拍賣筆記 vol.312 蘇富比倫敦2021：唐三彩大馬（77.5cm），41.43萬英鎊（約450萬港元）售出 - Sotheby’s London 2021, Tang Dynasty Large Sancai Horse, Sold for 414,300GBP
- SACA
- 16 hours ago
- 6 min read
Updated: 1 hour ago
從造型特徵觀之，其粗壯有力的四肢、豐厚的鬃毛以及桶狀隆起的軀幹，均符合文獻與圖像中對「大宛馬」的典型描述。大宛馬為自漢代以來自中亞費爾干納谷地傳入中國的名貴馬種，歷來被視為珍稀而高貴的象徵。唐代以馬為貴，至高宗咸亨二年（667 年），朝廷更明文規定馬匹屬於士族與貴族之專屬財產，禁止工匠與商賈擁有，進一步鞏固了馬匹作為權力與身分象徵的社會意涵。
唐 三彩馬
A magnificent large sancai-glazed figure of a caparisoned horse, Tang dynasty
VAT reduced rate
Auction Closed
May 12, 08:32 PM HKT
Estimate
80,000 - 120,000 GBP
Lot Sold
414,300 GBP
Chinese Art | 中國藝術品
Auction Closed
12 May 2021|10:30 BST
London
高 77.5 公分
此件大型三彩馬立姿四足分立，體態穩健，頭部微向左側轉動，雙耳豎立，神情警覺。鬃毛自額前分開，披垂於一側，通體施以草黃色釉；馬鞍部位則以綠、栗褐與草黃三色交錯潑灑，馬身覆以濃重栗褐色釉，釉色自然流淌至綠釉馬蹄之上，底部留胎未施釉。整體比例宏大，體量厚實，呈現出極強的視覺張力與雕塑感。
唐代亦為中國古代馬政與養馬事業的巔峰時期，最受推崇的名種之一即為大宛馬。唐玄宗尤嗜名馬，並命畫家韓幹（約 706–783）為其御馬寫照。據張彥遠《歷代名畫記》（847 年）所載，玄宗「好大馬，令幹寫其最駿者」，其所飼四十餘萬匹馬中，尤以六匹源自大宛血統者最為著名，並以紅、紫、緋、黃、丁香、桃花等色名區分。其中最著名者為現藏於紐約大都會藝術博物館、傳為韓幹所作的《照夜白》。韓幹以強調馬匹渾圓、結實的肌肉結構與動勢聞名，同時保持自然寫實的風格，對唐代馬形藝術之塑造，無疑產生了深遠影響；本件三彩馬在體量與氣勢上的表現，亦可視為此一視覺傳統在陶塑媒介中的延續。
本件作品之年代，與牛津鑑定有限公司（Oxford Authentication Ltd.）出具之熱釋光測試結果相符（測試編號 C198s35）。
來源1997 年前購自香港。
保存狀況說明
此馬通體可見多處修復與補繪痕跡，包括四肢上下段斷裂處、馬鞍墊底緣兩側、頭部左側面頰、雙耳尖端與口部邊緣；胸前瓔珞中一件及其餘瓔珞下半部亦有修補，胸前並見一道細裂。尾部或為後配。
一、橫向對比：以 vol.312（77.5 cm）為核心的市場定位
1. vol.312 的「尺寸臨界點」意義
77.5 公分，在唐三彩馬體系中屬於關鍵臨界尺寸：
明顯高於市場常見的 60–70 cm 區間
已進入博物館與重要機構可直接對標的尺寸帶
存世量與流通量均急劇下降
在拍賣市場中，75 cm 往往不是「加一點」，而是跨一級。
2. 與同時代市場主流尺寸的橫向比較
尺寸區間 | 市場定位 | 價格層級（2021 倫敦） |
55–60 cm | 中型三彩馬 | £80k–150k |
60–65 cm | 偏大型 | £150k–250k |
65–70 cm | 大型主流 | £250k–350k |
75 cm 以上 | 博物館級大型 | £400k 起 |
vol.312（77.5 cm）→ 明確落入最後一檔，而非「放大的主流件」。
3. 與已知博物館與經典藏例的關係
從造型氣勢與體量來看，vol.312 更接近以下類型：
洛陽系大型隨葬三彩馬（考古出土級別）
臺北、紐約等館藏中「不常流通」的展示級作品
而非 1990–2000 年代拍賣場中較常見的「收藏型尺寸」。
4. 保存狀況的實際影響評估
vol.312 的修復集中於：
四肢下段
鞍下邊沿
瓔珞、尾部、頭部邊緣
關鍵判斷：
無重塑整體比例
無破壞主體氣勢
不影響「第一視覺等級」
在 75 cm 以上體量中，市場優先保留的是形體與氣勢，而非修復潔癖。
5. 估價策略與成交結果的特殊性
估價：£80,000–120,000（顯著偏低）
成交：£414,300（約估價上限 3.5–5 倍）
這反映的是：
市場對「77.5 cm 唐三彩馬」的共識，遠高於拍賣行事前的估價框架。
6. 總結式市場判斷（vol.312 專屬）
vol.312 並非因修復或來源而被重新定價的個案，而是一次市場對「75 公分以上唐三彩馬」價值帶的集中確認。其成交結果，實際上為後續同級別器物設定了清晰的心理底線。
二、FAQ（中英文對照）
Q1：77.5 公分真的比 68–70 公分高一個等級嗎？
Is 77.5 cm truly a different category from 68–70 cm?
中：是。75 公分是唐三彩馬的「市場斷層線」，跨過後，流通量與競爭者數量同時下降。
EN：Yes. Around 75 cm marks a clear market threshold, beyond which supply and comparables drop sharply.
Q2：vol.312 的修復會不會限制未來轉售？
Will the restoration limit future resale potential?
中：在同尺寸級別中，修復並非限制性因素；真正限制轉售的是是否還能再找到同級別替代品。
EN：At this scale, restoration is not a limiting factor. The real constraint is the scarcity of comparable replacements.
Q3：為何估價會如此保守？
Why was the estimate so conservative?
中：估價仍停留在「大型但可流通」的舊框架，未完全反映 75 cm 以上的稀缺性。
EN：The estimate reflected an older framework and underestimated the rarity of examples above 75 cm.
Q4：TL 檢測對這類頂級尺寸是否仍關鍵？
Is TL testing still critical at this level?
中：是基本門檻。沒有 TL，77.5 公分的尺寸反而會放大風險。
EN：Absolutely. At this scale, TL testing is essential to mitigate amplified authenticity risks.
Q5：vol.312 是否已接近「價格上限」？
Is vol.312 near a price ceiling?
中：更準確地說，是進入穩定上限區間，而非短期極值。
EN：It represents entry into a stable upper price band rather than a speculative peak.
Q6：與 vol.313 相比，誰更具標竿性？
Compared with vol.313, which is more benchmark-defining?
中：vol.312 定義的是「尺寸上限的價格」，vol.313 定義的是「主流大型的合理成交」。
EN：Vol.312 defines the pricing ceiling for scale, while vol.313 defines the rational core of the large-size market.
A magnificent large sancai-glazed figure of a caparisoned horse
Tang dynasty
standing four square, its harnessed head turned slightly to the left, ears pricked, the long mane parted at the forelock and falling to one side, covered in a straw-coloured glaze, the saddle splashed in green, chestnut and straw-coloured glaze, the body glazed in a rich dark chestnut trickling over green-glazed hooves on an unglazed base
Height 77.5 cm, 30 1/2 in.
Condition Report
The horse has restoration and over-painting to breaks at the upper and lower leg on all four legs, to the bottom edge corner of the saddle blanket on both sides, to the extremities of the head on the left side cheek, tips of the ears and edge of the mouth, to one of the tassels on the chest strap and to the lower half of all the remaining tassels on the chest strap and to a hairline crack on the chest. The tail is possibly later added
Provenance
Acquired in Hong Kong prior to 1997.
於1997年前得自香港
The artist who made this magnificent horse has aptly brought to life the horse's powerful physicality and spirited nature. The stout legs, luscious mane and barrel-shaped body is typical of a Ferghana horse, a legendary breed that originally came to China during the Han dynasty from the Ferghana Valley in Central Asia.
As a symbol of status and wealth, ownership of a valuable Ferghana horse in life as in death reflected the high rank and importance of its owners. In 667 AD, Tang dynasty statues declared the ownership of horses as an aristocratic privilege, forbidding artisans and tradesmen the right to own horses. Horse breeding reached its apex during the Tang dynasty when the most prestigious breeds like the Ferghana horse were introduced to China. The Emperor Xuanzong displayed equal passion for his mounts commissioning paintings from the famed artist Han Gan (c. 706-783). In the Lidai minghua ji (‘Record of famous painters of all periods’; 847), Zhang Yanyuan noted that Emperor Xuanzong ‘loved large horses and ordered Han to paint the most noble of his more than 400,000 steeds’, six of these, all bred from the famed Ferghana stock in Central Asia are described by their respective colors, red, purple, scarlet, yellow, ‘clove’ , and ‘peach-flower’ colored, respectively. The most famous of which is now in the Metropolitan Museum of Art, New York, ‘Night-shining White’ (Zhaoyebai) and attributed to the artist. Indeed, it is easy to speculate that Han Gan’s distinctive style which captures the animals in spirited movement, emphasizing their powerful, rounded and muscular forms while retaining an easy naturalism, influenced the artisans who sculpted the present horse.
The dating of this lot is consistent with the result of a thermoluminescence test, Oxford authentication Ltd., no. C198s35.
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