拍賣筆記 vol.318 蘇富比香港2023：對比陝西歷博唐三彩藍釉鸂鶒酒卮 - Sotheby’s HK, A Blue And Sancai-Glazed 'Mandarin Duck' Wine Vessel, Tang Dynasty, Sold for 50,800 HKD

市場往往對「殘缺」有過度反應，卻常對「珍稀度」反應遲鈍。在唐三彩收藏序列中，帶有明確文獻記載、且有頂級博物館同款背書的藍釉器，屬於極其罕見的「藍籌」標的。隨着藏家對唐代「西域色彩學」認知的深化，這類器物終將實現價格的回歸。畢竟，當鈷藍與鸂鶒相遇，它代表的是那個無可複製的黃金時代。

The market often overreacts to "condition issues" while remaining sluggish toward "rarity." In the hierarchy of Tang Sancai collecting, blue-glazed vessels with explicit literary records and top-tier museum parallels are exceptionally rare "blue-chip" targets. As collectors deepen their understanding of Tang Dynasty "Western color theory," such objects will inevitably see a reversion to their true value. After all, when cobalt blue meets the mandarin duck, it represents a golden age that can never be replicated.

唐 三彩藍釉鸂鶒酒卮

A blue and sancai-glazed 'mandarin duck' wine vessel, Tang dynasty

Lot Closed

2023 June 1, 11:24 AM HKT

Estimate

40,000 - 60,000 HKD

Lot Sold

50,800 HKD

Conditions

There are areas of overspray and small areas of overpaint, especially to the rim and exterior, possibly to conceal several hairline cracks. The beak appears to be restored.

見小處補釉，特別在口沿及器外，可能修補沖線。嘴部應有修補

Provenance

Bonhams London, 15th May 2014, lot 3.

A Hong Kong private collection.

Sotheby's Hong Kong, 2nd July 2021, lot 5002.

來源：

倫敦邦瀚斯2014年5月15日，編號3

香港私人收藏

香港蘇富比2021年7月2日，編號5002

陝西歷史博物館，唐三彩藍釉鸂鶒酒卮

2023年香港蘇富比春季拍賣中，一件「唐三彩藍釉鸂鶒酒卮」以5.08萬港元的低價落槌。在動輒千萬的古董市場，若是真品，這一數字顯得有些沉寂，但若透過拍賣行冷冰冰的品相報告，轉向藝術史與絲路貿易的深層邏輯，這件器物的認知錯配便顯得格外突兀。

「鈷藍」：盛唐金融版圖上的昂貴奢侈品

Cobalt Blue: A High-Stakes Luxury on the Tang Financial Map

在唐三彩的估值體系中，藍釉始終處於金字塔尖。這種源自西亞、經由絲路輸入的鈷料（Cobalt），在唐代是與金銀同價的戰略物資。施以藍釉，不僅是工藝選擇，更是物主社會層級的直接註解。此卮藍、黃、綠三色交融，鈷藍的深邃與釉水的流動感，精準復刻了盛唐文化中那種大開大合、包羅萬象的政治自信。

Within the valuation hierarchy of Tang Sancai, blue glaze has always occupied the apex. Derived from Western Asia and imported via the Silk Road, cobalt was a strategic commodity on par with gold and silver during the Tang Dynasty. The application of blue glaze was not merely an aesthetic choice but a direct marker of the owner’s social echelon. The interplay of blue, amber, and green on this vessel, combined with the depth of the cobalt and the fluid rhythm of the glaze, precisely captures the expansive and inclusive political confidence of High Tang culture.

從「西域角杯」到「長安靈禽」

此器造型並非無本之木。其原型可追溯至波斯薩珊王朝的金銀器Rhyton（角杯），是典型的「胡風漢化」產物。

• 館藏背書： 1955年西安韓森寨出土、現藏於陝西歷史博物館的同款鸂鶒卮，常被視為此類形制的「金標」。對比兩者，陝博件氣勢開張，展現了長安官作的極致張力；而此件拍品則在藍釉的渲染下，更多了一份極富現代感的抽象審美。

• 文獻支撐： 《新五代史》記載唐昭宗賜李存勗「鸂鶒卮」，證明了此類器物在唐廷外交與賞賜體系中的特殊地位。它不單是酒具，更是政治禮儀中的重要媒介。

During the Tang dynasty, the Silk Road extended from Central Asia to Western Asia, bringing a diverse array of gold and silver objects, glassware, exotic materials, and decorative patterns to China. Craftsmen were exposed to various foreign objects and drew inspiration from their shapes and designs, resulting in unique creations. For example, the present ‘mandarin duck’ ewer is influenced by the style of Sasanian gold and silver vessels and is among the few documented Tang dynasty artifacts.

Compare with a similar sancai 'mandarin duck' wine vessel in the Shaanxi History Museum, which was unearthed in 1955 from a Tang tomb in Han Senzhai, Xi'an, illustrated in Yiri kanjin Chang’an hua: Tangdu Chang’an sancai wenwu jinhuazhan [A Day to Appreciate Chang'an's Splendor: A Highlight Exhibition of Tang Capital's Tri-colored Cultural Relics], Hangzhou, 2017, cat. no. 2.

唐代絲綢之路通達中亞以至西亞，各式金銀、琉璃器物、珍異材料，以至花紋圖案經此路傳入中土，工匠見識大量西域異物，參考其形制設計而有所獨創，如見此鸂鶒卮，器型受薩珊金銀器風格影響，亦為少數於文獻中有記載的唐代器物。

存勗年十一，從克用破王行瑜，遣獻捷於京師，昭宗異其狀貌，賜以鸂鶒卮、翡翠盤，而撫其背曰：「兒有奇表，後當富貴，無忘予家」。

《新五代史．卷五：唐本紀第五》

後唐開國皇帝李存勗少年時隨父作戰，十一歲時，父子到長安向唐朝報功，得到唐昭宗的賞賜和誇獎，獲賜鸂鶒卮及翡翠盤，提醒李存勗立將來當國之棟才，勿忘忠孝。

可藏考一相類三彩鸂鶒卮例，1955年西安市東郊韓森寨唐墓出土，現藏於陝西歷史博物館，載錄於《一日看盡長安花—唐都長安三彩文物精華展》，杭州西湖博物館，杭州，2017年，編號2。

何謂「鸂鶒」

鸂鶒（音 xī chì），即今日所稱之鴛鴦，為中國古代文獻中對此類水禽的正式稱謂之一。早在先秦與兩漢文獻中，「鸂鶒」便已被視為成雙成對、棲息水岸的珍禽，其形象常與恩愛、吉祥、宴飲與貴胄生活相連，而非單純的自然寫生。

在唐代語境中，「鸂鶒」並非日常禽鳥，而是一種帶有等級與賞賜意味的名物。這一點可由《新五代史．唐本紀》所載李存勗幼年受賜「鸂鶒卮」得到印證：

「昭宗異其狀貌，賜以鸂鶒卮、翡翠盤。」

此處的「鸂鶒卮」，顯然不是泛指動物形象，而是一種具體、可辨識的高等級酒器名稱，其母題已制度化，並被視為可用於皇室賞賜的器物類型。

鸂鶒常見問題

Q1｜什麼是「鸂鶒」？

What is a ‘Xichi (Mandarin Duck)’?

「鸂鶒」（音 xī chì）是中國古代文獻中對鴛鴦一類水禽的正式稱謂之一。此名早見於先秦至唐代文獻，並非單純的動物名稱，而往往帶有成雙成對、宴飲、賞賜與吉祥等文化意涵。

Xichi is an ancient Chinese term referring to mandarin ducks. From early textual sources through the Tang dynasty, the term carried cultural connotations beyond zoological description, often associated with pairing, banquets, auspiciousness, and elite courtly life.

Q2｜「鸂鶒卮」是指一件具體器物，還是泛指動物造型？

Does ‘Xichi zhi’ refer to a specific vessel type or a general animal-form object?

「鸂鶒卮」並非泛指動物造型酒器，而是一種在唐代已被制度化命名的酒卮類型。文獻中可明確見到其作為賞賜之物出現，顯示其在當時具有可辨識的器類地位。

The term Xichi zhi refers not to an arbitrary animal-shaped vessel, but to a recognized and named type of wine vessel in the Tang dynasty, sufficiently established to appear in historical records as an item of imperial reward.

Q3｜唐代為何會出現鸂鶒造型的酒卮？

Why did mandarin duck–shaped wine vessels appear in the Tang dynasty?

這類器形的出現，與唐代多重文化背景有關：

• 動物伏水、前傾的形態適合作為酒卮

• 鸂鶒在文化上與宴飲、賞賜語境高度契合

• 器物體量與立體感，受到薩珊金銀器動物造型酒器的間接影響

因此，鸂鶒卮是唐代審美、功能與外來文化交匯的產物。

The form reflects a convergence of factors: the physical suitability of waterfowl shapes for pouring vessels, the cultural association of mandarin ducks with banquets and rewards, and indirect influence from Sasanian gold and silver animal-shaped vessels introduced via the Silk Road.

Q4｜為什麼這類鸂鶒卮被認為「比較罕見」？

Why are Tang ‘mandarin duck’ wine vessels considered rare?

目前可考的實例數量極少，多數見於考古或重要館藏層級，市場與傳世器中出現頻率極低，且多半保存狀態有限。因此，此類器物在唐三彩系統中屬於小眾而高度專門的器類。

Surviving examples are extremely limited and are primarily known from archaeological discoveries and major museum collections. Their scarcity in both institutional and market contexts places them among the more specialized and rare Tang sancai vessel types.

Q5｜陝西歷史博物館藏例為何被認為「更美」？

Why is the Shaanxi History Museum example considered superior in quality?

現藏於 陝西歷史博物館 的鸂鶒卮，出土背景清楚，整體品質更為突出，主要體現在：

• 器形比例更舒展、動勢更強

• 三彩與藍釉層次清晰、流動自然

• 無明顯後世修補，保存狀態理想

• 長期作為學術研究中的標準比對器

The Shaanxi History Museum example, excavated from a Tang tomb in Xi’an, is regarded as superior due to its more balanced proportions, refined glaze transitions, minimal restoration, and its role as a standard reference piece in academic literature.

Q6｜本次拍賣例的學術價值是否因此降低？

Does restoration diminish the scholarly value of the auctioned example?

修補情況確實限制了其完整性，但並不否定其器型本身的研究意義。此件仍能清楚指向唐代「鸂鶒卮」這一成熟器類，並為博物館標準器之外，提供了一件可對照的市場流通實例。

While restoration affects condition, it does not negate the vessel’s importance as a representative example of the Xichi zhitype. It offers a valuable comparative reference alongside museum-standard pieces.

Q7｜如何在拍賣與研究中理解這類器物？

How should such vessels be approached in both market and scholarly contexts?

鸂鶒卮不宜僅視為「動物造型三彩」，而應放回唐代名物酒器、賞賜制度與絲路審美交流的框架中理解，方能準確把握其歷史位置。

Rather than viewing these objects merely as whimsical animal forms, they should be understood within the broader framework of Tang named wine vessels, courtly reward culture, and cross-cultural exchange along the Silk Road.