唐藍釉鳳首壺
雷曼家族舊藏
這件壺呈扁平的梨形，壺嘴為盲口，塑造成鳳凰頭的形狀。弧形壺柄將鳳凰頭與壺身上部連接在一起；壺底為高足，呈外撇狀。
壺兩側飾有低浮雕圖案：一側描繪了一隻立於蓮花上的鳳凰，另一側則是一位騎士以經典的“帕提亞回射”姿態向後射箭。壺身覆蓋著唐代三彩陶器的典型釉彩，包括琥珀色、黃色和白色。此外，還大量使用藍色和綠色，特別是在浮雕圖案的背景部分。
釉層覆蓋整個器物，延伸至高足的頂部，足部以下露出未上釉的淺米色陶胎。可惜的是，這件壺受到了嚴重損壞，修復部分也已顯著老化。
這類型的鳳首壺為人熟知，例如在河南洛陽一座唐代墓葬中發掘出的一件相似器物（1961年出土）。(1)
出處
摘錄自：Suzanne G. Valenstein，《羅伯特·雷曼收藏——裝飾藝術，第十五卷》，Wolfram Koeppe 等編，紐約：大都會藝術博物館與普林斯頓大學出版社聯合出版，2012年，第294頁。
附註：1.《中國陶瓷全集》，上海人民美術出版社編，第七卷《唐三彩》，京都，1983年，圖版62。
來源
鳳首壺，唐三彩陶器
製作時期：公元7世紀末至8世紀上半葉
文化背景：中國
材質：陶器，施多彩釉
尺寸：高33公分
分類：陶瓷
收藏來源：羅伯特·雷曼收藏，1975年
這件作品曾由同益公司（Ton-Ying & Company）持有，並先後於1926年和1930年在紐約舉辦的拍賣會上出售，最終由羅伯特·雷曼於1930年購得，成為其私人收藏的一部分。
羅伯特·雷曼收藏
羅伯特·雷曼收藏是美國最具聲望的私人藝術收藏之一，由羅伯特·雷曼在六十年的收藏生涯中組建完成。這批作品於1969年隨其遺囑捐贈給紐約大都會藝術博物館，總計2,600件，包括繪畫、素描、手稿裝飾、雕塑、玻璃器皿、織物、古典框架、彩陶和珍貴珠寶等。
雷曼收藏的亮點包括約300幅繪畫，尤以義大利文藝復興時期（特別是錫耶納學派）以及北歐早期作品著稱。此外，750件素描作品涵蓋了從15世紀到20世紀的歐洲藝術，其中不乏18世紀威尼斯學派的傑作。該收藏在裝飾藝術領域也廣受推崇，尤其是在文藝復興彩陶、威尼斯玻璃和古典框架方面。
雷曼家族的收藏始於1905年，當時羅伯特的父母菲利普和卡莉·雷曼在紐約西54街的新建宅邸中開始購藏藝術品。羅伯特·雷曼以其學術知識、敏銳的藝術鑑賞力以及精明的市場談判能力進一步豐富了家族收藏。
1975年，大都會藝術博物館特別開設了一個新館翼以展示這批珍貴藏品。雷曼館通過中央天窗畫廊及環繞其周圍的展廳，再現了雷曼家族住宅的氛圍，室內配有天鵝絨壁布、帷幔、家具和地毯，為這批傑出收藏提供了典雅的背景。
唐代三彩鳳首壺常見問題
什麼是唐代三彩鳳首壺？
唐代三彩鳳首壺是中國唐代（618-907年）製作的一種陶瓷壺，以其獨特的設計特徵著稱：
鳳凰造型壺嘴：壺嘴被製作成鳳凰頭的形狀，象徵吉祥與重生的神鳥形象。
弧形壺柄：一個優雅的弧形壺柄將鳳凰頭與壺身上部連接起來。
三彩釉：壺身覆蓋著鮮豔的三彩釉，通常包括琥珀色、黃色、白色、藍色和綠色等色調，這是唐代陶瓷的特色技術。
裝飾浮雕：壺側常刻有低浮雕裝飾圖案，包括鳳凰、蓮花和以“帕提亞回射”姿態射箭的騎士圖案。
壺上的“帕提亞回射”圖案有何意義？
“帕提亞回射”是一種騎馬射箭的軍事戰術，騎士在撤退時身體轉向後方射箭。該圖案的出現可能具有以下象徵意義：
高超馬術：彰顯騎士的馬術技巧以及馬匹在戰爭和中亞文化中的重要地位。
軍事威力：代表戰略優勢和卓越的武藝表現。
文化交流：反映中亞和西亞文化對唐代藝術的影響。
“三彩”與此壺有何關聯？
“三彩”字面意為“三種顏色”，指唐代陶瓷獨特的鉛釉工藝。這種技術利用琥珀色、綠色和乳白色等釉料，創造出色彩斑斕、層次豐富的表面效果。
此壺設計中展現了哪些文化影響？
這件鳳首壺融合了多元文化的特徵：
中國元素：鳳凰圖案與三彩釉技法是純正的中國元素。
中亞影響：壺形（特別是壺柄與口緣的連接方式）受粟特文化影響，粟特是以貿易和藝術聞名的中亞文明。
西亞影響：壺上的“帕提亞回射”圖案及整體造型可能受到西亞金屬工藝傳統的啟發。
在哪裡可以看到唐代三彩鳳首壺的例子？
紐約大都會藝術博物館（The Met）收藏了多件唐代三彩鳳首壺：
羅伯特·雷曼收藏：其中一件鳳首壺來自雷曼的著名私人收藏。
赫茲曼收藏：另一件保存完好的鳳首壺由斯坦利·赫茲曼捐贈。
誰是羅伯特·雷曼？
他對藝術界有何貢獻？羅伯特·雷曼（1891-1969）是美國著名的銀行家、藝術收藏家和慈善家。他繼承了父親菲利普·雷曼對藝術的熱愛，並大幅擴展了家族收藏，包括歐洲繪畫、手稿和裝飾藝術。他去世後將收藏捐贈給大都會藝術博物館，建立了羅伯特·雷曼展館（Robert Lehman Wing），再現了他私人住宅的氛圍，展示其非凡的藝術珍藏。
雷曼家族如何對亞洲藝術產生興趣？
羅伯特·雷曼於1913年從耶魯大學畢業後，曾前往中國、日本、印度和韓國旅行，對亞洲藝術產生濃厚興趣。他在信中向父親熱情地描述他的發現，並鼓勵父親分享他對東方藝術的欣賞。羅伯特早期的獨立收藏包括日本卷軸畫和中國雕塑，成為雷曼家族亞洲藝術收藏的開端。
唐代三彩鳳首壺揭示了唐代的哪些特點？
這件器物體現了唐代社會的國際化特徵：
文化交流：融合中國、中亞與西亞元素，反映絲綢之路上的貿易與思想交流。
藝術精湛：其工藝細膩與裝飾華美展示了唐代藝術的高超水平。
審美情趣：三彩釉的運用以及神話和象徵圖案的結合，表現出唐代對美與意象的高度重視。
Herzman 三彩鳳首壺 大都會博物館 藏
《三彩筆記 vol.01 大都會博物館：唐三彩藍斑騎射鳳首壺 - Metropolitan Museum, Tang Dynasty Sancai Phoenix Headed Amphora》
This flattened pear-shaped vessel has a blind spout in the shape of a phoenix head. An arched handle joins the bird’s head to the upper portion of the body; the solid foot is high and splayed. Two low-relief panels ornament the sides: one shows a phoenix standing on a lotus blossom, the other a mounted archer shooting backward in the classic “Parthian” pose. The vessel is covered in the standard Tang sancai (three-color) glaze that includes shades of amber, yellow, and white. A considerable amount of blue and green has been effectively employed, most notably as background coloring in the relief panels. The glaze extends over the entire object, ending at the top of the high foot to reveal an unglazed light beige body. Unfortunately, the ewer has suffered extensive damage, and the restorations have deteriorated significantly. This type of ewer is well known; it can be documented, for example, by a similar vessel that was unearthed in 1961 from a Tang-dynasty tomb in Luoyang, Henan Province.(1)
Catalogue entry from: Suzanne G. Valenstein. The Robert Lehman Collection. Decorative Arts, Vol. XV. Wolfram Koeppe, et al. New York: The Metropolitan Museum of Art in association with Princeton University Press, 2012, p. 294.
Note:
1. Chūgoku tōji zenshū. Chūgoku tōji zenshū (Complete Works of Chinese Ceramics). Edited by Shanghai Renmin Meishu Chubanshe. Vol. 7, Tang sancai (Tang Three-Color Ware). Kyoto, 1983, pl. 62.
Provenance
Credit Line: Robert Lehman Collection, 1975
[Ton-Ying & Company]; Ton-Ying sale, American Art Association, New York, 29-30 January 1926, lot 388, ill.; [Ton-Ying & Company]; Ton-Ying sale, American Art Association, Anderson Galleries, New York, 24-25 January 1930, lot 391, ill. Acquired by Robert Lehman from the 1930 Ton-Ying sale.
Title: Phoenix-head ewer, Tang sancai ware
Artist: Chinese , Tang Dynasty
Date: late 7th century–first half 8th century
Culture: Chinese
Medium: Earthenware with polychrome glaze.
Dimensions: Height: 13 in (33 cm.)
Classification: Ceramics
Credit Line: Robert Lehman Collection, 1975
Object Number: 1975.1.1648
The Robert Lehman Collection
The Robert Lehman Collection is one of the most distinguished privately assembled art collections in the United States. Robert Lehman's bequest to The Met, a collection of extraordinary quality and breadth acquired over the course of sixty years, is a remarkable example of twentieth-century American collecting. Spanning seven hundred years of western European art, from the fourteenth to the twentieth centuries, the 2,600 works include paintings, drawings, manuscript illumination, sculpture, glass, textiles, antique frames, maiolica, enamels, and precious jeweled objects.
The collection of approximately three hundred paintings is particularly rich in the field of the Italian Renaissance, notably the Sienese school, as well as early Northern European works. Included in the 750 Old Master drawings ranging from the fifteenth to the twentieth centuries is a significant group of eighteenth-century Venetian works, as well as other distinguished Italian, French, and Northern European examples. The collection is also renowned in several areas of decorative arts: Renaissance maiolica, Venetian glass, and antique frames.
Robert Lehman's parents, Philip and Carrie Lehman, laid the foundation for the collection around 1905, when they began acquiring works of art for their recently completed townhouse on West 54th Street in New York City. Robert Lehman assembled his collection with scholarly knowledge, astute connoisseurship, and skillful negotiation of the art market. Upon his death in 1969, he bequeathed 2,600 works to The Met with the stipulation that they be exhibited as a private collection, reflecting his belief that "important works of art, privately owned, should be beyond one's own private enjoyment and [that] the public at large should be afforded some means of seeing them." A new wing, erected to display the collection, opened to the public in 1975. The Robert Lehman Wing includes a central skylit gallery surrounded by a series of rooms intended to recreate the Lehman family residence. Velvet wall coverings, draperies, furniture, and rugs evoke the ambience of private interiors and serve as a backdrop for this extraordinary collection.
Tang Dynasty Sancai Phoenix-Headed Ewer FAQ
What is a Tang Dynasty Sancai Phoenix-Headed Ewer?
A Tang Dynasty Sancai Phoenix-Headed Ewer is a type of ceramic ewer produced during the Tang Dynasty in China (618-907 AD). These ewers are known for their distinctive features:
Phoenix-Shaped Spout: The spout of the ewer is crafted in the shape of a phoenix head, a mythical bird symbolizing good fortune and rebirth.
Arched Handle: A gracefully arched handle connects the phoenix head to the upper body of the vessel.
Sancai Glaze: The ewer is coated in a vibrant three-color glaze, utilizing shades of amber, yellow, white, blue, and green. This glaze technique is characteristic of Tang Dynasty ceramics.
Decorative Panels: Low-relief panels often adorn the sides, featuring motifs like phoenixes, lotus blossoms, and mounted archers in the "Parthian shot" pose.
What is the significance of the "Parthian shot" depicted on the ewer?
The "Parthian shot" was a military tactic where mounted archers would turn their bodies to shoot arrows backward while retreating. Its depiction on the ewer likely symbolizes:
Skilled Horsemanship: It highlights the equestrian skills of the archers and the importance of horses in warfare and Central Asian culture.
Military Prowess: The "Parthian shot" represented a strategic advantage and a demonstration of martial skill.
Cultural Exchange: The presence of this motif reflects the influence of Western Asian and Central Asian cultures on Tang Dynasty art.
What is the meaning of "Sancai" in relation to the ewer?
"Sancai" literally translates to "three colors." It refers to the lead-based glazing technique characteristic of Tang Dynasty ceramics. This method involved applying different colored glazes – typically amber, green, and cream – to create a vibrant and variegated surface.
What cultural influences are evident in the design of the ewer?
The ewer embodies a fusion of diverse cultural influences:
Chinese: The phoenix motif and the use of Sancai glaze are distinctly Chinese elements.
Central Asian: The shape of the ewer, especially the attachment of the handle to the mouth rim, suggests Sogdian influence, a Central Asian culture known for its trade and artistic traditions.
Western Asian: The "Parthian shot" motif and the overall form of the ewer might be inspired by metalwork traditions from Western Asia.
Where can I see an example of a Tang Dynasty Sancai Phoenix-Headed Ewer?
The Metropolitan Museum of Art (The Met) in New York City houses several Tang Dynasty Sancai Phoenix-Headed Ewers in its collection.
The Robert Lehman Collection: Contains a notable example that was part of Robert Lehman's extensive private collection.
The Herzman Collection: Features another well-preserved ewer donated by Stanley Herzman.
Who was Robert Lehman, and how did he contribute to the art world?
Robert Lehman (1891-1969) was a prominent American banker, art collector, and philanthropist. He inherited a passion for art from his father, Philip Lehman, who started the family collection. Robert significantly expanded the collection, acquiring a wide range of European paintings, drawings, manuscripts, and decorative arts. He bequeathed his collection to The Met upon his death, creating the Robert Lehman Wing, which recreates the ambiance of his private residence and showcases his exceptional collection.
How did the Lehman family become interested in Asian art?
Robert Lehman developed a deep appreciation for Asian art during his travels to China, Japan, India, and Korea after graduating from Yale in 1913. He wrote enthusiastically to his father about his discoveries, encouraging him to share his admiration for Eastern artistic traditions. Robert's early independent acquisitions included Japanese scrolls and Chinese sculptures, marking the beginning of the Asian art collection within the broader Lehman family holdings.
What does the Tang Dynasty Sancai Phoenix-Headed Ewer reveal about the Tang Dynasty?
This ewer exemplifies the cosmopolitan nature of Tang Dynasty society. It highlights:
Cultural Exchange: The fusion of Chinese, Central Asian, and Western Asian influences reflects the vibrant trade and exchange of ideas along the Silk Road.
Artistic Skill: The craftsmanship and elaborate detail showcased in the ewer demonstrate the high level of artistic skill prevalent during the Tang Dynasty.
Appreciation for Beauty: The use of the Sancai glaze and the incorporation of mythical creatures and symbolic motifs illustrate a deep appreciation for beauty and symbolism in Tang Dynasty art.
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