三彩筆記 vol.28 大都會博物館：唐三彩注子 - Met Museum, Tang Sancai Ewer, Tang Dynasty

唐　三彩注子（Amphora）

中國，七世紀晚期

陶胎，三彩鉛釉

高 28.3 公分

此件唐代三彩注子施以綠、赭（琥珀色）與白色鉛釉，屬於唐代晚七世紀至八世紀前半葉廣泛流行的「三彩」釉系，主要用於隨葬明器。其色彩對比鮮明，釉層流動自然，反映出成熟的低溫鉛釉技術與對裝飾效果的高度掌控。

器形屬於帶雙耳、長頸、鼓腹之注子類型，其輪廓與比例並非源自中原傳統陶瓷體系，而是明顯承襲自古代伊朗世界的金屬器造型。此一造型轉譯，正是絲綢之路貿易與文化交流在唐代物質文化層面的具體體現，顯示外來器形如何經由陶工之手，轉化為中國喪葬語境中的象徵性器物。

本器原為史丹利・赫茲曼（Stanley Herzman）舊藏，1997 年捐贈予The Metropolitan Museum of Art，現於大都會博物館第五大道館 205 號展廳展出。1990 年曾參與「赫茲曼中國陶瓷收藏精選」特展，並著錄於 Suzanne G. Valenstein 所編之專書中。

Amphora (Ewer)

China, Tang dynasty, late 7th century

Earthenware with sancai (three-color) lead glaze

Height: 28.3 cm

This Tang dynasty sancai-glazed amphora is decorated with brilliantly colored lead glazes in green, amber, and white. Such three-color glazes were widely employed in funerary ceramics from the late seventh through the early eighth century, reflecting both technical refinement and a strong visual vocabulary associated with burial contexts.

The vessel’s form—characterized by a tall neck, ovoid body, and loop handles—derives from metalwork traditions of the ancient Iranian world. Its adaptation into ceramic medium illustrates the profound impact of Silk Road exchange on Tang material culture, whereby foreign shapes were assimilated and reinterpreted within Chinese artistic and ritual frameworks.

Formerly in the collection of Stanley Herzman, the amphora was donated to The Metropolitan Museum of Art in 1997. It was previously exhibited in A Selection of Chinese Ceramics from the Adele and Stanley Herzman Collection (1990) and published by Suzanne G. Valenstein in The Herzman Collection of Chinese Ceramics (1992).

唐三彩注子 FAQ

Q1｜這件唐三彩注子是否為實用器？

中：否。此類三彩注子主要作為隨葬明器，並非日常實用器皿，其功能更偏向象徵與禮制層面。EN: No. Sancai ewers of this type were primarily made as funerary objects rather than for daily use.

Q2｜為何稱其造型來自伊朗金屬器？

中：其長頸、雙耳與整體比例，與薩珊及更早期伊朗金屬注壺高度相似，並非中國傳統陶瓷形制。EN: The vessel’s elongated neck, loop handles, and overall proportions closely resemble forms found in ancient Iranian metalwork.

Q3｜三彩是否僅限於唐代？

中：三彩技術在唐代達到高峰，特別集中於七世紀末至八世紀中葉，之後迅速式微。EN: Sancai glazing reached its peak during the Tang dynasty, especially from the late 7th to mid-8th century.

Q4｜此件作品的重要性何在？

中：其價值不僅在於釉色與保存狀態，更在於清楚呈現外來器形在唐代如何被制度性吸納進中國喪葬文化。EN: Beyond its vivid glazes, the amphora is significant for demonstrating how foreign forms were integrated into Tang funerary practice.

Q5｜是否有可靠出版與來源記錄？

中：有。此器來源清楚，曾公開展覽並正式出版，具完整學術著錄。EN: Yes. The piece has a well-documented provenance, exhibition history, and scholarly publication.