在欧洲瓷器艺术史上，“邀请当世知名的艺术家从事瓷器设计”这种合作方式起源于梅森瓷窑。在梅森1710年开窑之后，第一批参与梅森瓷窑炻器和瓷器造型的艺术家包括宫廷金匠约翰·雅各布·伊明格（Johann Jacob Irminger, 1635 – 1724) 、巴尔萨泽·佩尔莫塞（Balthasar Permoser, 1651-1732）以及来自佩尔莫塞工作室的雕刻家兼木雕师约翰·本杰明·托梅（Johann Benjamin Thomae, 1682-1751）、和雕塑家保罗·赫尔曼（Paul Heermann，1673-1732）。
之后法国国王御用瓷窑赛弗尔Sevres更是力邀法国美术院院长、皇家首席画师弗朗索瓦·布歇（Francois Boucher, 1703—1770）参与瓷器设计，使得欧洲主流艺术风格与陶瓷作品携手共行。18世纪的惯例也延续到后世，1836年曾设计森佩尔歌剧院、城堡剧院、维也纳艺术史博物馆的建筑师戈特弗里德·森佩尔（Gottfried Semper）为梅森瓷窑设计了花瓶。19世纪与20世纪，艺术家们与陶瓷厂商之间的联系波澜起伏，尽管自1895年以来，梅森就开始购买自由艺术家的模型作为新设计，但直到赫塞尔担任设计总监时期，雕塑家与自由艺术家才被鼓励向梅森提交设计，梅森的年轻员工也得到了相应的支持。19世纪90年代，自由艺术家的圈子很小，但1900年后，这一圈子几何级增大。梅森与自由艺术家之间的关系发生了变化，这表现在他们现在也被允许签署自己的作品。梅森与自由艺术家之间的合作在菲佛时期（1918年-1933年）达到了高潮。这类合作形式很快被欧洲各大陶瓷厂商复制模仿。
而今，我们能欣赏到中国艺术大师周春芽先生为梅森设计、赵无极、杨诘苍先生为赛弗尔设计的各类艺术陶瓷作品。
故而与自由艺术家合作，乃是欧洲顶级瓷厂推陈出新，将陶瓷设计多元化、潮流化的重要方式。本期我们有幸采访到了曾作为首席艺术家与海兰德瓷厂深度合作的匈牙利陶艺家帕尔玛·巴博斯（Pálma Babos）女士，一起品味其与陶瓷艺术的故事。（下文“海兰德瓷厂”均指赫伦瓷厂）
受访人：帕尔玛·巴博斯（Pálma Babos）（海兰德瓷厂首席艺术家）
采访人：宋魏（搜藏控艺术总监，海兰德中国 Herend China）
企划&责任编辑：搜藏控；宋魏（搜藏控艺术总监，海兰德中国 Herend China）
（郑重声明：本文所用全部图片，版权均归属Pálma Babo女士所有；本文未经搜藏控及采访双方许可，不得擅自转载。）
PART.01
*帕尔马·巴博斯女士的自述
我的作品是就此事进行持续的对话。试验是我的实践工具，换句话说，我可以通过试验来实现我的计划。试验成为我陶艺雕塑创作的一部分。这并不意味着我必须在两种选择之间做出抉择。我的作品由试验创造的巧合决定，将其构建到我的作品中。我会大体上规划我的雕塑，但因为有很多巧合，我永远不知道烧制后的成果。我和巧合一起创造了这个雕塑，因为我还没有在脑海中形成一个关于雕塑的准确愿景，所以我的期望也不准确。这个试验包括我决定在创作过程中允许什么领域和多少领域的巧合。我的决定是有意识地利用巧合。
My work is an on-going dialogue with the matter. Experimentation is my working utensil, in other words, I can realize my plans through experimentation. Experimentation becomes part of my sculptures. It does not mean that I have to make a decision between two alternatives. I work together with the coincidence created by the experiment, and. build it into my object. I plan my sculptures in general, but because there is a great element of coincidence to work with I never know exactly what will emerge from the fire. I and coincidence create the sculpture together. Because I have not formulated an accurate vision in my mind about the sculpture, my expectations are not exact either.
The experiment consists of my decision about what area and how much of it I allow coincidence in the creative process. My decision is the conscious use of coincidence.
PART.02
Q: Could you tell us about your feeling when you work for Herend & Zsolnay？Mr laszlo tell us your works opened a new chapter in Herend’s product development and artistic activity.
您能与我们分享一下，你在海兰德及若诺伊工作时的感受吗？海兰德商务总监拉斯洛先生告诉我们，您的作品为海兰德的产品开发和艺术活动翻开了新的篇章。
A: Generally I work as a free lance artist at my own studio. I develope my sculptures and my design pieces. Sometimes when there is a need for developing at a factory and I am invited as a designer do it with pleasure.
Everytime working at a porcelain manufactory the whole developing process keeps me excited.
The process generally takes quite long time from the first step to the finished decorated/painted and fired ready prototypes. It is great feeling when the all details have been designed and tested. All units of the producing chain have been checked and everything works. This time the ready porcelain piece is able to start its own life without the designer support without me. Similarly to a child who we bring up very carefully, look after for him/her, worry about him/her for several years. When the child is getting ready to live his/her independent life we let him/her go, we just watch from far.
一般来说，作为一名自由艺术家，我拥有自己的工作室。着力于开发创作符合我个人设想的雕塑和设计作品。有时，当瓷器品牌需要为工厂的产品进行新的艺术开发时，我会被他们邀请作为一名设计师，我十分乐于其中。
每次为瓷器品牌工作时，整个开发过程都让我兴奋不已。
从第一步到完成装饰绘制和烧制原型，这一过程通常需要相当长的时间。当所有细节都经过设计和测试，尤其是生产链条的所有环节都经过了检查，一切正常后，这让我感觉非常棒。最后我设计的这些瓷器器型可以在没有我设计支持的情况下开发出更多元、开放的系列。就像我们精心抚养的孩子一样，照顾他/她，担心他/她好几年。当孩子准备过他/她的独立生活时，我们让他/她离开原生家庭，我们只是远远地关心她们。
Besides my emotional relation to my porcelain designs I always follow my own concept concidering the local conditions of the given manufactory.
My attitude is that I want to harmonize the given conditions and my idea. I think the factorial design is a very strictly defined working process.
This is not the time for self realization.
For me the first step of product development is always the study the local circumstances. I mean to study the given technology, the porcelain clay that they work with, study the kilns that they fire with, the molds models and all applied methods that are available.
When I talk about the given conditions at a factory I mean two very sharply separated fields of the knowledge. One is the technology and the other is that skill that the workers know and use everyday.
With this slow acclimatization I gain information about the possibilities. How a new design will be able to be produced in the future in the everyday practice of the manufactory.
除了我与瓷器设计的情感关系外，我总是遵循自己的概念，以适应瓷器品牌与工厂的特定条件。
我的态度是，我想协调现有的条件和我的想法。我认为析因设计是一个非常严格定义的工作过程，现在不是自我满足的时候。对我来说，产品开发的第一步总是研究当地的情况，我的意思是研究现有的技术，他们使用的瓷土，研究他们烧制的窑炉，模具模型和所有可用的应用工艺。当我谈到工厂的现有条件时，我指的是两个截然不同的知识领域：一个是工艺技术，另一个是瓷厂工人熟练应用的生产技能。通过这种缓慢的适应，我得出了关于可能性的信息。未来如何在工厂的日常实践中生产出新的设计。
PART.03
Q: The platinum designs （Babos）of herend porcelain are very nice & beauty，Could you share your views about them with us ?
赫伦瓷器的白金装饰（巴博斯系列）非常漂亮，你能和我们分享一下你对白金装饰的看法吗？
A: The platinum decoration as a color does not have tradition in the European porcelain history as well as in Herend.
When we see something that is gold colored we immediatelly associate to an emperor, and the richness.
The platinum with its silver-shine has much more cold atmosphere than the gold. I think it fits very well to the current interiors and more acceptable for the contemporary trends.
白金装饰的色彩是一种在欧洲瓷器史上前所未有的色调，也未存在于海兰德瓷器的传统设计中。当我们看到金色的东西时，我们会立刻联想到皇帝和装饰丰富的艺术品。带着银色光泽的白金比黄金有着更多的冷色气氛。我认为它非常适合当前的瓷器装饰，更适合当代潮流。
Q: The chinese lovers think “Babos” make herend porcelain is full of modernity. We want to know more about the designer of “Babos”, we can fell the woman’s power on this design. We know Zsolt József Simon and you are the famous ceramists in Hungary.Could you share your views and more informations about your designs with us ?
中国的海兰德瓷器爱好者认为“巴博斯系列”让近年的海兰德瓷器设计充满了现代感。我们想了解更多关于“巴博斯系列”的设计师，我们可以在这个设计上感受到女性的力量。我们知道兹索尔特·约兹塞夫·西蒙先生和您是匈牙利著名的陶艺家。您能与我们分享您的观点和更多关于您设计的信息吗？
A: Yes!
The director of the Herend Porcelain Manufactory invited me to design a new service for them. The manufactory have had an intention to renew their selection with something contemporary porcelain service. That time I wanted to develop something that is esentially new but somehow connects to the well known Herend image. I was wondering what can be the bridge between the tradition and my new design. I put the question at the beginning. The more I studied the manufacture the more I got to know and day by day I was getting convinced that the skills in knowledges at the workers hands are those values that deserve to preserve them.
I decided that I will combine the traditional, unique and sophisticated Herend-technics with my pure but perfect forms. The base forms are cilinders. The form of the handle symbolically depict a bird, if we look at it more carefully. The bird motif came from the nature. In this way a pure geometric base form links to a natural element increasing the tension.
In this way the “Babos” desing came into existance.
In my opinion the design is a “concious chain of elements”.
The Herend Porcelain Manufactory honored me with calling the service my surname “Babos”.
对！
海兰德瓷器厂的厂长邀请我为他们设计一个新餐瓷系列。这家制造厂打算用一些现代餐瓷设计来更新他们的产品。那一次，我想开发一些全新的设计，但不知何故，它与众所周知的海兰德传统形象联系在了一起。我在想，传统和我的新设计之间的桥梁是什么。我把问题放在开头。当我对瓷器制造业研究得越多，就越了解这个行业。我一天比一天确信，工人手中的知识技能是值得保留的价值观。
我决定将传统的、独特的、复杂的海兰德工艺与我脑海中纯净而完美的艺术形式结合起来。基本形式是纤毛。把手的形状象征性地描绘了一只鸟，如果我们仔细观察的话。鸟的图案来自大自然。通过这种方式，纯粹的几何基础形式与增加张力的自然元素相连。就这样，“巴博斯系列”设计应运而生。在我看来，设计是一个“简洁的元素链”。很荣幸的是，海兰德瓷器厂以我的姓氏命名这款设计为“Babos”。
PART.04
Q: As we all know, you are a member of Internation Academy Of Ceramics (IAC). Your designs and works are great for us. Which artistic style has had a profound impact on yourdesigns .Could you share some examples with us ?
众所周知，你是国际陶瓷学会的会员。你的设计和作品对我们来说非常棒。哪种艺术风格对你的设计产生了深远的影响。你能和我们分享一些例子吗？
A: I am a person who tends to build from the inside out. I do not think I would be able to recall pictures or important influences that would directly point to my statues. Just like lyric poetry my works are trying to be born, come outside from their hiding, regardless of their future, whether they will find a place for themselves, whether they will be understood.
I grew up in an artistic family, in a very inspiring personal environment embraced by the encouragement and understanding of my father and mother.
Porcellain is a perfect medium for me to express my ideas. I would compare the creation of porcellain objects to the birth of a sonnett with its strict rules and clear-cut boundaries.
我是一个倾向于由内而外构建的人。恐怕很难能回忆起直接影响我设计和艺术作品的艺术品或其它重要影响。就像抒情诗一样，我的作品试图诞生，从他们的躲藏处中走出来，无论他们的未来如何，他们是否会为自己找到一个归属，是否会被理解。我生长在一个艺术家庭，在非常鼓舞人心的个人环境中，从小受到父亲和母亲的鼓励和理解。瓷器是我表达想法的完美媒介。我会把瓷器的创作比作一首十四行诗的诞生，它有着严格的规则和明确的界限。
PART.05
*关于Pálma Babos
个人经历：
2013年 日本SETO常驻艺术家
2013 Artists in Residency, SETO, Invited artist, Ceramic Studio, Japan
2011年 入选IAC UNESCO联合国教科文组织国际陶艺学会会员
2011 Member of Internation Academy Of Ceramics (IAC)
2006年至2009年 匈牙利海兰德（赫伦）瓷厂特邀首席设计师
2006 – 2009 I worked for Herend Porcelain Manufactory Ltd. as a chief artist
2003年至2005年 匈牙利乔纳伊瓷厂设计师
2003 – 2005 Work for Zsolnay Manufactory Ltd. As a designer
1996年至1998年 匈牙利海兰德（赫伦）瓷厂特邀首席设计师
1996 – 1998 Work for Herend Porcelain Manufactory as a designer
1993年 DeFORMA集团特许会员
1993 I have been a charter member of the DeFORMA Group
1993年 匈牙利美术和应用艺术联盟成员
1993 I have been a member of the Hungarian Alliance of Fine Arts and Applied Arts
1985年毕业于匈牙利应用艺术学院陶瓷系。（今莫霍利-纳吉艺术设计大学）。指导教授Imre Schrammel。
1985 Graduated from the Porcelain Faculty of the Hungarian Academy of Applied Arts in. (Today MOME). My professor was Imre Schrammel
1961年1月6日 出生于匈牙利纳吉卡尼萨
1961 January 6th I was born in Nagykanizsa, Hungary
作品：
群展：
2023年当代匈牙利陶瓷艺术，现代陶瓷艺术博物馆，日本岐阜
2023 Contemporary Hungarian Ceramic Art, Museum of Modern Ceramic Art, Gifu, Japan
2022年兹德拉艺术展，匈牙利布达佩斯
2022 Zsdrál Art Pop-Up, Budapest, Hungary
2021年“新欧洲包豪斯”，匈牙利布达佩斯，由匈牙利设计文化基金会（MDKA）策划
2021 “New European Bauhaus”, Budapest, Hungary, Curated by Hungarian Design Cultural Foundation (MDKA)
2021年 布达佩斯设计周
2021 BDW Budapest Design Week
2021年 赫尔辛基设计周
2021 HDW Helsinki Design Week
2021年 无国界，‘U’画廊，芬兰赫尔辛基
2021 Without Boarders, Gallery “U”, Helsinki, Finland
2021年 国际陶艺双年展，匈牙利佩奇
2021 National Ceramic Art Biennial, Pécs
2020年 “石英膨胀”，线上展览，由珍妮特·艾布拉姆斯与阿迪尔·瑞特策展
2020 Quartz-inversion, ONLINE exhibition, Curated by Janet Abrams and Adil Writer
2020年 设计无国界，匈牙利布达佩斯
2020 Design without borders, Budapest
2020年 “遥之陶”，国际陶艺线上展览，美国，由托马斯·斯托拉尔企划
2020 Distant Ceramics, ONLINE International Ceramic Exhibition, Curated by: Thomas Stollar, USA
2020年 “7DESIGN”，布达佩斯设计周，由匈牙利设计文化基金会（MDKA）策划
2020 7DESIGN, Design Week-Budapest, Curated by Hungarian Design Cultural Foundation (MDKA)
2019年 DeFORMA集团展，兹德拉艺廊，匈牙利佩奇
2019 DeForma Group exhibiton, Zsdrál Art Gallery, Pécs, Hungary
2018年 “与粘土相关”，菲斯卡欧洲陶瓷艺术展，由埃尔娜·奥尔顿策展，芬兰
2018 About Clay, Curated by Erna Aaltonen, Exhibition of European Ceramic Art in Fiskars, Finland
2018年 安德娜陶艺展，比利时
2018 Ceramic Art Andenne, Belgium
2017年 匈牙利陶艺四年站，雅努斯·潘诺尼乌斯博物馆，匈牙利佩奇
2017 II. Hungarian Ceramics Quadriennale, Pécs, Janus Pannonius Museum
2017年 亚洲展，中国，匈牙利工艺美术联合会
2017 Asian exhibitions, China / Hungaian Alliance of Fine Arts and Applied Arts
2017年 “窑”，比利时，法国
2017 De Briques, Belgium, France
2017年 第三届哈赫特陶艺双年展，比利时
2017 3rd Ceramic Biennale Haacht, Belgium
2014年European Ceramic Context，ECC，博恩霍尔姆美术馆，丹麦
2014 European Ceramic Context, ECC, Bornholm Art Museum, Denmark
2014年 美浓国际陶艺节，日本名古屋多治见市
2014 MINO, International Ceramics Festival, Tajimi, Japan
2014年 开放艺术，国际陶瓷艺术设计大赛，萨菲工作室，意大利米兰
2014 Open to Art, International Competition for Art Ceramics and Design, Officina Saffi, Milan, Italy
2014年 硅酸盐艺术三年展，匈牙利凯奇凯梅特
2014 Silcat Art Triennale, Kecskemét, Hungary
2013年埃尔哈纳加尔艺术中心，埃及开罗
2013 El Hanagar art Center / Opera House, Cairo, Egypt
2013 “The Figure- Sculpture in Ceramics”, Keramikmuseum Westerwald, Höhr-Grenzhausen, Germany
2012年匈牙利陶艺，雅努斯·潘诺尼乌斯博物馆，匈牙利佩奇
2012 Hungarian Ceramics 2012 Pécs, Janus Pannonius Museum
2012年 安德娜陶艺展，比利时
2012 Ceramic Art Andenne, Belgium
2011年 硅酸盐艺术三年展，匈牙利凯奇凯梅特
2011 Silcat Art Triennale, Kecskemét, Hungary
2008年 美浓国际陶艺节，日本名古屋多治见市
2008 MINO, International Ceramics Festival, Tajimi, Japan
2002年 美浓国际陶艺节，日本名古屋多治见市
2002 MINO, International Ceramics Festival, Tajimi, Japan
个展：
2022 Galerie de l’Ancienne Poste, Toucy, France
2021 Zsdrál Art Gallery, Balatonfüred, Hungary
2020 Kápolna Gallery, International Ceramic Studio, Kecskemét, Hungary
2019 Kiskép Gallery, together with Raja Rastas textile artist, Budapest
2018 “U” Gallery, Helsinki, Finland
2016 PULS Contemporary Ceramics, Brussels, Belgium
2014 Sala Portal del Pardo, El Vendrell, Spain
2013 Kiskép Galéria, Budapest, Hungary
2012 PULS Contemporary Ceramics, Brussels, Belgium
2010 Museion No1 Gallery, Budapest, Hungary
2006 Exhibition with Máriával Geszler és Sándor Kecskeméti, Hüfigen, Germany
2005 Keve Gallery, Ráckeve, Hungary
2004 Cellar Gallery, Balatonboglár, Hungary
2002 Olof Palme Ház, Budapest, Hungary
1999 Castle Museum, Keszthely, Hungary
1998 Gróf Bercsényi Zsuzsanna Library, Budaörs, Hungary
1998 Rékai Gallery, Budapest, Hungary
1998 Park Gallery, Piliscsaba, Hungary
1996 Joung Artists’ Studio Gallery, Budapest, Hungary
1996 XIV. Országos Kerámia Biennálén, Pécs, Hungary
获奖经历：
2021 Homo Faber Guide / Michelangelo Foundation qualification
2014 MINO, International Ceramics Festival, Honorable Mention, Tajimi, Japan
2013 First prize VII. International Ceramics Biennial El Vendrell, Spain
2008 MINO, International Ceramics Festival, Honorable Mention, Tajimi, Japan
2005 Ferenczy Noémi Award (Hungarian State-Award)
2002 MINO, International Ceramics Festival, Honorable Mention, Tajimi, Japan
2002 XVII. National Ceramics Biennial, Pécs, Hungary, special award of Zsolnay Porcelain Manufactory LTD.
2002 “Gádor Award” of Hungarian Alliance of Fine Arts and Applied Arts
2000 XVI. National Ceramics Biennial, Pécs, Hungary, special award of Hungarian Alliance of Fine Arts and Applied Arts
1999 Quality Prize Winner Products in Hungary
1998 House of Hungarian Quality Prize
1997 Pelso / Keszthely, Hungary/ Exhibition, Prize of Hungarian Artists’ Alliance
1994 First Prize, XIII. National Ceramics Biennia, Pécs, Hungary
1985 Level Prize for diploma work
重要收藏：
- Collection of the International Ceramic Studio, Kecskemét, Hungary
- Janus Pannonius Museum, Pécs, Hungary
- Museum of Applied Arts, Budapest, Hungary
- Collection of the Herend Porcelain Manufactory LTD. Herend, Hungary
- Collection of Symposiums, Hódmezővásárhely, Hungary
- Fine Arts Collection of Budaörs, Hungary
- OJD Foundation (Denmark) Contemporary Fine Arts Collection
- Town Council of El Vendrell, Spain
- Seto Art Museum Collection, Japan
- State Art Collection / Office of Public Works, Dubin, Ireland.
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