三彩筆記 vol.33 大都會博物館：唐三彩綠釉陶犬，對比岡田美術館唐三彩犬 - Met Museum, Sancai Green-Glazed Dog, Tang Dynasty, Compared with Okada Sancai Dog.

這件唐三彩陶狗（Tang Sancai Dog）是中國唐代（618–907年）三彩雕塑，現藏於紐約大都會藝術博物館（The Metropolitan Museum of Art），物件編號29.18。它以低溫燒製的陶土為胎，施以白色與綠色釉料，呈現出唐三彩經典的斑斕效果，尺寸較大（高26 cm、長23.5 cm、寬9.8 cm），造型生動寫實，展現出一隻站立警覺的犬隻，體態修長、頸部挺直、四肢勁健，極具動感。

唐代是中國封建社會的鼎盛時期，貴族階層生活奢華，狩獵活動極為盛行，常作為貴族休閒、軍事訓練與社交的重要方式。唐墓壁畫與陪葬俑中，經常出現狩獵出行圖，如永泰公主墓、章懷太子墓與懿德太子墓等乾陵陪葬墓群，出土大量彩繪或三彩騎馬帶犬狩獵俑，以及壁畫描繪胡人或貴族攜犬出獵的場景。這些獵犬多為波斯獵犬（或稱波斯靈緹、沙克犬）類型，受中亞、西域進貢影響，體型細長、腿長速快、視覺狩獵為主，非靠嗅覺的本土土狗。唐代史料記載，波斯、中亞諸國如史國、安國、康國頻貢駿犬，唐詩亦有「犬帶金鈴草上飛」等描寫，反映其迅捷與貴族寵愛。唐三彩陶犬常模擬此類獵犬形象，用以陪伴墓主於冥界繼續狩獵生活，或鎮守墓室、辟邪護靈。

此類大型三彩陶犬存世稀少，因唐三彩多為墓葬出土，完整大件易損毀或流散，尺寸超過20 cm的站立或臥姿犬俑更屬珍罕。相較之下，許多出土三彩犬體型較小（10–15 cm左右），而大都會這件高達26 cm的立犬，釉色鮮明、保存完好，極具代表性。

可參考日本岡田美術館（Okada Museum of Art）收藏的一件類似三彩褐釉陶犬（購自知名古董商浦上蒼穹堂），同樣為大型站姿獵犬造型，釉色偏褐綠，體現唐三彩在不同窯口與地域的細微差異，但皆反映唐代對西域犬種的喜好與陶瓷工藝高峰，不僅是藝術傑作，更折射唐代開放多元的文化交流、貴族狩獵風尚與冥界信仰。

岡田美術館，唐三彩犬，高25.4cm

來源：浦上蒼穹堂，東京

This Tang dynasty sancai-glazed pottery dog (Object No. 29.18) is a highlight in the Metropolitan Museum of Art's collection. Dating to the 7th–8th century, it features white and green glazes on earthenware, with impressive dimensions (H. 10 1/4 in. / 26 cm; L. 9 1/4 in. / 23.5 cm; W. 3 7/8 in. / 9.8 cm). The standing, alert hound has a slender, athletic build, embodying the vivid realism characteristic of Tang sancai tomb wares.

During the Tang dynasty, hunting was a favored aristocratic pastime and military training activity, frequently depicted in tomb murals and figurines (e.g., hunting processions in the tombs of Prince Zhanghuai, Prince Yide, and Princess Yongtai). The hounds portrayed are typically Persian hounds (slender sighthounds from Central/West Asia), introduced via tribute along the Silk Road—swift, long-legged visual hunters. Tang poetry evokes them vividly, such as "dogs with golden bells flying over grass." These sancai dogs served as tomb guardians or companions for the deceased in the afterlife, mirroring Tang cosmopolitanism and elite culture.

Large sancai pottery dogs of this scale are exceptionally rare in survival, as most were tomb furnishings prone to damage or dispersal; standing examples over 20 cm are particularly scarce. The Met's piece, at 26 cm tall with vibrant glazes and excellent preservation, stands out as exemplary. Compare the similar large standing sancai brown-glazed dog in Japan's Okada Museum of Art (acquired from Uragami Seikadō), which shares the hound form but with brownish-green tones, highlighting regional kiln variations while reflecting Tang admiration for Central Asian breeds and peak ceramic artistry.

唐三彩陶狗 基本信息列表

Tang Sancai Pottery Dog - Basic Information

Title / 標題: Dog / 狗

Chinese Title / 中文標題: 唐 三彩陶狗

Period / 時期: Tang dynasty (618–907) / 唐代 (618–907)

Date / 年代: 7th–8th century / 7–8世紀

Culture / 文化: China / 中國

Medium / 材質: Earthenware with white and green glazes / 陶土施白釉與綠釉

Dimensions / 尺寸: H. 10 1/4 in. (26 cm); W. 3 7/8 in. (9.8 cm); L. 9 1/4 in. (23.5 cm)

Credit Line / 購藏方式: Fletcher Fund, 1929 / Fletcher 基金，1929 年

Object Number / 物件編號: 29.18

Provenance / 來源: Edgar Worch, New York, until 1929; sold to MMA / Edgar Worch（紐約），至 1929 年；售予大都會藝術博物館 (MMA)

官方頁面：https://www.metmuseum.org/art/collection/search/50227

FAQ: 唐代三彩獵犬常見問答 - Tang Dynasty Sancai Dog

Q1: 這件唐三彩陶狗是什麼犬種？為什麼唐代有這麼多波斯犬形象？

What breed is this Tang sancai dog? Why are Persian hounds so common in Tang depictions?

A: 多為波斯犬（Persian hound，或稱細狗、沙克犬/Saluki-like sighthound），源自中亞、西域，體型細長、腿長、迅捷，以視覺追獵為主。唐代絲綢之路繁榮，西域諸國（如波斯、安國、康國）頻頻進貢駿犬，唐皇室與貴族熱衷狩獵，將其視為珍貴寵物與助獵工具，因此墓葬壁畫與陪葬俑中常見此類形象。

A: Primarily modeled after Persian hounds (slender sighthounds similar to Salukis), originating from Central/West Asia—long-legged, swift visual hunters. The Tang dynasty's flourishing Silk Road brought frequent tribute of such dogs from regions like Persia, Anxi, and Kang states. Tang elites loved hunting as leisure and training, prizing these imported hounds, hence their frequent appearance in tomb murals and figurines.

Q2: 唐三彩陶狗的用途是什麼？

What was the purpose of Tang sancai pottery dogs?

A: 屬墓葬明器（tomb pottery / mingqi），置於墓中陪伴墓主於冥界繼續狩獵生活、鎮守墓室、辟邪護靈，體現唐人「事死如事生」的喪葬信仰。

A: These are funerary objects (mingqi) placed in tombs to accompany the deceased in the afterlife—continuing hunting pursuits, guarding the tomb, and warding off evil—reflecting the Tang belief in "serving the dead as one serves the living."

Q3: 為什麼這件尺寸這麼大？存世稀少嗎？

Why is this piece so large? Are such examples rare?

A: 是的，高26 cm的大型站姿犬俑在唐三彩中屬罕見，多數出土犬俑體型較小（10–15 cm）。大件因墓葬環境、出土損毀與歷史流散，完整保存極難，現存精品稀少，此件釉色鮮明、保存完好，更顯珍貴。

A: Yes, standing sancai dogs over 20 cm (this one 26 cm) are exceptionally rare. Most excavated examples are smaller (10–15 cm). Large pieces were fragile in tomb conditions, easily damaged during excavation or dispersed over time; intact, well-preserved specimens like this are scarce treasures.

Q4: 與岡田美術館的三彩褐釉陶犬有何比較？

How does it compare to the sancai brown-glazed dog in Okada Museum of Art?

A: 兩件皆為大型站姿獵犬造型，反映唐代對西域犬種的喜好與寫實風格。大都會件以白綠釉為主，岡田件（購自浦上蒼穹堂）偏褐綠釉，展現不同窯口或地域的釉色與燒製變異，但藝術水準同樣高超，皆為唐三彩巔峰代表。

A: Both are large standing hunting hounds, showcasing Tang preference for Central Asian breeds and realistic modeling. The Met's features dominant white and green glazes; the Okada piece (acquired from Uragami Seikadō) leans toward brown-green tones, highlighting kiln/regional variations in glazing and firing—yet both exemplify Tang sancai's artistic peak.

Q5: 唐三彩的釉色如何製作？為什麼叫「三彩」？

How were sancai glazes made? Why is it called "three colors"?

A: 唐三彩為低溫鉛釉陶（約800–1000°C燒製），以鐵（黃/褐）、銅（綠）、鈷（藍）等金屬氧化物著色，先施白色化妝土，再局部點染彩釉燒成。「三彩」指多色斑斕效果，非嚴格限三色，象徵唐代審美繁華與工藝創新。

A: Tang sancai is low-fired lead-glazed earthenware (ca. 800–1000°C). Colors derive from metal oxides: iron for yellow/brown, copper for green, cobalt for blue. A white slip base is applied first, then glazes are spotted or poured for marbled effects. "Three colors" refers to the vibrant, polychrome appearance, not a strict limit—symbolizing Tang opulence and technical brilliance.

Q6: 這件作品在哪裡展出過？有什麼重要參考文獻？

Where has this piece been exhibited? What are key references?

A: 曾於大都會「慶祝狗年」特展（Celebrating the Year of the Dog, 2018年1月19日–7月4日）展出。主要參考文獻包括：Met Bulletin (1929)、Farm on Fifth Avenue (1951)、China Institute展圖錄 (1967)、Oriental Ceramics系列 (1977/1982)。

A: Exhibited in the Met's "Celebrating the Year of the Dog" (January 19–July 4, 2018). Key references: Alan Priest in Met Bulletin (April 1929); Farm on Fifth Avenue (1951); Animals and Birds in Chinese Art (China Institute, 1967); Oriental Ceramics: The Metropolitan Museum of Art vols. (1977, 1982).