唐三彩釉波斯風格俑立像
唐代 （公元618–907年）
以淺黃陶泥雕琢，未施釉的頭部圓潤，面部線條飽滿，五官精緻生動，頭髮梳成緊密的雙髻，遺存黑色顏料痕跡，嘴唇帶有紅色殘跡。寬肩身形，呈獵鷹者姿勢站立，雙臂舉起，身穿長款波斯風格外袍，外袍以綠色、褐色和乳白色釉面點綴，交領襟飄展於肩部，腰間系有簡約腰帶，腰帶向後垂掛。下穿褐釉百褶燈籠褲，褲腿及踝部覆蓋；腳蹬綠釉尖頭鞋，鞋頭施白釉，站於矩形底座上，底座釉面濺施褐、綠兩色，釉流自然延展至俑身。
尺寸：高61.5厘米（24 1/4英寸）
說明：
此類俑像也常見於帝陵的石雕板及壁畫中。例如，一件刻於石板上的類似俑像，1959年出土於陝西長安縣納驪王村，魏仲陵（唐中宗皇后韋氏的弟弟）墓中，收錄於《揭示中國的過去》（波士頓，1973年），由方廷（Fontein）與吳（Wu）著，第156頁，圖77（中），以及《中國藝術：新石器時代文化至唐代——最新發現》（東京，1968年），由崔瑞（Tregear）著，圖220及圖221，第124–125頁。
類似頭飾及服裝的隨從俑也出現在永泰公主墓（公元706年）壁畫中，該墓於1960年在陝西省乾縣梁山出土，收錄於崔瑞著作《中國藝術：新石器時代文化至唐代——最新發現》（東京，1968年），圖190，第112頁及圖230，第131頁。
另可參考其他類似尺寸較小、著波斯服飾的綠釉及琥珀釉唐三彩隨從俑，收錄於約瑟夫（Joseph）、莫斯（Moss）及弗萊明（Fleming）合著的《隋唐陶俑——中國墓葬藝術》（倫敦，1970年），編號73，該書中推測此類俑可能代表宦官。
A LARGE SANCAI GLAZED POTTERY ATTENDANT
Tang Dynasty, A.D. 7th Century
well sculpted from pale buff clay, the unglazed head with full rounded cheeks and finely modelled features, the hair pulled up into a tight double topknot and showing remains of black pigment, the lips showing traces of red, the broad-shouldered figure shown standing with arms held up in the posture of a falconer, wearing a long Persian style coat covered with dappled green, russet-brown and cream-white glazes, the wide cross-over lapels folded over and flaring out to the shoulders, the waist gathered in by a simple belt which is looped over and hanging down at the back, and wearing pleated pantaloons glazed russet-brown falling over the ankles, the feet in bright green-glazed pointed slippers with white toes, the rectangular base with splashed brown and green glazes running over from the sculpture.
Height 24 1⁄4 inches (61.5 cm)
Compare the similar but smaller green and amber glazed attendant holding a bird, formerly in the collection of Alan and Simone Hartman, illustrated by Medley in the catalogue entitled Tang Sancai Pottery – Selected from the collection of Alan and Simone Hartman, London, 1989, no. 9, described as a woman in a man’s dress which the author states was the popular fashion for women of the Tang court when engaging in field sports.
Figures of this type were also found on stone panels and on wall paintings of imperial tombs. Compare, for example, the figure engraved on a stone panel, excavated in 1959 from the mausoleum of Wei Zhong, younger brother of Lady Wei, the Empress of the Emperor Zhongcun, at Naliwangcun, Changan county, Shaanxi province, illustrated by Fontein and Wu in Unearthing China’s Past, Boston, 1973, p. 156, fig. 77 (middle) and again by Tregear in Arts of China, Neolithic Cultures to the T'ang Dynasty - Recent Discoveries, Tokyo, 1968, figs. 220 and 221, pp. 124-125. Attendants with similar headdresses and wearing the same distinctive costume appear in murals painted on the walls of the tomb of Princess Yongtai, dated A.D. 706, excavated in 1960 from Liang mountain, Jian district, Shanxi province, illustrated by Tregear in Arts of China, Neolithic Cultures to the T'ang Dynasty - Recent Discoveries, Tokyo, 1968, fig. 190, p. 112 and fig. 230, p. 131.
Compare also the similarly modelled smaller green and amber glazed Tang pottery figures of attendants dressed in the Persian style, illustrated by Joseph, Moss and Fleming in Chinese Pottery Burial Objects of the Sui and T’ang Dynasties, London, 1970, no. 73, where it is suggested that the figures probably represent eunuchs.
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