拍賣筆記 vol.266 覺是軒：唐三彩藍釉貼花獅紋三足罐帶蓋 - Priestley & Ferraro, A Blue-Glazed Pottery 'Buddhist Lions' Tripod Incense Burner And Cover, Tang Dynasty

此件香爐之最具特色者，為其大量使用珍稀之鈷藍釉。鈷藍釉最早見於唐代三彩器，原料傳自波斯，並隨絲綢之路貿易與文化交流而傳入中國。由於鈷料難得，價高且來源有限，故施藍釉之三彩器多見於初唐、中唐高等級墓葬。關於唐高宗與武則天之子李弘（652–675）河南偃師恭陵內，1998年所出土一批藍釉器物之研究，可參閱劉航宇〈恭陵美陶〉，刊於《中原文物》2000年第3期，頁66–69。

本器裝飾採「貼花」技法，即於施釉入窯前在胎體外壁貼附模印或手捏之立體紋飾。此種陶瓷立體裝飾手法，實受同時期金銀器上「錘揲」（repoussé）技術之啟發。

A distinctive feature of the present censer is its liberal use of the rare cobalt-blue glaze. Cobalt blue first appeared on Tang dynasty sancai wares, the pigment having been introduced into China from Persia through the vibrant channels of trade and cultural exchange along the Silk Road. Owing to the scarcity and high cost of cobalt, as well as its limited sources, sancai wares decorated with cobalt-blue glaze were reserved primarily for high-status burials of the early to mid-Tang period. For a study of a group of blue-glazed vessels excavated in 1998 from the Gong Mausoleum of Prince Li Hong (652–675), son of Emperor Gaozong and Empress Wu, in Yanshi, Henan Province, see Liu Hangyu, “Gongling meitao,” Cultural Relics of Central China, no. 3 (2000), pp. 66–69.

The decoration of the present piece employs the appliqué (tiehua) technique, whereby moulded or hand-formed relief elements are affixed to the vessel’s surface prior to glazing and firing. This sculptural approach to ceramic ornamentation was directly inspired by the repoussé technique used on contemporaneous gold and silver wares.

唐 藍釉三彩貼花獅紋三足罐帶蓋

來源：獲得於香港，2008年4月7日

覺是軒，倫敦

2025年 11月 6日, 11:00 GMT

倫敦，新龐德街

成交價：£51,200（包括佣金）

此件香爐之腹部呈豐圓鼓式，置於三隻獅爪形足之上。腹身略呈圓鼓狀，中段微呈圓柱形並略收，肩部圓渾，上承外撇寬口。器身貼飾四隻騰躍之佛獅，均以高浮雕模印而成，其中一足跨於肩部下方一周凸帶之上；凸帶之上再飾四枚葉形開光。全器通體施以瑩潤深邃的鈷藍釉，釉層自肩以下覆至近底部邊緣，並連足施釉。頸部一圈施赭黃釉，口沿及內壁則覆以綠釉。貼花細部再點綴赭黃與橄欖綠釉，其色與深藍釉交融，流淌形成極具美感之垂絲效果。蓋作圓頂形，平沿甚寬，以藍釉為地，飾四道黃色垂釉；蓋頂作蓮蕾狀鈕。附盒。通高23公分。

熱釋光檢測：本品經牛津熱釋光檢測（Oxford Authentication Ltd.）編號 C208b14（2008年11月6日），結果與其斷代相符。

相關比較，可參考1976年河南鞏縣黃冶窯址所出土一件藍斑三彩三足爐，見《中國陶瓷全集：唐五代》第6卷（上海，2000），圖135及頁247。另可比較陝西唐三彩藝術博物館所藏一件唐代藍釉「象形」罐及蓋，於造形與貼花工藝上皆與本例相類。

LOT 135

A BLUE-GLAZED POTTERY 'BUDDHIST LIONS' TRIPOD INCENSE BURNER AND COVER

Tang Dynasty

PRIESTLEY & FERRARO: THREE DECADES IN CHINESE ART (1994-2025)

6 November 2025, 11:00 GMT

London, New Bond Street

Sold for £51,200 inc. premium

A BLUE-GLAZED POTTERY 'BUDDHIST LIONS' TRIPOD INCENSE BURNER AND COVER

Tang Dynasty

The compressed globular body raised on three lion-paw supports, the body globular body with a slightly rounded cylindrical midsection with rounded shoulders and an everted rim, the body applied with four dramatically leaping Buddhist lions each similarly moulded in high relief with one paw reaching over a raised band at the base of the shoulders, just below four leaf-shaped medallions, covered overall in a lustrous deep blue glaze over the body terminating just short of the base but covering the feet, below a ring of ochre yellow to the neck and green to the top and interior of the rim, with yellow and ochre green highlights to the applied details which suffuses in attractive streaks into the blue, the domed cover with a wide flat rim and and a bud-form finial decorated in blue with with four yellow streaks, box. 23cm (9in) high. (3).

Provenance:

Acquired in Hong Kong, 7 April 2008

The result of Oxford Authentication Ltd. thermoluminescence test no.C208b14, dated 6 November 2008, is consistent with the dating of this lot.

This incense burner is distinguished by the generous use of the rare cobalt-blue glaze. The cobalt blue glaze first appeared on sancai-wares of the Tang dynasty, introduced into China from Persia through the flourishing trade and cultural exchanges along the Silk Road. Due to its scarcity, cobalt was highly prized, and sancai wares decorated with cobalt-blue glaze are known from high-ranking tombs of the early and middle Tang period. For a discussion and a group of blue-glazed vessels excavated in 1998 from the Gong Mausoleum of Prince Li Hong 李弘 (652-675), son of Empress Wu and Emperor Gaozong, in Yanshi, Henan Province, see Liu Hangyu, 'Gongling meitao' (恭陵美陶), in Cultural Relics of Central China (中原文物), 2000 (3), pp.66-69.

The decoration of the present lot is rendered with the appliqué technique (貼花 tiehua) which refers to the practice of applying moulded or hand-formed decorative motifs onto the surface of a vessel before glazing and firing. This ornamental method was inspired by the repoussé technique seen in contemporary gold and silver wares, where designs were hammered in relief. See a blue-splashed sancaitripod incense burner similarly decorated with the appliqué technique, unearthed in 1976 from the Huangye kiln site, in Gongxian, Henan Province, illustrated in The Complete Works of Chinese Ceramics: Tang and the Five Dynasties (中國陶瓷全集：唐五代), vol.6, Shanghai, 2000, pl.135 and p.247. See also a blue-glazed 'elephant' jar and cover of similar shape and decorative technique, Tang dynasty, in the Shaanxi Tang Tricolour Pottery Art Museum (陝西唐三彩藝術博物館).