三彩筆記 vol.40 蘇黎世瑞特堡博物館：唐三彩藍釉馬 - Rietberg Museum, Tang Sancai Blue-Glazed Horse, Tang Dynasty

唐代藍釉馬作為三彩陶塑的巔峰之作，體現了盛唐奢華與絲路交流的輝煌。以梅茵堂基金會藏品（MYT 1196，現長期借展於瑞士瑞特堡博物館）為例，這件長38厘米、高34.5厘米的藍馬，馬身大面積施以進口鈷藍釉，釉色深沉流暢，造型雄健有力，保存完整，稀有度極高——藍釉因鈷料需從波斯進口，成本數倍於黃金，常限於皇室或貴族墓葬使用。其傳承自裕利兄弟私人收藏，品質上乘，市場價值在國際拍賣中可達數十萬至百萬美元級別，象徵西方私人收藏轉化為公共展覽的典範。

相比之下，SACA學會《三彩筆記》系列中介紹的辛辛那提藝術博物館藍釉馬（館藏編號1950.49，高52.1厘米、長55.9厘米）尺寸更為宏大，藍釉同樣鮮豔奪目，強調貴族專屬的奢華屬性；造型更注重馬匹的動態張力與基座穩定，在釉面珠光與裂紋細膩度上略勝一籌，稀有度相當（全球完整藍釉馬屈指可數）。其傳承為博物館永久典藏，無直接拍賣記錄，但類似藍釉馬在近期拍賣（如蘇富比倫敦藍彩臥牛達13.8萬英鎊）顯示市場熱度高漲，預估價值不亞於梅茵堂件。兩件藍馬皆出自唐代陝西或河南窯口，共同見證中西文化融合，而辛辛那提件更突出藍釉「三彩貴藍」的尊貴地位，為研究唐馬文化提供更具規模感的實證參照。

三彩筆記 vol.06 美國辛辛那提藝術博物館：唐三彩藍釉馬 - Cincinati Art Museum, Tang Sancai Blue Glaze Horse.

Tang Dynasty blue-glazed horses represent the pinnacle of sancai ceramic sculpture, embodying the splendor of High Tang luxury and Silk Road cultural exchange. Taking the Meiyintang Foundation piece (MYT 1196, currently on long-term loan at the Museum Rietberg, Zurich) as an example, this blue horse measures 38 cm long and 34.5 cm high. The body is extensively covered with imported cobalt blue glaze, deep and fluid in tone, with a robust and powerful modeling and excellent preservation—its rarity is exceptionally high. The cobalt pigment, imported from Persia, cost several times its weight in gold and was reserved exclusively for imperial or aristocratic tombs. Its provenance traces back to the Zuellig brothers’ private collection; superior in quality, it commands market values ranging from several hundred thousand to over one million USD at international auctions, serving as a paradigm of Western private collections transforming into public museum displays.

By comparison, the blue-glazed horse from the Cincinnati Art Museum (accession no. 1950.49, height 52.1 cm, length 55.9 cm) featured in SACA Society’s “Sancai Notes” series is larger in scale, with equally brilliant blue glaze that underscores its exclusive aristocratic luxury. Its modeling emphasizes dynamic tension and stable base, slightly superior in the pearlescent quality and fine crackle of the glaze surface, with comparable rarity (complete blue-glazed horses worldwide are extremely few). It belongs to the museum’s permanent collection and has no direct auction record, yet similar blue-glazed sancai pieces (such as a recumbent ox sold for £138,000 at Sotheby’s London) demonstrate strong market demand, with estimated value comparable to the Meiyintang piece. Both horses originate from Tang kilns in Shaanxi or Henan, jointly witnessing Sino-Western cultural fusion; the Cincinnati example more prominently highlights the prestigious “sancai values blue most” status of the blue glaze, offering a more imposing physical reference for the study of Tang horse culture.

這件唐三彩藍釉馬是唐代（8世紀）的重要陶塑，現於瑞士蘇黎世瑞特堡博物館（Museum Rietberg）的長期借展，來自梅茵堂 / Meiyintang Collection收藏，編號 MYT 1196。

• 尺寸：長度約38 cm，高（或整體尺寸）34.5 cm。

• 材質：陶胎（Tonware），施以多色釉（Mehrfarben-Glasur），即著名的唐三彩（Sancai）技法。

• 產地：可能出自中國陝西省或河南省（兩地皆為唐代三彩主要燒造區，河南洛陽、陝西西安附近墓葬出土最多）。

  
  

唐三彩藍馬介紹

唐三彩是唐代（618–907年）最具代表性的低溫鉛釉陶器，以黃、綠、白三色為主（故名“三彩”），但實際燒造時常出現藍、褐等多色變化。這件馬俑以藍釉（blue glaze）為突出特色，馬身或鞍具大面積施藍，結合其他三彩釉色，呈現華麗而生動的視覺效果。

唐代馬俑常象徵墓主人地位、財富與軍事榮耀（唐朝尚武、愛馬，引進大量西域良馬）。這類藍馬特別珍貴，因為藍釉使用鈷料（cobalt），當時需從中東（波斯或伊斯蘭地區）進口，價格極昂貴，只用於高等級器物，俗稱“三彩貴藍”。藍釉稀少、發色純正穩定，常見於宮廷或貴族墓葬，象徵奢華與異域風情。相比常見的綠、黃、褐三彩，藍釉馬更顯高貴典雅，釉色流動自然，馬匹造型雄健有力，體現盛唐審美巔峰。

藍釉（Blue Glaze）介紹

唐三彩藍釉主要源自鈷藍（cobalt blue），唐代中國尚未掌握本土鈷礦提煉技術，鈷料多經絲綢之路從西域進口，故極其昂貴珍稀。藍釉燒成溫度約800–1000°C，屬低溫釉，發色鮮豔深沉，常與綠（銅）、黃/褐（鐵）等釉料搭配，形成流淌、斑駁的自然效果。藍色在唐三彩中代表最高等級，常見於鞍具、馬身局部或整件器物，凸顯擁有者的財力與品味。後世宋、元、明青花瓷的鈷藍技法，也可追溯到唐代這一進口鈷藍傳統。

梅茵堂兄弟介紹

梅茵堂（Meiyintang Collection）是20世紀後期至21世紀初最重要的私人中國陶瓷收藏之一，由瑞士籍菲律賓裔兄弟史蒂芬·裕利（Stephen Zuellig）與吉爾伯特·裕利（Gilbert Zuellig）（Zuellig兄弟）所建。家族經營醫藥貿易致富，兄弟二人從1960–1970年代開始系統收藏中國古代瓷器、陶器與青銅器，藏品涵蓋新石器時代至清代，尤以唐代三彩、宋代名窯、明清官窯瓷器聞名。

梅茵堂藏品品質極高、系統完整，曾在2011–2012年於香港蘇富比分多場專拍，創下多項天價紀錄（如雞缸杯等）。部分頂級藏品長期借展給博物館，如瑞士Museum Rietberg（此藍馬即為其Dauerleihgabe）。梅茵堂被譽為西方世界最精湛的中國陶瓷私人收藏之一，兄弟二人低調而專業的收藏態度，對推動中國古陶瓷研究與國際展覽貢獻巨大。

這件唐三彩藍馬正是梅茵堂收藏中唐代陶塑的代表作，結合稀有藍釉與盛唐馬文化，極具藝術與歷史價值。

FAQ：唐三彩藍馬（Tang Sancai Blue-Glazed Horse, MYT 1196）

Q1: 這件唐三彩藍馬的基本資訊是什麼？ 這是一件唐代（約8世紀）墓葬明器陶馬俑，材質為低溫鉛釉陶，施以多色釉（唐三彩技法，主要包括藍、綠、黃、褐等）。尺寸約長38 cm、高34.5 cm。產地很可能為中國陝西省（西安附近）或河南省（洛陽地區），這兩地是唐代三彩陶器最主要的燒造與出土地區。 目前為瑞士蘇黎世Museum Rietberg（瑞特堡博物館）的長期借展品（Dauerleihgabe），來自Meiyintang Stiftung（梅茵堂基金會），館藏編號MYT 1196。自2012年起，這批梅茵堂早期陶瓷（包括唐三彩系列）長期陳列於博物館的中國藝術展廳。

Q2: 為什麼這件馬俑被稱為「藍馬」？藍色有什麼特別之處？ 唐三彩通常以黃、綠、白三色為主，但藍色（鈷藍）極其罕見且昂貴。唐代中國無本土優質鈷礦，藍釉原料需從中東（波斯或伊斯蘭地區）經絲綢之路進口，成本極高，只用於高級墓葬或宮廷器物，被譽為「三彩貴藍」。 這件馬俑大面積施以深沉鮮豔的藍釉（可能覆蓋鞍具、馬身局部或鬃毛），與其他三彩色自然流淌、斑駁融合，呈現華麗視覺與異域風情，是唐三彩中最高等級的代表作。

Q3: 唐三彩馬俑在唐代有什麼文化意義？ 唐朝尚武、愛馬，從西域引進大量良馬（如大宛汗血馬），馬成為軍事、狩獵、馬球與貴族生活的核心象徵。馬俑作為墓葬明器，象徵墓主人財富、權勢與生活奢華。藍釉馬更顯尊貴，常見於高級貴族或皇室墓葬，反映盛唐的中西文化交流高峰與開放繁榮。

Q4: 藍釉技術是如何來的？後來有什麼影響？ 藍釉主要依賴進口鈷料（cobalt oxide），唐代低溫鉛釉技術（燒成溫度約800–1000°C）使鈷藍與銅（綠）、鐵（黃/褐）等搭配，產生多彩流淌效果。需覆蓋白色化妝土以增強發色純度。 這是中國最早系統使用鈷藍的階段，直接影響後世宋元明清青花瓷的鈷藍繪畫技法，成為中國瓷器史上重要一環。

Q5: 梅茵堂基金會和梅茵堂兄弟是誰？ 梅茵堂收藏由瑞士籍菲律賓裔兄弟史蒂芬·裕利（Stephen Zuellig, 1917–2017）與吉爾伯特·裕利（Gilbert Zuellig, 1918–2009）創建。家族經營亞洲醫藥貿易致富，從1950–1960年代起系統收藏中國陶瓷與青銅器。 吉爾伯特專注早期陶器與唐宋陶瓷，史蒂芬聚焦元明清瓷與青銅器。藏品品質極高，曾於2011–2012年蘇富比香港拍賣部分明清瓷創多項紀錄。2012年起，大量早期陶瓷以梅茵堂收藏名義長期借展給Museum Rietberg，對中西文化交流貢獻巨大。

Q6: 這件藍馬目前在哪裡展出？如何參觀？ 長期陳列於瑞士蘇黎世Museum Rietberg的中國藝術展廳。自2013年展廳翻新開放以來，梅茵堂唐三彩系列為常設展重點。建議查詢博物館官網 rietberg.ch 的最新展覽資訊、開放時間與門票。館內使用專業照明，觀賞釉色與造型細節極佳。

Q7: 這件藍馬有沒有類似作品或比較？ 唐三彩藍馬極稀有，完整藍釉馬俑全世界屈指可數。類似作品多出土於陝西、河南唐墓，或收藏於大都會藝術博物館、克利夫蘭美術館等。梅茵堂藏品中還有其他唐三彩馬（MYT 1197–1199等），常成組展出，展示唐代馬匹造型多樣性。藍釉馬因鈷料稀缺而更珍貴。

Q8: 為什麼這件作品對研究唐三彩有重要價值？ 它結合極稀有的鈷藍釉、精湛寫實造型、完整保存與流暢釉色，是研究唐代低溫釉技術、鈷藍來源、墓葬習俗與絲路交流的珍貴實物。作為梅茵堂長期借展核心展品，也體現私人收藏如何轉化為公共文化資產，推動國際博物館展示與學術研究。

FAQ: Tang Sancai Blue-Glazed Horse (MYT 1196)

Q1: What are the basic details of this Tang Sancai blue-glazed horse? This is a Tang Dynasty (circa 8th century) funerary pottery horse figurine (mingqi), made of low-fired lead-glazed earthenware with polychrome sancai glazes (primarily blue, green, yellow, brown, etc.). Dimensions: approximately 38 cm in length and 34.5 cm in height. Likely produced in Shaanxi Province (near Xi'an) or Henan Province (Luoyang area), the main production and excavation centers for Tang sancai. It is currently on long-term loan (Dauerleihgabe) at the Museum Rietberg in Zurich, Switzerland, from the Meiyintang Stiftung (Meiyintang Foundation), inventory number MYT 1196. Since 2012, this group of early Meiyintang ceramics (including the sancai series) has been on permanent display in the museum’s Chinese Art Galleries.

Q2: Why is this horse called a “blue horse”? What makes the blue special? Tang Sancai typically features yellow, green, and white as the main colors, but cobalt blue is extremely rare and expensive. In the Tang Dynasty, China lacked high-quality native cobalt sources, so the blue pigment was imported from the Middle East (Persia or Islamic regions) via the Silk Road at great cost, reserved for high-status tombs or imperial objects—hence the saying “sancai values blue most.” This horse features extensive deep, vibrant blue glaze (likely on the saddle, parts of the body, or mane), blending naturally with other sancai colors in flowing, mottled patterns, creating a luxurious and exotic effect. It represents one of the highest grades of Tang sancai.

Q3: What cultural significance did Tang Sancai horse figurines have in the Tang Dynasty? The Tang Dynasty (618–907) highly valued martial culture and horses, importing fine breeds from Central Asia (e.g., Ferghana “sweat-blood” horses). Horses symbolized military power, hunting, polo, and aristocratic lifestyle. Horse figurines served as grave goods to accompany the deceased, representing the owner’s wealth, status, and luxurious life. Blue-glazed horses were especially prestigious, often found in elite aristocratic or imperial tombs, reflecting the peak of Tang openness, prosperity, and Sino-Western cultural exchange.

Q4: How did the blue glaze technique originate, and what was its later influence? The blue glaze relies primarily on imported cobalt oxide. Tang low-fired lead-glaze technology (firing temperature approx. 800–1000°C) allowed cobalt blue to combine with copper (green) and iron (yellow/brown) for multicolored flowing effects, often over a white slip for enhanced color purity. This marks the earliest systematic use of cobalt blue in Chinese ceramics and directly influenced the underglaze cobalt-blue painting techniques of Song, Yuan, Ming, and Qing blue-and-white porcelain, becoming a cornerstone of Chinese ceramic history.

Q5: Who are the Meiyintang Foundation and the Meiyintang brothers? The Meiyintang Collection was built by Swiss-Filipino brothers Stephen Zuellig (1917–2017) and Gilbert Zuellig (1918–2009), whose family fortune came from pharmaceutical trading in Asia. They began systematically collecting Chinese ceramics and bronzes from the 1950s–1960s. Gilbert focused on early pottery through Tang and Song, while Stephen specialized in Yuan–Qing porcelains and archaic bronzes. The collection is renowned for exceptional quality and scholarly depth; parts were sold at record-breaking Sotheby’s Hong Kong auctions in 2011–2012. Since 2012, a large portion of Gilbert’s early ceramics (over 600 pieces) has been on long-term loan to the Museum Rietberg under the Meiyintang Stiftung, making a major contribution to East-West cultural exchange.

Q6: Where is this blue horse currently exhibited, and how can one visit it? It is on permanent display in the Chinese Art Galleries at the Museum Rietberg in Zurich, Switzerland. Since the galleries’ refurbishment and reopening in 2013, the Meiyintang sancai series has been a highlight of the permanent collection. Check the official website rietberg.ch for the latest exhibition information, opening hours, and tickets. The museum uses professional lighting to highlight glaze colors and sculptural details.

Q7: Are there similar pieces or comparables? Complete blue-glazed Tang sancai horses are extremely rare worldwide. Similar examples have been excavated from Tang tombs in Shaanxi and Henan, or are held by institutions such as the Metropolitan Museum of Art (New York) and the Cleveland Museum of Art. The Meiyintang Collection includes other sancai horses (e.g., MYT 1197–1199), often displayed together to show the diversity of Tang horse modeling. Blue-glazed horses are far more valuable due to the scarcity of cobalt.

Q8: Why is this piece important for the study of Tang Sancai? It combines extremely rare cobalt blue glaze, masterful realistic modeling, excellent preservation, and fluid glaze application, serving as precious evidence for studying Tang low-fired glaze technology, cobalt sources, burial customs, and Silk Road cultural exchange. As a core long-term loan piece from the Meiyintang Collection, it also demonstrates how private collections can become public cultural assets, advancing international museum display and academic research on Chinese ceramics.

This Tang Sancai horse figurine is an important funerary ceramic sculpture from the Tang Dynasty (8th century), currently on long-term loan (Dauerleihgabe) at the Museum Rietberg (Rietberg Museum) in Zurich, Switzerland, from the Meiyintang Collection (inventory no. MYT 1196).

• Dimensions: Approximately 38 cm in length and 34.5 cm in height (or overall size).

• Material: Earthenware body (pottery) with polychrome lead glaze (sancai technique), featuring the famous Tang three-color (sancai) glazes.

• Origin: Likely produced in Shaanxi Province or Henan Province, China (both major centers for Tang sancai production, especially near tombs in Luoyang, Henan, and Xi'an, Shaanxi).

• Maker: Unknown, typical of Tang tomb figurines (mingqi) used as grave goods.

Tang Sancai (三彩) is the most iconic low-fired lead-glazed pottery of the Tang Dynasty (618–907 CE), primarily using yellow, green, and white as the core "three colors," though actual pieces often include additional shades like brown, and especially rare blue. This horse stands out for its prominent blue glaze (藍釉), applied extensively to the body or saddle/cloth areas, combined with other sancai colors to create a vibrant, luxurious effect.

In Tang culture, horse figurines symbolized the tomb owner's status, wealth, and military prestige (the Tang era highly valued horses, importing many fine breeds from Central Asia). Blue-glazed examples are particularly rare and valuable because the blue pigment derives from cobalt (鈷), imported via the Silk Road from the Middle East (Persia or Islamic regions) at great expense. Cobalt was reserved for high-status items, leading to the saying "sancai values blue most" (三彩貴藍). These blue horses are far less common than standard green/yellow/brown ones, often appearing only in elite aristocratic or imperial tombs, embodying luxury, exoticism, and the pinnacle of Tang aesthetics. The flowing, natural glaze runs and mottles beautifully, while the horse's robust, powerful modeling reflects the grandeur of the High Tang period.

Introduction to the Blue Glaze (藍釉)

The blue glaze in Tang Sancai primarily comes from cobalt blue (鈷藍), a pigment not yet mined or refined domestically in China during the Tang era. Cobalt was imported expensively from West Asia, making it one of the costliest materials used in ceramics. Fired at low temperatures (around 800–1000°C), the lead-based glaze produces a rich, deep, stable blue that contrasts strikingly with green (from copper) and yellow/brown (from iron). The blue often appears in splashes or large areas on saddles, harnesses, or the horse's body, creating dramatic, melting effects typical of sancai. This color signified the highest level of craftsmanship and wealth. The technique influenced later cobalt-blue underglaze decoration in Yuan, Ming, and Qing blue-and-white porcelain, tracing its roots to these Tang imports.

Introduction to the Meiyintang Brothers (梅茵堂兄弟)

The Meiyintang Collection (梅茵堂收藏, literally "Hall among Rosebeds") is one of the most important private collections of Chinese ceramics in the world, assembled by the Swiss-Filipino brothers Stephen Zuellig and Gilbert Zuellig (Zuellig brothers) from the 1960s–1970s onward. Their family built wealth through pharmaceutical trading in Asia, fueling a deep passion for Chinese art. Gilbert focused on early ceramics (Neolithic through Han, Tang, and Song dynasties), while Stephen specialized in later porcelains (Yuan, Ming, Qing) and archaic bronzes.

The collection is renowned for its exceptional quality, systematic scope, and scholarly depth, covering millennia of Chinese ceramic history. Highlights from the later periods were sold at record-breaking Sotheby's Hong Kong auctions in 2011–2012 (e.g., the famous Chenghua "chicken cup"). In 2012, a major portion of Gilbert Zuellig's early ceramics (including Tang pieces) was transferred to the Meiyintang Foundation and placed on long-term loan at the Museum Rietberg in Zurich, where over 600 objects are now displayed in a dedicated, state-of-the-art Chinese art gallery (refurbished with foundation support). The brothers' discreet, professional approach greatly advanced the study and international appreciation of Chinese ceramics. This blue-glazed Tang horse exemplifies the collection's Tang sculptural masterpieces, combining rare cobalt blue with Tang horse culture for outstanding artistic and historical significance.