三彩筆記 vol.37 北京故宮博物院：唐三彩馬，鄭振鐸捐贈 - Palace Museum Beijing, Tang Sancai Horse, Donated by Zheng Zhenduo

1952年，鄭振鐸捐獻657件陶俑給故宮，其中包括多件唐三彩馬、駱駝、文官俑等一級文物，這件三彩馬是其中一件。

參考北京故宮另一件同由鄭振鐸捐贈的唐代三彩馬：「三彩筆記 vol.36 北京故宮博物院：唐三彩馬，鄭振鐸捐贈 - Palace Museum Taipei, Tang Sancai Polo Player on Horseback, Tang Dynasty」

唐三彩馬

北京故宮博物院藏

高76.5厘米。

此馬雙耳上聳，圓目炯炯，直立於托板之上，展現出靜立時寧靜安詳的神態。頭戴絡頭，身披攀胸與鞦帶，上掛杏葉形飾物；馬背配鞍，外覆鞍袱，下襯雕花墊與障泥，尾部繫有花結。通體施白、綠、赭三色釉，釉色鮮豔自然，流淌有致。

此件唐三彩作品造型精準、比例勻稱，四肢挺拔有力，刻畫尤其生動傳神，充分體現唐代匠人對馬匹神韻的精妙把握與高超技藝。

馬在唐代備受尊崇，與李唐王朝源自鮮卑遊牧血統密切相關。唐太宗李世民視騎馬畋獵為大丈夫三大樂事之一，曾命名畫家閻立本繪製其生平六匹愛馬（昭陵六駿），並雕刻成石質浮雕，永伴昭陵左右。唐玄宗李隆基親自訓練舞馬，在千秋節（其生日）盛宴上令馬匹應節起舞、翩翩蹈步，場面華麗壯觀。詩仙李白更有「五花馬，千金裘，呼兒將出換美酒，與爾同銷萬古愁」之千古名句，足見馬匹在唐人生活中的核心地位與深厚情感。

唐代三彩馬，正是唐人愛馬、尚馬情懷的生動寫照。此件珍品由鄭振鐸先生慷慨捐獻，現藏故宮博物院。

捐贈人介紹

鄭振鐸（1898–1958），字警民，筆名西諦，現代著名文學家、文學史家、社會活動家、文物收藏家與版本目錄學家。浙江永嘉（今溫州）人，祖籍福建長樂。早年積極參與五四運動，與茅盾（沈雁冰）、葉聖陶等人共同創辦文學研究會，曾主編《小說月報》等重要刊物，對中國俗文學、世界文學翻譯及古籍整理貢獻卓著。

新中國成立後，鄭振鐸歷任文化部文物局局長、中國科學院考古研究所所長、文化部副部長等職。他一生熱愛祖國文化遺產，特別在戰亂時期不遺餘力搶救、保護珍貴文物與古籍。1952年，他主動將個人珍藏的657件陶俑（包括多件唐三彩精品）無私捐獻給故宮博物院，其中便有這件精美的唐三彩馬。其高風亮節與無私奉獻，深受後世敬仰，被譽為中國現代文化史上最令人敬佩的人物之一。

1958年，鄭振鐸率中國文化代表團出訪阿富汗及阿拉伯聯合共和國途中，不幸遭遇飛機失事罹難。其學術遺著、文物捐獻與文化保育精神，永為後人景仰與傳頌。

常見問題（FAQ）

1. 這件三彩馬的尺寸與另一件（新00144562）相同，為何編號不同？ 兩件高度均為76.5厘米，造型與裝飾細節高度相似，均出自鄭振鐸先生1952年捐獻的657件陶俑系列。編號不同是故宮博物院館藏登記系統的區分，可能源自入藏時的分批編目、不同儲存或展覽分類，但均屬同一批捐獻珍品，代表盛唐三彩馬的典型風格。

2. 障泥上的裝飾有何特別之處？ 此馬障泥施綠釉，表面光素，無細密印花或刻劃紋飾，呈現簡潔自然的風格。綠釉自然流淌，與馬身赭黃、白釉形成和諧對比，突顯唐三彩釉色暈染的自然美感。與部分具有精細幾何團花印文的唐三彩馬不同，此件障泥更注重整體釉色的純淨與簡約，展現另一種唐代審美意趣。

3. 唐三彩馬為何多出土於墓葬？ 唐三彩是低溫鉛釉陶，主要用作明器（隨葬品），象徵墓主在冥界繼續享用生前奢華生活。馬匹代表權勢、軍功與交通，唐貴族厚葬風氣盛行，故墓中常見三彩馬俑，數量龐大，工藝精湛。

4. 鄭振鐸捐獻的陶俑總數與意義？ 1952年，鄭振鐸捐獻657件陶俑給故宮，其中包括多件唐三彩馬、駱駝、文官俑等一級文物。這批捐獻極大豐富了故宮陶俑收藏，對研究唐代雕塑、服飾、社會風俗具有重要價值，體現其「文物救國」的家國情懷。

【Tri-Color Glazed Pottery Horse】

New Inventory No. 00176003

Tang Dynasty Tri-Color Glazed Pottery Horse

Height: 76.5 cm.

This horse stands with ears pricked upward, round eyes wide open, and a calm, serene expression as it rests upright on its base plate. It wears a bridle on its head, a chest harness and crupper across its body adorned with apricot-leaf-shaped pendants. The saddle is fitted on its back, covered by an outer saddle cloth, with a carved floral under-pad and mudguards (zhangni) below. A decorative knot adorns its tail. The entire figure is coated in a vibrant tri-color glaze of white, green, and ochre, with natural and harmonious glaze flow.

This Tang tri-color piece exhibits precise modeling, balanced proportions, and especially vivid and powerful rendering of its four upright legs, fully capturing the masterful skill and keen insight of Tang artisans in portraying the horse’s spirit and form.

Horses held profound significance in the Tang Dynasty, closely linked to the nomadic Xianbei heritage of the Li imperial family. Emperor Taizong (Li Shimin) regarded horseback hunting as one of the three great pleasures of a true gentleman. He commissioned the renowned painter Yan Liben to depict his six favorite warhorses (the “Six Steeds of Zhaoling”), which were then carved as stone reliefs to eternally accompany him in his Zhaoling Mausoleum. Emperor Xuanzong (Li Longji) personally trained horses to perform rhythmic dances during grand banquets on his birthday, the Thousand Autumns Festival, creating spectacular and elegant displays. The poet Li Bai immortalized the sentiment in his famous lines: “A dappled five-flower horse, a cloak worth a thousand gold—I’ll call my boy to bring them out and trade for fine wine; together we’ll drown the sorrows of eternity.”

Horses were an indispensable part of Tang life. The vast number of tri-color glazed horse figurines unearthed from Tang tombs vividly reflects the deep affection and admiration the Tang people held for these noble animals.

This exhibit was generously donated by Mr. Zheng Zhenduo and is now in the collection of the Palace Museum.

Donor Introduction

Zheng Zhenduo (1898–1958), courtesy name Jingmin, pen name Xidi, was a prominent modern Chinese writer, literary historian, social activist, cultural figure, antiquities collector, and expert in rare books and bibliography. Born in Yongjia (present-day Wenzhou), Zhejiang, with ancestral roots in Changle, Fujian, he actively participated in the May Fourth Movement and co-founded the Literary Research Association alongside Mao Dun (Shen Yanbing), Ye Shengtao, and others. He served as editor of key publications such as Fiction Monthly (Xiaoshuo Yuebao) and made lasting contributions to the study of Chinese vernacular literature, the translation of world literature, and the collation of ancient texts.

After the founding of the People’s Republic of China, Zheng held important positions including Director of the Cultural Heritage Bureau under the Ministry of Culture, Director of the Institute of Archaeology at the Chinese Academy of Sciences, and Vice Minister of Culture. A passionate patriot and guardian of cultural heritage, he tirelessly rescued and protected precious artifacts and rare books during times of war and turmoil. In 1952, he voluntarily donated 657 pottery figurines from his personal collection to the Palace Museum, including several exquisite Tang tri-color pieces such as this horse. His selfless dedication and noble character have earned him enduring respect as one of the most admired figures in modern Chinese cultural history.

Tragically, in 1958, while leading a Chinese cultural delegation on an official visit to Afghanistan and the United Arab Republic (predecessor of modern Egypt and other states), Zheng perished in an airplane crash. His scholarly legacy, donated cultural relics, and lifelong commitment to cultural preservation continue to inspire generations.

Frequently Asked Questions (FAQ)

1. This horse has the same height (76.5 cm) as another piece (New 00144562). Why different inventory numbers? Both pieces share identical height, similar modeling, and decorative details, and both belong to the group of 657 pottery figurines donated by Zheng Zhenduo in 1952. Different inventory numbers result from the Palace Museum’s cataloging system, possibly due to batch registration, separate storage, or exhibition classification at the time of accession. They represent classic examples of high-quality Tang tri-color horses from the same donation batch.

2. What is special about the decoration on the mudguards (zhangni)? The mudguards (zhangni) are covered in green glaze with a smooth, plain surface, without intricate impressed printed patterns or incised designs. The natural flowing green glaze harmonizes beautifully with the ochre and white glazes on the horse’s body, highlighting the organic beauty of Tang sancai glaze effects. Unlike some other Tang tri-color horses that feature elaborate geometric or floral impressed patterns, this piece emphasizes simplicity and purity in the mudguards, reflecting an alternative aesthetic preference in Tang dynasty art.

3. What cultural significance do Tang tri-color horses hold? Tang sancai is low-fired lead-glazed pottery. In the Tang Dynasty, horses symbolized power, military achievement, mobility, and aristocratic lifestyle. The Tang people had a profound love for horses—Emperor Taizong regarded horseback hunting as one of the three great pleasures of a gentleman, Emperor Xuanzong trained horses to dance in rhythm, and Li Bai immortalized them in poetry with lines like “A dappled five-flower horse, a cloak worth a thousand gold.” Tri-color horses thus became iconic representations in Tang art, embodying the open, prosperous spirit of the era.

4. How many pottery figurines did Zheng Zhenduo donate, and what is their significance? In 1952, Zheng Zhenduo donated 657 pottery figurines to the Palace Museum, including numerous Tang tri-color horses, camels, civil officials, and other masterpieces, many now classified as first-grade cultural relics. This donation greatly enriched the Museum’s holdings of Tang pottery figures and holds immense value for studying Tang dynasty sculpture, costume, social customs, and artistic styles. It exemplifies his deep patriotic commitment to “saving cultural relics for the nation.”