA 走进展厅，灯光较暗，各小展厅间用伊斯兰风图案的隔断区分。 璀璨的莫卧儿帝国自古以来，印度始终处于文明交汇的核心地带，通过陆路与海路将物产与文化传播至亚洲各地。1526年，中亚王子巴布尔进军印度次大陆，取代了德里苏丹国易卜拉欣·洛迪的统治，建立莫卧儿王朝，为日后举世瞩目的大帝国奠定了基础。莫卧儿艺术熔铸波斯传统与印度本土多元文化，形成独特的审美语言，在阿克巴、贾汉吉尔与沙贾汗三任帝王治下迎来黄金时代。至17世纪末，莫卧儿帝国进入鼎盛时期，其疆域几乎覆盖整个印度次大陆。然而，18世纪的王位争夺战与外敌入侵损耗了国力，英国东印度公司在该地区的征服行动进一步加速了帝国的衰亡。1857年爆发的印度民族大起义，终究未能扭转颓势。 Splendour of the MughalsSince ancient times, India has occupied a central position in a highly connected region, exporting its products and culture by land and sea across Asia. In 1526, Babur, a Central Asian prince, established the Mughal dynasty by invading the Indian subcontinent. Seizing power from the Delhi Sultanate's ruler Ibrahim Lodi, he laid the foundations for one of the world's great empires. The Mughals developed an artistic language that drew upon Persian heritage as well as the diverse traditions present in India. The golden age of Mughal art spanned the reigns of three emperors: Akbar, Jahangir and Shah Jahan. At its height,towards the end of the 17th century, the Mughal Empire covered almost the entire Indian subcontinent. However, succession disputes and foreign invasions during the 18th century led to the Empire’s gradual decline, a process that was accelerated when the British East India Company began to conquer the region. The Indian Rebellion of 1857 could not halt this process. 重塑审美:波斯世界由于王朝开创者巴布尔为帖木儿后裔，莫卧儿帝国与伊朗关系密切。1578年，帝国正式确立波斯语为官方行政语言。莫卧儿皇帝与伊朗萨法维统治者保持着紧密联系，且在文学与艺术传统上一脉相承。许多伊朗艺术家活跃于莫卧儿宫廷，主管部分王室工坊。在莫卧儿统治者推动形成的全新视觉语言中，波斯传统是重要的组成部分。Building a New Aesthetic:The Persian WorldThe Mughal dynasty had close ties with Iran owing to the Timurid heritage of its founder Babur. In 1578, Persian was officially adopted as the empire's administrative language. The Mughal emperors and the Safavid rulers of Iran enjoyed close relations and shared a common literary and artistic culture.Many Iranian artists were active at the Mughal court, directing some of the royal workshops. This Persian heritage was an integral part of the new visual language developed under the Mughal rulers. 这些珍品源自15世纪统治伊朗与中亚的帖木儿王朝，其精湛工艺影响了莫卧儿艺术的发展。莫卧儿时期新的艺术语言中的若干特征，在这些帖木儿时期的艺术品中已现端倪:包括以精湛书法抄写的波斯文诗歌、受中国器物启发的装饰样式，以及对名贵材料(尤其是玉石)的运用。These masterpieces from the Timurid dynasty, which ruled Iran and Central Asia in the 15th century, demonstrate the exquisite craftsmanship that would later inspire the Mughals. Certain visual hallmarks of the new Mughal artistic language can be seen here, including finely calligraphed Persian poetry, Chinese-inspired motifs, and the use of precious materials, particularly jade. 窗屏印度北部，16一17世纪砂岩Window screenNorth India,16th-17th c.Sandstone 龙形持柄铜壶阿富汗，约1480一1500年铜合金、银、金Jug with dragon-shaped handleAfghanistan,ca 1480-1500Copper alloy, silver,gold 铭诗玉杯(路易十四藏品) 伊朗，1450一1500年玉Cup from Louis XIV collection with a poetic inscriptionIran,1450-1500Jade波斯语铭文:“因酒之醇洌与器之精妙，玉色与酒光浑然交融。[...]”Persian inscription:"because of the purity of the wine and the delicacy of the cup.The color of the cup and that of the wine have blended.[...]” 天球仪(塔巴里制)印度，17一18世纪黄铜、银这件天球仪制于17世纪，为一件13世纪伊朗天球仪的复制品。Celestial globe, by al-TabariIndia,17th-18th c.Brass, silverThis globe is a 17th-century copy of an Iranian celestial globe produced in the 13th century. 这组笔盒采用了16世纪风靡印度与伊朗的装饰风格。法国著名珠宝商路易.卡地亚曾收藏这两件笔盒，并为他带来了丰富的创作灵感。These pen boxes feature a decorative style that was popular in India and Iran in the 16th century. Formerly part of the collection of the renowned French jeweller Louis Cartier, they provided a rich source of inspiration. 笔盒(两件)，其中之一镌有萨法维王朝沙阿阿巴斯(1587一1629年在位)的名号印度，1575一1625年海象牙、金、黄铜、绿松石、黑色填料Pen boxes, one in the name of the Safavid rulerShah Abbas (r. 1587-1629)India,1575-1625Walrus ivory, gold, brass,turquoise, black paste 要准确判定某些16至17世纪金属器物的产地究竟是印度还是伊朗，往往并非易事。无论执壶、烛台还是水罐，其浇铸的造型或装饰表面的图案，既受到帖木儿时期抄本的启发，也借鉴了16世纪印度本土的艺术样式。学界通常将此类器物归为“印度一波斯风格”。 It can be dificult to determine whether certain 16th and 17th century metalware were produced in India or Iran. Ewers, candlesticks and pourers were cast and decorated with motifs inspired by Timurid manuscripts as well as by 16th century Indian models. These pieces are usually described as Indo-Persian. 盛放宝石的罐印度或伊朗，1585一1615年铜合金属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆Cup for precious stonesIndia or Iran,1585-1615Copper alloyMusee du Louvre,on deposit from the Musee des Arts decoratifs,Paris 烛台印度或伊朗，16世纪青铜属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆CandlestickIndia or Iran,16th cBronzeMusee du Louvre, on deposit from the Musee des Arts decoratifs,Paris 执壶印度或伊朗，约1600年铜合金属巴黎装饰艺术博物馆，现长期寄存于卢浮官博物馆EwerIndia or Iran, ca 1600Copper alloyMusee du Louvre,on deposit from the Musee des Arts decoratifs, Paris 兼顾印度与波斯传统多样的印度传统与波斯世界的文化交融，孕育出莫卧儿美学风格。印度的影响带来了崇尚写实的动物造型以及对传统器物形制的偏好，尤以兵器为甚。以象牙、玉、水晶等贵重且具备象征性的材质雕琢而成，这些新样式最终化为艺术品，为新君麾下的精英群体所拥有。这些材质稀有而珍贵，曾广为流通，在东西方备受追捧。经能工巧匠之手，它们摇身一变成为精致的器物，彰显其主人的权力与品位。Between Indian and Persian HeritageThe fusion of India's diverse traditions with those of the Persian world gave rise to the Mughal aesthetic. From India came a taste for naturalistic animal representations and traditional forms, particularly in weaponry. These new shapes were embodied in precious, symbolic materials such as ivory jade, and rock crystal, resulting in works intended for an elite serving the new sovereigns.Rare and precious, these materials were traded extensively. Sought after in both East and West, they were entrusted to the most skilled craftsmen to produce refined objects that testified to the power and taste of their owners. 软玉有时又称“胜利之石”，相传遇毒变色。其塑造工艺与水晶相同:不能雕琢，只能用金刚钻切割研磨。软玉贸易以于阗(今新疆和田附近)为起点，经克什米尔运至拉合尔。玉石工艺传统在莫卧儿王朝覆灭后依然延续。19世纪的玉器产量十分可观，主要供应欧洲客户。 匕首印度，17世纪水晶、金、银、红宝石、祖母绿DaggerIndia,17th c.Rock Crystal,gold, silver, ruby, emerald 玉杯(两件)印度，17一18世纪玉CupsIndia, 17th-18th c.Jade 匕首柄印度，17世纪玉、金、红宝石Dagger hiltIndia,17th c.Jade, gold, ruby 剑杖柄印度，17世纪玉、金、红宝石、祖母绿Hilt of a swordstick daggerIndia,17th c.Jade, gold, ruby, emerald 拂扇印度，17一18世纪玉、金、红宝石、祖母绿、羽毛FanIndia,17th-18th cJade, gold, ruby,emerald,feathers 匕首印度，17世纪钢、玉、金、红宝石、祖母绿这一件匕首的手柄由玉石雕成，传说玉器能够提升胜算。马首柄的造型及其写实细节令人叹服-微张的口部显露舌齿，仿佛正在微微颤动的鼻翼-印证了莫卧儿王朝对自然世界的浓厚兴趣。这件匕首的奢华工艺暗示其可能是一件赏赐重臣或赠予结盟家族的礼物。 象鼻火药壶印度，18世纪象牙、铜合金Elephant shaped powder hornIndia,18th c.Ivory, copper alloy 门环印度，16一17世纪青铜Door knockerIndia, 16th-17th c.Bronze 匕首印度北部，17一18世纪钢、金、玉DaggerNorth India,17th-18th c.Steel, gold, jade 玉镜印度，17世纪玉、金、红宝石、祖母绿、珐琅MirrorIndia,17th c.Jade, gold, ruby, emerald,enamel 带柄玉镜印度，19世纪玉、金、银、红宝石Mirror with handleIndia,19th c.Jade, gold, silver, ruby 心形玉盘印度，1750一1900年玉、金、红宝石、祖母绿Heart shaped trayIndia,1750-1900Jade,gold, ruby,emerald 酒杯印度，18一19世纪水晶、金、银、红宝石、玻璃Wine cupIndia,18th-19th c.Rock Crystal, gold, silver, ruby, glass 玉杯及杯托印度，18世纪玉、金、银、祖母绿、红宝石、玻璃Cup and saucerIndia,18th c.Jade,gold,silver,emerald,ruby,glass 匕首印度，18世纪钢、玉、金、红宝石、祖母绿、蓝宝石DaggerIndia,18th c.Steel, jade, gold,ruby, emerald,sapphire 窗屏印度北部，17世纪砂岩Window screenNorth India,17th c.Sandstone 新审美:莫卧儿风格莫卧儿王朝开创了一种极具特色的艺术风格，在器型、材质与色彩运用上均有创新。一系列新兴工艺应运而生。例如比德里工艺，即在黑化处理的锌合金胎上嵌银的装饰技法。印度、波斯与欧洲传统在此交融，通过形式上的革新，共同孕育出这一全新的艺术语言。尽管莫卧儿时期的工艺品明显借鉴了古代元素例如某些柄饰的图案细节源自帖木儿时期，具有中国风格的龙纹，又如某些动植物纹样承袭自印度文化，但总体来说，其美学风格仍独树一帜。A New Aesthetic: the Mughal StyleThe Mughals gave rise to a highly distinctive artistic style characterised by renewed shapes, materials, and colours. New techniques emerged, such as bidri - a blackened zinc alloy inlaid with silver. Indian, Persian, and European traditions were fused with formal innovation, contributing to the birth of this new languageWhile ancient references are evident - for example, in the details of handles that sometimes evoke Timurid Chinese-style dragon, or in the animal and plant representations inherited from the Indian world - the aesthetic of these works remains unique. 执壶与托盘印度，18世纪铜属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆Ewer and basinIndia,18th c.BronzeMusee du Louvre, on deposit from the Musee des Arts decoratifs,Paris 执壶印度，16世纪铜合金属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆EwerIndia,16th c.Copper alloyMusee du Louvre, on deposit from the Musee des Arts decoratifs,Paris 这些器物采用15世纪起源于印度的比德里工艺制作，该工艺以黑化处理的锌合金为胎，在其表面嵌银纹以作装饰。These objects were crafted using a technique known as bidri, which originated in India in the 15th century. The technique employs a blackened zinc alloy adorned with silver inlays. 执壶印度，1750-1850年锌合金、银EwerIndia,1750-1850Zinc alloy,silver 托盘印度，1750一1850年锌合金、银BasinIndia,1750-1850Zinc alloy, silver 槟榔盒印度，17世纪锌合金、银Betel boxIndia,17th c.Zinc alloy, silver 铜灯印度，16世纪铜合金LampIndia,16th c.Copper alloy 执壶印度，18世纪银、金、玻璃、陶瓷、珐琅EwerIndia,18th c.Silver, gold, glass,ceramic,enamel这件器物内部暗藏玄机:可拆卸的金属壶盖之下，隐藏着饰有珐琅金属花的玻璃暗格。Hidden inside the vessel is a secret decoration: removable metal plates that conceal glass compartments adorned with enameled metal flowers. 印欧交流的影响16世纪，欧洲人日渐主导印度洋海上贸易，该地区的权力格局因此发生重大变化。原材料、书籍、商品和艺术品加速流通，推动了器物形制与用途的革新。16世纪末，多支耶稣会传教团将大量植物版画与印刷品带到印度，充分反映了自然主义在莫卧儿帝国的风靡。艺术家们以植物图鉴为灵感，创新花卉再现方式，将正面与侧面视角结合，赋予叶片与花瓣动感。17世纪中叶，植物绘画历经范式转变，逐渐演变为构图对称的装饰图案。自15世纪末葡萄牙人抵达印度以来，当地就开始产出融合欧洲、波斯与莫卧儿三种风格的“混搭”工艺品。根据目标市场的不同定位，工匠们专门调整设计，修改样式。因此，为果阿(当时为葡属印度)的葡萄牙人市场设计的产品中，就可能包括欧式器物。Impact of Exchanges with EuropeDuring the 16th century, Europeans emerged as dominant figures in maritime trade across the Indian Ocean, bringing about a significant shift in the balance of power. The growing circulation of raw materials, books, goods, and objets d'art led to innovations in form and function.The Mughals' inclination towards naturalism found particular expression in the numerous botanical engravings and printed works introduced to India by the Jesuit missions at the end of the 16th century. Artists developed representations of flowers inspired by herbaria, combining frontal and profile views and imbuing leaves and petals with movement. During the mid-17th century, these botanical renderings had evolved into decorative motifs arranged in symmetrical compositions.The production of composite objects that blended European, Persian, and Mughal influences can be traced back to the arrival of the Portuguese in India at the end of the 15th century. The intended market for each finished piece determined its design and form. Consequently, objects crafted for the Portuguese market in Goa might have included European-style objects. 对于在亚洲经商的欧洲商贩而言，用于存放个人物品的前开式橱柜，是必不可少的物品。这类橱柜产量可观，产地集中于印度西部。产品主要面向本地市场，同时也通过果阿及其他沿海城市销往海外。尽管其样式源于欧洲(可能来自西班牙)，但也不乏本地客户，尤以存放珠宝为主。Front-opening cabinets designed to hold personal effects were an essential part of the standard equipment of European merchants and traders operating in Asia. These items were manufactured in large quantities in western India, primarily for local trade and export via Goa and other coastal cities. While the shape originated in Europe, probably in Spain, the cabinets were also used locally, notably for storing jewellery. 储物盒印度，18一19世纪各类木材、海象牙CasketIndia,18th-19th c.Woods, walrus ivory 储物盒印度或巴基斯坦，1650一1700年各类木材、金属、象牙及海象牙、单峰驼骨CasketIndia or Pakistan,1650-1700Woods, metal, walrus and elephant ivory,dromedary bones 植物图鉴与花卉品味的兴起The herbarium and the taste for flowers 水烟壶印度，18世纪玻璃、金、珐琅Water pipe baseIndia,18th c.Glass,gold,enamel 底座印度，1700一1750年大理石、石料SupportIndia,1700-1750Marble, stones 植物图鉴与花卉品味的兴起The herbarium and the taste for flowers地毯巴基斯坦，16世纪羊毛属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆CarpetPakistan,16th c.WoolMusee du Louvre, on deposit from the Musee des Arts decoratifs, Paris 植物图鉴与花卉品味的兴起The herbarium and the taste for flowers储物盒巴基斯坦，17世纪各类木材、象牙CasketPakistan,17th c.Woods,ivory 书法册页印度，1772-1789年纸、墨、金Calligraphy pageIndia,1772-89Paper,ink,gold 锌杯印度，17一18世纪锌合金、银、黄铜CupIndia,17th-18th c.Zinc alloy, silver,brass 锌盘印度，17世纪锌合金、银、黄铜TrayIndia,17th c.Zinc alloy,silver,brass 槟榔盒印度，17世纪锌合金、银Betel boxIndia,17th c.Zinc alloy, silver 窗屏印度北部，17世纪砂岩Window screenNorth India,17th c.Sandstone 执壶印度、约1585-1615年珍珠母、金属这件执壶和与之遥相陈列的托盘为套，主体结构与装饰部分均由珍珠母制成。此类器物先运至果阿、时常加饰银卯件、随后销往欧洲、中东及印度尼西亚。这件执壶的造型具有鲜明的印度特征、暗示其最初可能为印度本土贵族或出口至奥斯曼帝国而制。 托盘印度，约1585-1615年珍珠母、金属这件托盘和与之遥相陈列的执壶为套，主体结构与装饰部分均由珍珠母制成。此类器物先运至果阿，时常加饰银卯件，随后销往欧洲、奥斯曼帝国及印度尼西亚。 19世纪，今印度北部和巴基斯坦所在区域生产的陶瓷延续了莫卧儿的传统。这些陶瓷的花卉图案、器型，与其他材质器物(如金属器)一致,并采用釉下彩工艺。陶砖用于装饰当地纪念性建筑，而其他经过塑形的器物，则主要面向本地市场及欧洲旅客。 陶瓶巴基斯坦，19世纪釉陶属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆VasePakistan,19th c.Glazed ceramicMusee du Louvre, on deposit from the Musee des Arts decoratifs, Paris 陶瓶印度，19世纪釉陶BottleIndia,19th c.Glazed ceramic 陶瓶巴基斯坦，19世纪釉陶属巴黎装饰艺术博物馆，现长期寄存于卢浮宫博物馆VasePakistan, 19th c.Glazed ceramicMusee du Louvre, on deposit from the Musee des Arts decoratifs, Paris 陶瓶巴基斯坦，19世纪釉陶属巴黎装饰艺术博物馆，现长期寄存于卢浮官博物馆VasePakistan,19th c.Glazed ceramicMusee du Louvre, on deposit from the Musee des Arts decoratifs,Paris 陶砖印度北都，18世纪釉陶TileNorth India,18th c.Glazed ceramic