三彩筆記 vol.32 尋寶陝博：永泰公主墓的「折腰」與「西域夢」 - Cancan Notes, Yongtai Princess and Her Precious Tang Dynasty Sancai Bowl

在古美術收藏界，唐三彩常被視為唐代巔峰之作，但若我們撥開歷史的塵封，會發現真正頂級的三彩器皿，其背後隱藏的是一場關於權力、懷念與東西方文明交匯的深度對話。今天，SACA學會帶領大家深入陝西歷史博物館的角落，解構這件出土於永泰公主墓的「三彩折腰洗」。

墓室裡的政治補償與「號墓為陵」

故事的起點，是一場大唐宮廷的悲劇。永泰公主李仙蕙，這位正值芳華的皇孫女，因議論武則天的男寵而命喪大足元年。當她的父親唐中宗李顯復辟後，為了彌補內心的愧疚與遺憾，給予了她超越禮制的榮譽——「號墓為陵」。

這件三彩折腰洗，是在這種「傾國力以送往」的政治背景下誕生的。它不是普通的陪葬品，而是少府監（皇室工坊）為這位受寵公主量身定制的「高定」器皿。與民間常見的素色白釉相比，這件三彩洗的色澤與層次，展現了當時皇室工藝對色彩控制的最高技術壟斷。

從薩珊金銀到長安陶火

當我們屏息觀察這件碗的線條，會發現其腹部有一周顯眼的「凸棱」，這種被後世稱為「折腰」的造型，其實隱藏著大唐絲路貿易的密碼。這種結構並非源於中國本土陶藝的演化，而是對波斯薩珊王朝金銀器的精準模擬。

在那個時代，波斯的貴金屬器皿是長安上層社會身份的象徵。對比何家村出土的金銀碗，兩者在廓形上幾乎完全吻合。唐代的頂尖工匠們，巧妙地利用了陶土與鉛釉，在窯火中複製了金屬的挺拔感。這種「以陶代金」的轉化，不僅是技術的突破，更是一種文化自信的體現：長安的工匠有能力將遠方文明的精華，熔煉進本土的火中。

凝固的西域瓜果與青苗之影

最令人拍案叫絕的，是這件三彩洗內外壁的紋飾設計。內壁上，乳白色的底釉與十二道綠色垂條紋交織，其間點綴著赭色的細線，這種視覺效果與當時剛剛傳入中原的「西域西瓜」皮極其神似。這不僅是美學上的巧思，更像是一首關於物質豐饒的讚美詩。

而在外壁，那道凸棱成了一道巧妙的分水嶺。上半部整齊排列的綠色豎紋，宛如初春時節剛破土而出的青苗，帶著昂揚的生機；隨著在高溫中釉水的自然流淌，色彩緩緩越過凸棱，向下延伸，猶如湖面映照出的倒影。這種動靜結合、虛實相間的構圖，在隨性流淌的唐三彩工藝中實屬罕見，堪稱神來之筆。

In the spirit of SACA (Society for Ancient Chinese Art), we present a narrative that bridges the gap between Tang Dynasty craftsmanship and the global aesthetic of the Silk Road. For a Western audience, this is not just a ceramic bowl; it is a masterclass in 8th-century "Fusion Art."

[SACA Special Feature] The Persian Shadow in a Tang Tomb: Decoding the Polychrome "Zheyào" Basin

In the world of high-provenance Chinese antiquities, Tang Sancai (three-color glaze) is often admired for its vibrant, chaotic beauty. However, tucked away in the Shaanxi History Museum lies a piece that demands a more disciplined gaze: The Sancai Ridged Basin from the tomb of Princess Yongtai.

To the untrained eye, it is a masterpiece of glaze. To the scholar, it is a sophisticated political statement and a relic of the world’s first truly globalized era.

A Princess, a Tragedy, and the "Imperial Standard"

The story begins with a dark chapter of palace intrigue. Princess Yongtai, the granddaughter of Empress Wu Zetian, met a tragic end at the tender age of 17. When her father, Emperor Zhongzong, reclaimed the throne, he sought to restore her dignity through an unprecedented gesture: "Hào Mù Wéi Líng"—granting her tomb the status of an Imperial Mausoleum.

This elevation of status meant that every object interred with her was curated by the Shaofujun (the Imperial Workshop). While the market is flooded with common Sancai figurines, this "Zheyào" (waisted/ridged) basin represents the "Haute Couture" of the Tang ceramic world. Its flawless white clay body and controlled polychrome application reflect a level of technical monopoly reserved exclusively for the pinnacle of the Tang elite.

The "Metalware" Silhouette: A Persian Ghost in Clay

What makes this piece truly arresting to the Western collector is its silhouette. The sharp, horizontal ridge (the "waist") circling the exterior is not a native ceramic tradition. It is a direct "translation" of Sasanian Persian metalwork.

In the 8th century, Persian gold and silver were the ultimate status symbols along the Silk Road—the "reserve currency" of prestige. The Tang artisans, demonstrating a genius for cultural appropriation, mimicked the hammered tension of Persian silverware using the humble medium of clay and lead glaze. When you look at this basin, you are seeing a Tang craftsman's tribute to the exotic luxury of the West, rendered with the soulful warmth of Chinese kiln-fire.

The "Watermelon" Glaze: Nature Controlled

The visual narrative of the basin is divided into two movements:

• The Interior: A mesmerizing "watermelon-skin" pattern created by twelve vertical green stripes against a creamy white ground. In an era when Sancai glazes were known for their unpredictable "dripping," the precision here is startling. It evokes the lush, exotic fruits newly introduced to the Tang capital from Central Asia.

• The Exterior: The central ridge acts as a horizon line. Above it, fine green lines stand like "young sprouts" breaking through the soil. Below the ridge, the glaze is allowed to bleed naturally—a deliberate aesthetic choice meant to simulate the reflection of trees in a still pond.

SACA Perspective: Why It Matters

For the discerning connoisseur, this basin is a testament to the "Tang International Style." It captures a moment in history when China was at its most porous and confident, absorbing the geometry of Persia and the colors of the Silk Road to create something entirely new.

It is a poignant reminder that even in the depths of a tomb, the Tang Dynasty sought to surround its beloved princess with the beauty of a world without borders. It is not merely an artifact; it is a frozen echo of the most cosmopolitan city on earth—Chang’an.