拍賣筆記 vol.353 蘇富比倫敦2020：思源堂，唐三彩藍釉寶相花紋三足盤 - Sotheby’s London 2020, Sze Yuan Tang, A Blue And Sancai-Glazed Tripod Dish, Tang Dynasty

在唐代所有陶瓷器中，以鮮豔三彩釉展現華麗花卉圖案的三足盤，或許最能體現當時的國際化精神。絲綢之路貿易的強化，使中國各地湧現新的商業城市，其中包括首都長安（今陝西西安），成為當時世界上最大的都市。這些繁華的都市中心吸引了來自中亞、中東、非洲、羅馬、印度乃至日本等不同地區的外國人。他們帶來的貨物與審美趣味，強烈影響了唐代工匠的創作題材。

此盤上的模印花卉紋樣以及鈷藍的使用，正是這種文化互動的典型例證：前者靈感來自中亞紡織品的圖案，後者則是從波斯進口的高價顏料。

唐代陶工從多種來源汲取靈感，常以更為奢華的材質器物為藍本，例如銀器。此盤特有的三曲足造型，即源自當時的銀質供盤（offering tray）。類似例子可見西安大明宮遺址出土的瓣形盤，現藏北京中國國家博物館（藏品編號1101012180003610675715）。這些供養盤需以足部承托使用，正如昭陵公主房陵墓（卒於673年）壁畫中所繪，一位仕女手持此類托盤的形象（現藏西安陝西歷史博物館）。

思源堂舊藏唐三彩珍品

唐三彩藍釉刻寶相花紋三足盤

拍賣已結束

2020年11月5日 03:52 AM HKT

估價

30,000 - 50,000 英鎊

器型為淺腹圓盤，盤壁圓弧，平底，下承三隻短曲足。盤心陰刻圓形開光，內飾一朵玫瑰花（rosette），周圍環繞花瓣；外圈則飾以交替排列的蓮葉與小蓮苞，葉脈與花莖清晰可見。紋飾以琥珀黃、鈷藍、綠及草黃等釉色勾勒點染，全部留白於深藍色釉地上，形成鮮明對比。

直徑 29 厘米（11⅜ 英寸）

品相報告

紫外線燈下檢測顯示，口沿有多處破裂經修復，並延伸至盤壁與盤身，相關區域有補繪痕跡。

經紫光燈檢測，可見幾道裂痕經修補，從口沿延伸至盤內，並見相關補繪。

來源

思源堂收藏

與此盤設計相近的例子包括：

• 蘇富比紐約1985年12月4日拍賣，編號176；

• 蘇富比倫敦1971年3月2日拍賣，編號123（平沿，現藏東京國立博物館）；

• 蘇富比倫敦1986年12月9日拍賣，編號56（藍釉止於盤心）。

另可參考：

• 華盛頓弗利爾美術館藏類似設計但以綠地為主的盤（藏品編號 F1949.13）；

• 東京國立博物館藏素白地同式盤（藏品編號 TG-677）。

TANG SANCAI - THE SZE YUAN TANG COLLECTION

A RARE BLUE AND SANCAI-GLAZED TRIPOD DISH TANG DYNASTY

Auction Closed

2020 November 5, 03:52 AM HKT

Estimate

30,000 - 50,000 GBP

the shallow rounded sides rising from a flat base supported on three short cabriole legs, incised to the centre with a circular roundel enclosing a rosette encircled by petals, surrounded by alternating lotus leaves and small lotus buds borne on stems, picked out in amber, blue, green and straw-glazes, all reserved against a deep blue ground

Diameter 29 cm, 11⅜ in.

Condition Report

Inspection under UV light reveals restored breaks to the rim extending into the sides across the body, with associated areas of overpainting.

經紫光燈檢測，可見幾道裂經修補，從口沿延伸至盤内，並見相關補繪。

Provenance

THE SZE YUAN TANG COLLECTION

Of all the ceramic wares made during the Tang dynasty, tripod dishes with such flamboyant floral designs in brilliant sancai enamels perhaps best illustrate the international spirit of the period. The intensification of trade via the Silk Route resulted in the emergence of new commercial cities throughout China, including the capital Chang’an, modern Xi’an, Shaanxi province, which became the largest city in the world. These bustling urban centres attracted an influx of foreigners who came from such disparate places as Central Asia, the Middle East, Africa, Rome, India and Japan. The goods they brought with them and their tastes strongly influenced the repertoire of Tang craftsmen. The moulded floral motif on this dish and the use of cobalt are examples of this interaction: the former was inspired by designs on Central Asian textiles, while the latter was an expensive pigment imported from Persia.

Tang potters took inspiration from a wide variety of sources, and often looked for inspiration at objects in more luxurious materials, such as silver. The characteristic form of this dish with three cabriole legs was inspired by contemporary silver offering trays, such as the lobed tray unearthed at the site of the Daming Palace, Xi’an, now in the National Museum of China, Beijing, accession no. 1101012180003610675715. These offering trays were held by the legs, as illustrated in a wall painting of a lady carrying such a tray tray, in the tomb of princess Fangling (d. 673) in Zhaoling, now preserved in the Shaanxi History Museum, Xi’an.  

Dishes of similar design include one sold in our New York rooms, 4^th December 1985, lot 176; another with a flat rim, sold in these rooms, 2^nd March 1971, lot 123, and now in the Tokyo National Museum; and a third dish, with the blue stopping below the well, sold in these rooms, 9^th December 1986, lot 56. See also a dish of this design, but on a green ground, in the Freer Gallery of Art, Washington D.C., accession no. F1949.13; and a dish with a plain white ground, in the Tokyo National Museum, accession no. TG-677.