唐三彩鳳首壺
中國，7世紀晚期至8世紀前半葉
此唐代陶製鳳首壺的造型可能源於西亞或中亞金屬器物。然而，其延長的壺柄直接連接至壺口邊緣，而非壺身，這一設計特徵顯示了中亞（特別是粟特）器物的原型影響。壺身上的騎馬射手回身射箭的姿態，即所謂「帕提亞射法」，亦可見於西方的裝飾藝術中。
來源
史丹利·赫茲曼（Stanley Herzman），紐約（1991年前，捐贈予大都會博物館）
展覽
歷史紐約，大都會藝術博物館，「亞黛爾與史丹利·赫茲曼收藏中國陶瓷展」，1990年6月1日至8月26日
參考文獻
Valenstein, Suzanne G.，《赫茲曼中國陶瓷收藏》，紐約：史丹利·赫茲曼，1992年，第17頁，圖錄編號6
唐代三彩鳳首壺問答
唐代三彩鳳首壺是什麼？
唐代三彩鳳首壺是一種陶製執壺，製作於公元7世紀晚期至8世紀初的中國，具有鳳首造型的壺嘴、延長的壺柄以及鮮明的三彩釉裝飾，是唐代陶瓷的代表作之一。
壺的設計源於何處？
此壺的整體造型可能受西亞或中亞金屬器的影響，而壺柄直接連接壺口的設計則顯示出中亞，特別是粟特的文化特徵。此外，壺身上以「帕提亞射法」（Parthian shot）姿態描繪的射手圖案，更是西方裝飾語彙的體現。
壺上的「帕提亞射法」有何意義？
「帕提亞射法」是一種騎馬射手在撤退時回身射箭的軍事技巧。此圖案可能象徵高超的騎術與武藝，這些價值在唐代中國與中亞文化中都受到高度推崇。
「三彩」是什麼意思？
「三彩」意指「三種顏色」，是唐代陶瓷的著名釉彩技法，使用琥珀色、綠色和乳白色的鉛釉，形成色彩鮮艷的表面裝飾效果。
唐代三彩鳳首壺現藏於何處？
此壺現為紐約大都會博物館（MMA）永久收藏，由史丹利·赫茲曼於1991年捐贈予該館。
此壺曾參與哪些展覽？
唐代三彩鳳首壺曾於1990年6月1日至8月26日在大都會博物館舉行的「亞黛爾與史丹利·赫茲曼收藏中國陶瓷展」中展出。
有關此壺的深入資訊可參考哪些出版物？
更多關於此壺的詳細描述與分析可參見 Suzanne G. Valenstein 所著的《赫茲曼中國陶瓷收藏》（1992年出版）。
此壺如何反映唐代的文化交流？
唐代三彩鳳首壺體現了該時期活躍的文化交流。其融合了中國、西亞與中亞的藝術元素，展現了絲綢之路的互聯互通與唐代社會的多元與包容性。
Phoenix headed amphora
China late 7th–first half of the 8th century
The shape of either Western Asian or Central Asian metalwork could have provided the model for this Tang-dynasty earthenware ewer. However, the attachment of its elongated handle to the mouth rim rather than the body indicates a Central Asian—specifically, Sogdian—prototype. The mounted archer shooting over his shoulder, the so-called "Parthian shot," can be found in the Western ornamental lexicon.
Provenance
Stanley Herzman , New York (until 1991; donated to MMA)
Exhibition History
New York. The Metropolitan Museum of Art. "A Selection of Chinese Ceramics from the Adele and Stanley Herzman Collection," June 1–August 26, 1990.
Reference
Valenstein, Suzanne G. The Herzman Collection of Chinese Ceramics. New York: Stanley Herzman, 1992, p. 17, cat. no. 6.
FAQ: Tang Dynasty Sancai Phoenix Headed Amphora
What is the Tang Dynasty Sancai Phoenix Headed Amphora?
The Tang Dynasty Sancai Phoenix Headed Amphora is a ceramic ewer created in China during the late 7th to early 8th century AD. It is notable for its phoenix-shaped head, elongated handle, and vibrant three-color glaze, making it a remarkable example of Tang Dynasty ceramics.
What are the origins of the amphora's design?
The amphora’s overall shape may have been inspired by metalwork from Western or Central Asia. However, the attachment of the handle to the mouth rim rather than the body indicates a Central Asian—specifically Sogdian—design influence. The depiction of an archer using the "Parthian shot" technique reflects the integration of Western decorative elements.
What is the significance of the "Parthian shot" in the amphora's decoration?
The "Parthian shot" refers to a military tactic where mounted archers shoot arrows backward while retreating. Its depiction on the amphora likely symbolizes skilled horsemanship and martial prowess, traits highly valued in both Tang China and Central Asian cultures.
What does "Sancai" mean in the amphora's name?
"Sancai," meaning "three colors," refers to the glazing technique used in Tang Dynasty ceramics. This method involved applying lead-based glazes in amber, green, and cream hues to create a strikingly colorful and vibrant surface.
Where is the Tang Dynasty Sancai Phoenix Headed Amphora currently located?
The amphora is part of the permanent collection of the Metropolitan Museum of Art (MMA) in New York City. It was donated to the museum in 1991 by Stanley Herzman.
Has the amphora been featured in any exhibitions?
Yes, the amphora was displayed in the exhibition "A Selection of Chinese Ceramics from the Adele and Stanley Herzman Collection" at the Metropolitan Museum of Art from June 1 to August 26, 1990.
Are there any publications providing further information about the amphora?
A detailed description and analysis of the amphora can be found in the book The Herzman Collection of Chinese Ceramics by Suzanne G. Valenstein, published in 1992.
What does the amphora reveal about cultural exchange during the Tang Dynasty?
The Tang Dynasty Sancai Phoenix Headed Amphora exemplifies the rich cultural exchange of its time. By blending Chinese, Western Asian, and Central Asian artistic influences, it highlights the interconnectedness of the Silk Road and the cosmopolitan nature of Tang society.
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