鶯歌是台灣的陶瓷重鎮，於1930年代開始生產碗盤，光復後一度是台灣碗盤的主要供應地，但1960年代中期生產已邁向衰弱。在這短暫的三、四十年之間，碗盤產品的品質有很大的進步，由早期的陶器過渡到高溫陶，到了1960年代已步入半瓷階段。碗盤上的紋飾大多以手繪方式表現，成為鶯歌陶瓷新的裝飾技巧。許多產品也將手繪與印花、壓模、噴彩等多種手工藝技術綜合並用，使紋飾有豐富的變化及趣味，相當精美。 鶯歌碗盤上的紋飾反映了由模仿日本產品，到逐漸出現台灣本土特色，再轉向模襲中國繪畫風格的發展過程，其中手繪紋飾最早與北投產品有密切的關係；光復後大量模仿日治時期由日本進口的瓷器，因而延續日治時期的風格。但到了1950年代中期，隨著產品品質的提升，逐漸出現富有台灣特色的設計，表現了島國風情及鄉土風味。鶯歌碗盤是純粹商業性及通俗化的產品，其製作以實用為主；紋飾單純樸實、輕快靈活，充分表現了「民藝」品的特色和本質。 從本文對於鶯歌碗盤的研究，可以得知無論是日治時期或國民政府時代對於台灣陶瓷工業的發展都沒有全面而健全的政策和輔導。手工業的前途大多由工廠自行奮鬥，大環境的優勢過去以後就面臨關閉的厄運，盛況不再，更遑論建立傳統及品牌。鶯歌碗盤生產足以說明台灣陶瓷工業發展的困境，但其曾經達到的成就也顯示了民間手工業及工藝所具有的潛力與活力。

Yingge is a very important pottery center in Taiwan. Productions of plates and bowls for domestic markets in Yingge started in 1930’s. Its production was once the major source of supply for Taiwanese after the Second World War from about 1945–1960’s. However，the production started to fade in mid 1960’s. In its short period of production，we see a significant progress in quality from pottery to semi–porcelain. The decorations on Yingge products were mostly hand painted， which became the new decorative technique and fashion in Yingge kilns. Many products also combine various kinds of decorative techniques，such as painting，printing，press molding and color spraying，to make the patterns rich in variety and pleasant to see. After 1945，decorations on Yingge productions continued to imitate those produced in the Japanese Occupation period. In the 1950’s，not only quality of production elevated，but decorations also showed creative elements that have a distinctive Taiwanese style. Although plates and bowls produced in Yingge were purely for commercial purposes，their lively and elegant decorations are good examples of artistic achievement in craft works. From this study we can understand that the ceramic industry in Yingge has faced with many problems in the past，but its accomplishments also demonstrate the potentiality and energy of private industries and craftsmanship in Taiwan.