三彩筆記 vol.39 蘇黎世瑞特堡博物館：唐三彩藍釉騾子 - Rietberg Museum, Tang Sancai Blue-Glazed Mule, Tang Dynasty

從博物館德文標題「Maulesel」（德語意為「騾子」，即 mule，馬與驢的雜交）來看，官方定名為騾子（mule）。但圖片顯示：馬頭較長而優雅、頸部修長、身軀強壯、四肢勻稱、鞍具完整（馬鞍而非典型驢背簡單負重），整體姿態更接近唐代常見的鞍馬（saddled horse）。

唐代三彩俑中，馬（horse）遠比騾或驢常見，且多帶鞍具象徵貴族出行或軍事；騾子俑較少見，通常體型較小、頭部較粗短、無華麗鞍具。可能博物館用「Maulesel」指「載貨或雜交動物」，但根據造型與唐三彩傳統，這更可能是saddled horse（鞍馬），或被歸類為 mule-like horse。

Regina Krahl《Chinese Ceramics from the Meiyintang Collection》Vol. 3（涵蓋唐代早期陶瓷）中類似編號多為 horse figurine，此件很可能為Tang sancai glazed horse**，但尊重原標題保留「騾子/馬」雙解。

整體釉色呈現藍綠色，或許是早期藍彩的雛形，參考武則天兒子李弘與哀皇后墓文章「展覽筆記 vol.4 武則天兒子李弘的恭陵藍釉三彩 - Blue Glaze from Tang Emperor and Empress.」

參考西安市博物院藍彩騾子：

這件“藍釉點彩馱騾”位於西安博物院第二展廳，館方特意給了一個獨立C位展櫃。騾通高26.5cm、長33cm，它短耳直竪，作低頭負重前行狀，置於一長方形踏板上。騾體施藍釉，間有褐色斑紋，行囊施黃、白、藍三色釉。背上有鞍韉，鞍上馱一沈重行囊，神態和肌肉健壯的腿部均雕刻得細緻傳神。

西安博物院副研究員楊宏毅注意到“藍釉點彩馱騾”和“三彩騰空馬”出自同一個墓葬——都是1966年出土於西安市蓮湖區西安制藥廠的同一座唐墓中。

下圖這件三彩陶驢全身施藍釉，鞍韉勒飾俱全，形態生動，雖未提腿揚蹄，但昂首的姿態及抖擻的精神，似乎正引頸長嘶，備鞍待發。 在唐朝，雖然馬兒跑得快，但承重能力差點，而且貴，驢子騾子又便宜又實用脾氣還好，所以上至國家行軍打仗、下至平民百姓日常勞作，還得靠驢、騾運輸馱物，司馬遷寫《史記·匈奴列傳》時，驢被認為是匈奴之“騎畜”，到東漢時已成了普通家畜。

中國國家博物館珍藏的藍釉驢，陝西長安郭杜出土

藍釉介紹 / Introduction to Blue Glaze

唐代藍釉極為珍稀，使用進口鈷料（cobalt oxide）著色，燒成深邃藍色，常與琥珀（鐵質黃褐）及綠釉搭配，屬低溫鉛釉陶（sancai 三彩變體）。藍釉成本高昂，多用於高級墓葬品或貴族器物，體現絲路貿易與技術奢華。鞏縣窯為主要產地，以模製、釉色潑灑聞名。此件龜形器自然生動，龜殼刻六角紋，藍釉主覆，琥珀釉點綴，可能為文房水滴或裝飾品。

歷史背景：唐代三彩盛行7–8世紀，受絲路影響，墓葬隨葬華麗。藍釉從7世紀末出現，8世紀達峰，象徵長壽的龜形常見於唐藝術。

三彩馬/騾形俑（MYT 1179）

Sancai-Glazed Mule (or Horse) Figurine

基本資料 / Basic Information

德文原標題：Maulesel

中文標題：三彩釉陶騾（或鞍馬）形俑 / 三彩鞍馬俑

英文標題：Sancai-glazed mule (or saddled horse) figurine / Tang three-color glazed pottery horse

作者：未知

產地：中國陝西省？或河南省？（Likely Shaanxi or Henan provinces; northern Tang sancai kilns）

年代：唐代，7世紀至8世紀初

器型：動物形俑（墓葬明器 / funerary ware）

材質與技法：陶器，施三彩釉（Earthenware with sancai / three-color glaze）

館藏編號：MYT 1179

尺寸：17 x 25 cm（高度約17 cm，長度25 cm）

來源：梅茵堂基金會長期借展

展出地點：自2012年起，瑞士蘇黎世瑞特堡博物館

三彩釉介紹 / Introduction to Sancai Glaze

三彩（sancai）為唐代低溫鉛釉陶代表，以鐵（琥珀/褐）、銅（綠）、偶爾鈷（藍）在白化妝土上潑灑，色彩流動自然。此件綠釉主調、琥珀褐潑鞍部與身，白色鞍墊點綴，展現早期三彩大膽美學。產地多河南鞏義或陝西西安周邊，7–8世紀初高峰，受中亞影響，動物造型寫實。

梅茵堂收藏介紹 / The Meiyintang Collection

梅茵堂（玫茵堂）由瑞士兄弟蒐集逾50年（自1950年代末）。

• 弟弟 Gilbert Zuellig（1918–2009）：專注宋以前高古陶瓷（新石器至宋，包括唐三彩、藍釉龜等）。

• 哥哥 Stephen Zuellig（1917–2017）：專注宋以後瓷器（元明清）及商周青銅器。

透過Regina Krahl多卷本目錄揚名。2011–2012年，Stephen部分元明清瓷於蘇富比香港拍賣售出，包括成化雞缸杯（2014年4月8日成交 HK$281,240,000，含佣金，世界紀錄）。Gilbert高古部分（逾1600件）成立基金會，2012年起約650件長期借展瑞特堡博物館。

瑞特堡博物館：蘇黎世專注非歐洲藝術，自2012年起展出梅茵堂早期陶瓷。

綜合問答 FAQ

Q：三彩馬/騾是騾還是馬？

A：博物館標「Maulesel」（騾子），但優雅長頸、完整鞍具更似典型唐三彩鞍馬俑（saddled horse）。唐墓馬俑常見，騾較少華麗。

Q：兩兄弟誰收藏高古陶瓷？

A：弟弟 Gilbert Zuellig 專宋以前（高古，包括這兩件唐器）；哥哥 Stephen 專宋以後（元明清瓷，多已拍賣）。

Q：明清部分後來如何？雞缸杯成交多少？

A：Stephen部分於2011–2012蘇富比香港拍賣，高價成交；成化雞缸杯2014年售 HK$281,240,000（世界紀錄）。

Q：現在在哪裡看到這些文物？

A：兩件皆瑞士蘇黎世瑞特堡博物館長期展出（MYT 1181 藍釉龜；MYT 1179 三彩馬/騾），梅茵堂借展。

Q：唐三彩與藍釉有何不同？

A：三彩常綠/褐/白潑灑，墓葬明器（如馬俑）；藍釉罕見昂貴，多小型文玩（如龜）。兩件展現唐多彩釉陶多樣性。

Q：為何唐代動物造型豐富？

A：象徵冥界生活、地位與絲路交流；龜表長壽，馬表權力與出行。

Blue-Glazed Tortoise Figurine (MYT 1181)

Introduction to Blue Glaze

Blue glaze in the Tang dynasty was exceptionally rare and luxurious, achieved by adding imported cobalt oxide (likely from Persia or Central Asia) as a colorant. This produced a deep, vibrant blue that was far more expensive than common iron-based amber (yellowish-brown) or copper-based green glazes. Such pieces belong to the broader low-fired lead-glazed sancai (“three-color”) tradition but stand out for their use of costly blue. The Gongxian (Gongyi) kilns in Henan were a leading center for sancai and related colorful wares, known for molded forms and bold, splashed glaze effects. This tiny tortoise figurine features a naturalistic shape with hexagonal shell patterning, blue glaze covering the main body, and amber accents, possibly functioning as a water dropper for the scholar’s desk or a decorative piece. It exemplifies Tang artistry’s playful yet refined approach to animal forms.

Historical Background: Sancai wares flourished in the 7th–8th centuries, reflecting Tang cosmopolitanism and Silk Road influences. They were primarily funerary goods placed in elite tombs. Blue-glazed examples highlight advanced glazing technology and international trade. The tortoise, a symbol of longevity and stability in Chinese culture, appears frequently in Tang art, often in small, intimate formats.

Sancai-Glazed Mule (or Saddled Horse) Figurine (MYT 1179)

Basic Information

• German / Original Title: Maulesel

• English Title: Sancai-glazed mule (or saddled horse) figurine / Tang three-color glazed pottery horse

• Chinese Title: 三彩釉陶騾（或鞍馬）形俑 / 三彩鞍馬俑

• Artist / Maker: Unknown

• Place of Origin: Likely Shaanxi Province or Henan Province, China (northern Tang sancai production centers, e.g., Xi’an area or Gongyi kilns)

• Date: Tang Dynasty, 7th / early 8th century

• Object Type: Figurine (funerary ware / tomb model)

• Material and Technique: Earthenware with sancai (three-color) glaze

• Inventory Number: MYT 1179

• Dimensions: 17 × 25 cm (height approx. 17 cm, length 25 cm)

• Credit Line: Long-term loan from the Meiyintang Foundation

• Current Location: On permanent long-term loan and display at Museum Rietberg, Zurich, Switzerland (since 2012)

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Introduction to Sancai Glaze

Sancai (“three colors”) is the iconic low-fired lead-glazed earthenware of the Tang dynasty, characterized by splashed polychrome effects using iron (amber/brown), copper (green), and occasionally cobalt (blue). Glazes were applied over a white slip, creating spontaneous drips, streaks, and pools of vivid color. This piece features dominant green glaze with amber splashes across the saddle and body, and a cream-colored saddle pad for contrast. Produced mainly in northern kilns (Henan Gongyi or Shaanxi/Xi’an regions), sancai reached its peak in the late 7th to early 8th centuries. The animal stands foursquare on a rectangular base, head lowered, with detailed harness and saddle elements—typical of Tang ceramic sculpture’s bold naturalism and technical control.

Historical Background: Tang tombs of the elite were filled with sancai figurines to equip the deceased for the afterlife. Horses (or mule-like figures) symbolized power, military might, wealth, and Silk Road mobility. The elegant proportions, long neck, and ornate saddle align closely with classic Tang saddled horse figurines; the museum’s “Maulesel” (mule) label may reflect the sturdy build or an early classification, though scholarly literature usually describes similar pieces as horses.

The Meiyintang Collection

The Meiyintang Collection (玫茵堂, “Hall among Rosebeds”) is one of the world’s finest private holdings of Chinese ceramics, assembled over more than five decades starting in the late 1950s by Swiss brothers:

• Gilbert Zuellig (younger brother, 1918–2009): Focused on pre-Song early ceramics (high antiquity / gaogu), from Neolithic through Han, Tang, and Song dynasties.

• Stephen Zuellig (elder brother, 1917–2017): Focused on post-Song porcelains (Yuan, Ming, Qing) and archaic Shang/Zhou bronzes.

The collection was catalogued by Regina Krahl in multi-volume publications and gained international acclaim through exhibitions. In 2011–2012, many Yuan, Ming, and Qing pieces from Stephen’s portion were sold at Sotheby’s Hong Kong, including the famous Chenghua “chicken cup,” which achieved HK$281,240,000 (including premium) on 8 April 2014—setting the world auction record for Chinese porcelain. Gilbert’s pre-Song collection (over 1,600 pieces) remains intact under the Meiyintang Foundation and has been on permanent long-term loan to the Museum Rietberg in Zurich since 2012 (approximately 650 objects on public display), showcasing the evolution of early Chinese ceramics.

Museum Rietberg: Zurich’s museum dedicated to non-European art, it has hosted the Meiyintang early ceramics loan since 2012, making these masterpieces accessible to the public.

FAQ - Sancai Mule

Q: Is the sancai piece a mule or a horse?

A: The museum labels it “Maulesel” (German for mule), but the elegant proportions, long neck, detailed saddle, and overall posture match classic Tang saddled horse figurines far more closely. Horses were common in tombs to symbolize status; mules were rarer and usually less ornate.

Q: Which brother collected the early (pre-Song / high antiquity) ceramics?

A: The younger brother, Gilbert Zuellig, specialized in pre-Song ceramics (Neolithic to Song, including these two Tang pieces). The elder brother, Stephen Zuellig, focused on post-Song porcelains (Yuan–Qing) and bronzes.

Q: What happened to the Ming-Qing part of the collection? What was the chicken cup price?

A: Stephen’s Yuan–Ming–Qing pieces were largely sold at Sotheby’s Hong Kong in 2011–2012. The Chenghua chicken cup sold for exactly HK$281,240,000 (including premium) on 8 April 2014, a world record for Chinese porcelain at auction.

Q: Where can these objects be seen today?

A: Both are on long-term loan and permanent display at the Museum Rietberg, Zurich, Switzerland:

• Blue-glazed tortoise: MYT 1181

• Sancai mule/horse: MYT 1179

Q: How do sancai and blue glaze differ in Tang ceramics?

A: Sancai typically features splashed green, amber, and white/cream glazes and was mass-produced for tombs (e.g., horse figurines). Blue glaze was rare, expensive, and used sparingly, often on smaller, higher-quality items (e.g., the tortoise waterpot). Both highlight Tang innovation in colorful low-fired glazes.

Q: Why so many animal shapes in Tang art?

A: Animals symbolized aspects of the afterlife: tortoises for longevity and stability; horses for power, military success, wealth, and Silk Road connections. Tomb figurines provided eternal companions and luxuries for the deceased.