三彩筆記 vol.42 蘇黎世瑞特堡博物館：唐三彩藍釉騎馬俑 - Rietberg Museum, Tang Sancai Blue-Glazed Horse Rider

唐三彩藍釉騎馬俑

中國陝西省（Shaanxi Province）或河南省（Henan Province），亞洲（Asia）

唐代，8世紀（Tang Dynasty, 8th century）

高度 43 cm（Object height 43 cm）

玫茵堂收藏（Meiyintang Collection）永久借展（Permanent loan）

2012年起由玫茵堂收藏借展予瑞特堡博物館（On permanent loan from Meiyintang Collection to Museum Rietberg since 2012）

此件唐三彩騎馬俑是唐代（8世紀）陶瓷雕塑的經典之作，充分體現盛唐時期奢華文化與絲綢之路交流的影響。騎士外貌帶有中亞（可能受粟特影響）特徵，頭戴高帽，身著橙褐色長袍，雙手交疊或前置，端坐馬上。駿馬四肢穩健站立，姿態生動有力，整體馬身覆蓋豐富而流動的藍色釉彩，形成強烈的斑駁、滴流與漸層效果，頸部、軀幹、四肢乃至馬蹄皆呈現深邃寶石般的藍色光澤，極具視覺衝擊力與異域奢華感。騎士服飾則以溫暖的橙褐色為主，與馬身藍釉形成鮮明對比，鞍具、鞍褥與韁繩等細節處可見綠色或米黃等其他三彩釉的點綴。

釉色自然流淌，呈現典型的低溫二次燒成特徵（約800–1000°C），展現出唐三彩技法的精湛掌控。整體高度43 cm，屬中大型雕塑，象徵擁有者的高階地位、財富與軍事榮耀。唐代對馬匹的崇拜源自西域「汗血馬」的貢獻，在嚴格的服飾等級法規下，此類俑多與精英階層相關。唐三彩不僅用於墓葬明器，也廣泛應用於實用器皿與外銷商品，反映唐代多元用途與技術創新的輝煌。

唐三彩藍釉介紹 / Blue Glaze in Tang Sancai

唐三彩中的藍釉極為珍稀，是唐代陶瓷技術的巔峰成就之一。藍色主要來自氧化鈷（cobalt oxide），此礦物需經絲綢之路從中亞（波斯/伊朗地區）進口，成本極高且發色極難掌控（需精準控溫與配方，避免過燒或色澤不純）。在本件作品中，藍釉大面積主導馬身，在白色化妝土上施釉後經低溫二次燒成，產生深邃、流動、帶有斑駁漸層與虹彩光澤的寶石般效果。藍釉常與銅綠、鐵黃/褐搭配形成對比，如本件騎士的暖色服飾與馬身冷豔藍色的強烈視覺衝突。純藍或藍主調的唐三彩多屬高端器物，反映唐代對西方色彩與技術的吸收（如粟特/薩珊影響）。相較常見的黃綠褐三彩，藍釉更顯奢華與稀有，常見於馬俑、人物俑或器皿（如折腰碗）。本件MYT 1195以馬身大膽而廣泛的藍釉應用，充分彰顯其珍貴性與地位象徵。

玫茵堂收藏介紹 / Meiyintang Collection Introduction 

玫茵堂收藏（Meiyintang Collection）是全球最重要私人中國陶瓷收藏之一，由瑞士商人吉爾伯特·裕利（Gilbert Zuellig，1918–2009）與其兄弟斯蒂芬·裕利（Stephen Zuellig）歷經數十年蒐集而成。藏品涵蓋新石器時代至宋代早期陶瓷（吉爾伯特專注部分），以及元明清瓷器（斯蒂芬部分）。名稱「玫茵堂」意為「玫瑰園中的廳堂」（Hall among Rosebeds）。自1994年起，部分藏品於倫敦大英博物館首次公開展出，並出版由Regina Krahl編著的多卷目錄，成為中國陶瓷研究經典參考。2011–2012年，部分元明清瓷器於香港蘇富比拍賣（包括著名的成化雞缸杯）。吉爾伯特家族將早期陶瓷部分轉入玫茵堂基金會（Meiyintang Stiftung / Foundation），自2012年起逾600件藏品（MYT編號）永久借展予瑞士蘇黎世瑞特堡博物館（Museum Rietberg），促使博物館翻新中國藝術展廳並安裝LED照明系統，成為西方中國陶瓷展示的重要重鎮。瑞特堡博物館是瑞士唯一專注非歐洲藝術的機構，位於蘇黎世湖畔Rieterpark，藏品涵蓋亞洲、非洲、美洲與大洋洲藝術。玫茵堂收藏以品質極高、學術價值著稱，唐三彩馬匹與人物俑是其亮點，體現唐代多元文化融合。MYT 1195即為該收藏的館藏編號之一。

唐三彩藍釉騎馬俑 常見問答 / FAQ

Q1：這件文物（MYT 1195）是什麼？ A1： 這是一件唐代（8世紀）三彩釉陶騎馬俑，以馬身豐富藍釉為特色，高43 cm。 英文： This is a Tang Dynasty (8th century) sancai-glazed earthenware figurine depicting a horse and rider, notable for its dominant blue glaze on the horse. Height: 43 cm.

Q2：出土地與展出地點？ A2： 很可能產自中國陝西（西安附近）或河南（洛陽地區）——唐三彩主要燒造地區。目前自2012年起由玫茵堂收藏永久借展於瑞士蘇黎世瑞特堡博物館。 英文： Likely produced in Shaanxi (near Xi'an) or Henan (Luoyang area), China—the primary sancai production regions. On permanent loan from the Meiyintang Collection to the Museum Rietberg, Zurich, Switzerland, since 2012 (inventory MYT 1195).

Q3：此件藍釉有何特別之處？ A3： 馬身大面積施以鮮豔藍釉，為稀有昂貴的鈷料所製，流動斑駁效果突出奢華與絲路異域風情，與騎士橙褐色形成強烈對比。 英文： The horse is extensively glazed in vivid blue, a rare and expensive color from imported cobalt, creating flowing, mottled effects that emphasize luxury and exotic appeal from Silk Road influences, contrasting sharply with the rider's orange-brown tones.

Q4：玫茵堂收藏是什麼？ A4： 玫茵堂收藏是全球頂級中國陶瓷私人收藏，由裕利兄弟蒐集而成。自2012年起逾600件早期陶瓷（新石器至宋代）永久借展予瑞特堡博物館。 英文： The Meiyintang Collection is one of the premier private collections of Chinese ceramics worldwide, built by the Zuellig brothers. Over 600 early pieces (Neolithic to Song) are on permanent loan to the Museum Rietberg since 2012.

Q5：與大都會博物館那件相比如何？ A5： 兩件均為8世紀早期唐三彩騎馬俑，反映相同文化象徵與釉技創新，但此件以藍釉主導馬身（與騎士橙色對比）突出奢華異域風格，較大都會館藏的多色濺灑更強調藍色主調。 英文： Both are classic early 8th-century Tang sancai horse-and-rider figurines sharing cultural symbolism and glazing innovation, but this one stands out with its prominent blue-glazed horse (contrasting the rider's orange tones) and larger emphasis on blue luxury, while the Met example features more balanced multi-color splatters.

Horse and Rider

Place of Production：Shaanxi Province (陝西省) or Henan Province (河南省), China, Asia（中國，亞洲）

Date：Tang Dynasty, 8th century（唐代，8世紀）

Object Type：Figurine / 陶俑

Material and Technique：Earthenware with multi-color glaze（陶土，多色釉，即唐三彩 / Tang sancai）

Inventory Number：MYT 1195

Dimensions：Object height 43 cm（物件高度 43 cm）

Credit Line：Meiyintang Collection permanent loan（玫茵堂收藏永久借展）

Provenance：On permanent loan from Meiyintang Collection to Museum Rietberg since 2012（自2012年起由玫茵堂收藏永久借展予瑞特堡博物館）

This Tang Sancai horse and rider figurine is a classic masterpiece of Tang dynasty (8th century) ceramic sculpture, fully embodying the luxurious culture of the High Tang period and the influences from exchanges along the Silk Road. The rider's appearance features Central Asian characteristics (likely influenced by Sogdian elements), wearing a tall hat and an orange-brown long robe, with hands crossed or positioned forward, seated upright on the horse. The fine steed stands firmly on all four legs in a vivid and powerful pose, its entire body covered in rich, flowing blue glaze that creates striking mottled, dripping, and gradient effects. The neck, torso, limbs, and even hooves display a deep, gem-like blue luster, delivering immense visual impact and an exotic sense of luxury. The rider's attire is dominated by warm orange-brown tones, forming a sharp contrast with the horse's blue glaze, while details such as the saddle, saddle blanket, and reins are accented with other sancai glazes in green or beige.

The glaze flows naturally, exhibiting the typical characteristics of low-temperature secondary firing (approximately 800–1000°C), showcasing masterful control of Tang sancai techniques. With an overall height of 43 cm, this medium-to-large-scale sculpture symbolizes the high social status, wealth, and military glory of its owner. The Tang dynasty's reverence for horses stemmed from the tribute of Western Region "sweat-blood horses," and under the strict sumptuary laws governing clothing and ranks, such figurines were closely associated with the elite class. Tang sancai wares were not only used as mingqi (funerary objects) in tombs but also widely applied to utilitarian vessels and export goods, reflecting the splendid diversity of uses and technological innovations in the Tang era.

Blue Glaze in Tang Sancai

The blue glaze in Tang sancai is extremely rare and represents one of the pinnacles of Tang ceramic technology. The blue color primarily derives from cobalt oxide, a mineral imported via the Silk Road from Central Asia (Persian/Iranian regions), which was extremely costly and difficult to control in firing (requiring precise temperature and formula management to avoid over-firing or impure hues). In this piece, the blue glaze dominates the horse's body extensively: applied over a white slip and fired at low temperature in a second firing, it produces a deep, fluid, mottled gradient effect with iridescent, gem-like sheen. Blue glaze is often paired with copper green and iron yellow/brown for contrast, as seen here in the striking visual tension between the rider's warm-toned attire and the horse's cool, brilliant blue. Pieces with pure blue or blue-dominant sancai are typically high-end wares, reflecting Tang absorption of Western colors and techniques (such as Sogdian/Sasanian influences). Compared to the more common yellow-green-brown sancai combinations, blue glaze conveys greater luxury and rarity, and is most frequently seen on horse figurines, human figures, or vessels (such as flared bowls). This piece, MYT 1195, boldly and extensively applies blue glaze across the horse's body, fully highlighting its preciousness and status symbolism.

Meiyintang Collection Introduction

The Meiyintang Collection (Meiyintang Collection) is one of the world's most important private collections of Chinese ceramics, assembled over decades by Swiss businessman Gilbert Zuellig (1918–2009) and his brother Stephen Zuellig. The collection spans ceramics from the Neolithic period to the early Song dynasty (Gilbert's focus), as well as Yuan, Ming, and Qing porcelains (Stephen's focus). The name "Meiyintang" translates to "Hall among Rosebeds" (玫瑰園中的廳堂). Starting in 1994, portions of the collection were first publicly exhibited at the British Museum in London, accompanied by multi-volume catalogues edited by Regina Krahl, which have become classic references in Chinese ceramics studies. In 2011–2012, select Yuan, Ming, and Qing porcelains (including the famous Chenghua "chicken cup") were auctioned at Sotheby's Hong Kong. The Gilbert family transferred the early ceramics portion to the Meiyintang Foundation (Meiyintang Stiftung), and since 2012, over 600 pieces (with MYT inventory numbers) have been on permanent loan to the Museum Rietberg in Zurich, Switzerland. This loan prompted the museum to renovate its Chinese art galleries and install LED lighting, establishing it as a major center for Chinese ceramics display in the West. The Museum Rietberg, located in Rieterpark by Lake Zurich, is Switzerland's only institution dedicated to non-European art, with holdings encompassing Asia, Africa, the Americas, and Oceania. Renowned for its exceptional quality and scholarly value, the Meiyintang Collection features standout Tang sancai horses and human figurines that exemplify the multicultural fusion of the Tang dynasty. MYT 1195 is one of the collection's inventory numbers.