拍賣筆記 vol.105 佳士得紐約：小夢樓珍藏，唐三彩持鷹陶俑，7560美元售出- A Tang Dynasty Painted Pottery Figure Of A Falconer

7560美元售出，人民幣55188元。

唐代有許多以站姿呈現的馴鷹俑像，既有施釉者，亦有彩繪者。彩繪陶俑往往細節更為清晰突出，較施釉陶俑更能表現俑像本身泥胎的細緻工藝。

在中國，關於攜猛禽狩獵（即鷹獵或稱鷹隼狩獵）的記載，最早見於東漢（公元25至220年）文獻中，儘管此活動的實踐年代無疑要更早。至唐代，鷹獵已成為君主與貴族階層熱衷的娛樂和上流社交活動之一。

Tang Dynasty Falconer Figure_ Xiao Meng Lou Collection

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小夢樓珍藏

唐 三彩持鷹陶俑

TANG DYNASTY (AD 618-907)

關於此拍品重要資訊

估價

美元 8,000 – 美元 12,000

16 ½ in. (41.9 cm.) high, Japanese wood box

來源

20世紀早期已至日本

日本私人珍藏

小夢樓珍藏，日本，於2005年前購藏

騎乘馬匹或駱駝，攜帶馴養後的猛禽進行狩獵，乃是生活於歐亞草原地帶諸民族常見的活動，且為他們獲取食物的重要方式之一。在中國，關於攜猛禽狩獵（即鷹獵或稱鷹隼狩獵）的記載，最早見於東漢（公元25至220年）文獻中，儘管此活動的實踐年代無疑要更早。

至唐代，鷹獵已成為君主與貴族階層熱衷的娛樂和上流社交活動之一。善於鷹獵及其他狩獵技能者，無論官吏、侍從甚或平民，皆能藉此與統治階級建立更緊密的聯繫。當時的文學作品亦多有記載此項活動，例如唐代著名詩人白居易（772-846年）的詩作《放鷹》便是經典代表。

放鷹

唐代：白居易

十月鷹出籠，草枯雉兔肥。下鞲隨指顧，百擲無一遺。

鷹翅疾如風，鷹爪利如錐。本為鳥所設，今為人所資。

孰能使之然，有術甚易知。取其向背性，制在飢飽時。

不可使長飽，不可使長飢。飢則力不足，飽則背人飛。

乘飢縱搏擊，未飽須縶維。所以爪翅功，而人坐收之。

聖明馭英雄，其術亦如斯。鄙語不可棄，吾聞諸獵師。

唐代有許多以站姿呈現的馴鷹俑像，既有施釉者，亦有彩繪者。如同本件拍品所示，彩繪陶俑往往細節更為清晰突出，較施釉陶俑更能表現俑像本身泥胎的細緻工藝。與本件拍品可資比較的無釉陶俑例子，可見於M. Prodan所著《唐代陶藝》（The Arts of the T'ang Potter）一書第36號，其姿態亦是雙臂抬起，但手中未持有猛禽。

白居易（772年－846年），字樂天，號香山居士，又號醉吟先生，祖籍太原，到其曾祖父時遷居下邽，生於河南新鄭。是唐代偉大的現實主義詩人，唐代三大詩人之一。白居易與元稹共同倡導新樂府運動，世稱“元白”，與劉禹錫並稱“劉白”。白居易的詩歌題材廣泛，形式多樣，語言平易通俗，有“詩魔”和“詩王”之稱。官至翰林學士、左贊善大夫。公元846年，白居易在洛陽逝世，葬於香山。有《白氏長慶集》傳世，代表詩作有《長恨歌》、《賣炭翁》、《琵琶行》等。

唐代馴鷹陶俑與中國鷹獵活動常見問答

Q1：唐代（公元618-907年）彩繪馴鷹陶俑有何重要性？

A1：唐代彩繪馴鷹陶俑反映了當時流行的鷹獵活動，尤其盛行於貴族階層之間。此類陶俑如本文所述，不僅藝術地呈現了唐代貴族生活中的重要面向，更突顯出唐代陶匠的高超技藝。這些文物得以流傳至今，讓我們得以直觀感受唐代歷史上的鷹獵活動，並欣賞該時代陶藝的卓越工藝水準。

Q2：鷹獵活動在唐代中國扮演什麼角色？

A2：鷹獵，即利用經過訓練的猛禽進行狩獵，最初源自人類早期獲取食物的方式，後逐漸演變為一種頗受歡迎的運動與社交活動，尤見於唐代統治者與貴族階級之中。精通鷹獵甚至能夠為各個階層的人士提供機會，藉此與統治階級建立更親密的社會關係。鷹獵也成為身份地位的象徵，並在當時文學及藝術作品中頻繁出現。

Q3：根據本文，鷹獵活動在中國最早可追溯至何時？

A3：儘管鷹獵的實際活動早已存在，但中國最早有文字記載的馴鷹狩獵活動可追溯到東漢（公元25-220年）。這顯示在唐代之前，中國已有悠久的鷹獵傳統，而在唐代達到了作為貴族消遣活動的高峰。

Q4：以此馴鷹陶俑為例，唐代彩繪陶俑與施釉陶俑有何區別？

A4：唐代彩繪陶俑（如本文所述的馴鷹者）通常比施釉陶俑呈現出更清晰且細緻的表現力，原因在於彩繪的顏料直接施於素胎（即未經施釉的坯胎）之上，從而能更明確地彰顯出陶藝工匠在泥塑造型方面的精湛技巧。

Q5：白居易是誰？他與唐代鷹獵活動有何關聯？

A5：白居易（公元772-846年）是唐代著名詩人，以其通俗易懂且寫實的文風而著稱。他的詩作《放鷹》即為唐代描寫鷹獵活動的重要文學作品之一，詩中詳述了鷹獵方法，以及馴鷹者與猛禽之間的關係。他的作品凸顯出鷹獵活動在唐代社會的文化意義。

Q6：白居易的《放鷹》一詩對唐代鷹獵藝術揭示了什麼？

A6：白居易的《放鷹》一詩詳述了馴鷹及利用鷹隼狩獵的具體技巧，強調透過控制猛禽的飢餓感來確保其服從指揮並有效捕獲獵物。此外，詩中更以善於掌控猛禽比喻英明的君主如何駕馭豪傑，由此亦揭示出鷹獵活動背後更深層的權力關係及象徵意涵。

Q7：本文提及的此唐代馴鷹陶俑有何收藏淵源？

A7：本文所提及的唐代彩繪馴鷹陶俑，其來源可追溯至20世紀初即已流傳至日本，最初為日本私人藏品，後於2005年由日本「曉夢樓收藏」（Xiao Meng Lou Collection）所收購。此一來源證明此件文物長期於中國境外受到珍視與保存。

Q8：唐代是否有其他以馴鷹或相關主題為題材的陶俑作品？

A8：是的，本文提及唐代確實有許多以站立姿態表現的馴鷹陶俑，且包含施釉與彩繪等不同工藝。另文中亦引用了學術著作中所示之其他無釉陶俑，姿態為雙臂抬起，但手中並未持鷹。此說明唐代陶藝中「馴鷹者」是一種易於辨識且較為普遍的主題，反映了鷹獵在當時社會的普及程度。

A PAINTED POTTERY FIGURE OF A FALCONER

TANG DYNASTY (AD 618-907)

Estimate

USD 8,000 – USD 12,000

A PAINTED POTTERY FIGURE OF A FALCONER

TANG DYNASTY (AD 618-907)

16 ½ in. (41.9 cm.) high, hardwood stand, Japanese wood box

PROVENANCE

In Japan by the early 20th century.

Private collection, Japan. 

Xiao Meng Lou Collection, Japan, acquired from the above in 2005.

Hunting on horseback or on camelback with birds of prey that had been tamed by their owners was a common pursuit for peoples living along the Eurasian Steppes, and a vital part of their food procurement. In China, descriptions of hunting with raptors (falconry) first appeared in Chinese texts during the Eastern Han dynasty (25-220 CE), though it was certainly practiced earlier than that. By the Tang dynasty, it had become the sport of rulers and nobles, an elite activity. Proficiency in falconry and other hunting skills became advantageous for officials, attendants or even commoners seeking to gain an intimate relationship with the ruling classes. Falconry was described in literature and there were many poems describing the pastime, such as “Hawking” by the famous Tang poet Bai Juyi (772-846).

Standing figures such as the present falconer were produced in the Tang dynasty with glazes and with painted pigments. The painted pottery versions, as exemplified by the present lot, exhibit crisp details that are somewhat more pronounced than the glazed versions, being left in the biscuit. Two comparable unglazed figures, with the arms raised but lacking the falcons, are illustrated by M. Prodan in The Arts of the T'ang Potter, no. 36.

FAQ: Tang Dynasty Falconer Figure and Falconry in China

Q1: What is the significance of a Tang Dynasty (618-907 AD) painted pottery figure of a falconer?

A1: A Tang Dynasty painted pottery figure of a falconer provides insight into the popular activity of falconry during that period, particularly among the elite. These figures, like the one described, serve as artistic representations of a significant aspect of Tang aristocratic life, highlighting both their sporting pursuits and the craftsmanship of Tang potters. The survival of such pieces allows us to visualize this historical practice and appreciate the artistry of the era.

Q2: What was the role of falconry in Tang Dynasty China?

A2: Falconry, or hunting with trained birds of prey, evolved from an early method of food procurement into a popular sport and social activity, especially among the Tang Dynasty's rulers and nobles. Proficiency in falconry could even offer opportunities for individuals, regardless of their social standing, to forge closer relationships with the ruling class. It was a mark of status and a subject frequently depicted in literature and art of the time.

Q3: How early was falconry practiced in China, according to the provided text?

A3: While the text mentions that falconry was certainly practiced earlier, the earliest written descriptions of hunting with raptors in China date back to the Eastern Han Dynasty (25-220 CE). This suggests a long history of falconry in China predating the Tang Dynasty, where it reached its zenith as an elite pastime.

Q4: What distinguishes painted Tang Dynasty pottery figures from glazed ones, as exemplified by the falconer?

A4: Painted Tang Dynasty pottery figures, such as the falconer in question, often exhibit crisper and more pronounced details compared to their glazed counterparts. This is because the painted pigments are applied directly to the biscuit (unglazed) pottery, allowing for finer features and a clearer depiction of the artisan's skill in modeling the clay.

Q5: Who was Bai Juyi, and what connection does he have to falconry in the Tang Dynasty?

A5: Bai Juyi (772-846 AD) was a renowned Tang Dynasty poet known for his realistic and widely accessible style. His poem "Hawking" (放鷹) is a classic example of Tang literature that describes the practice of falconry, offering insights into the methods used and the relationship between the falconer and the bird. His work underscores the cultural significance of falconry during this era.

Q6: What does Bai Juyi's poem "Hawking" reveal about the art of falconry in the Tang Dynasty?

A6: Bai Juyi's poem "Hawking" illustrates the techniques involved in training and using falcons for hunting. It highlights the importance of managing the bird's hunger to ensure its obedience and effectiveness in capturing prey. The poem also draws a parallel between the skilled control of a hunting bird and the way a wise ruler governs heroes, suggesting a deeper understanding of power dynamics within the context of this sport.

Q7: What is the provenance of the specific Tang Dynasty falconer figure mentioned in the text?

A7: The specific Tang Dynasty painted pottery figure of a falconer has a documented history of being in Japan by the early 20th century. It was part of a Japanese private collection before being acquired by the Xiao Meng Lou Collection in Japan in 2005. This provenance indicates a long period of appreciation and preservation of the artifact outside of China.

Q8: Are there other known Tang Dynasty pottery figures depicting falconers or related subjects?

A8: Yes, the text mentions that standing figures, including falconers, were produced in the Tang Dynasty with both glazes and painted pigments. It also references comparable unglazed figures with raised arms (though lacking falcons) illustrated in scholarly works on Tang pottery. This suggests that the falconer was a recognizable and relatively common subject in Tang Dynasty ceramic art, reflecting the popularity of the activity.