三彩筆記 vol.43 蘇黎世瑞特堡博物館：唐三彩藍釉馬 - Rietberg Museum, Tang Sancai Blue-Glazed Horse

這件玫茵堂藍釉馬（Meiyintang blue-glazed horse）是唐代陶瓷藝術的頂級代表作之一，屬於低溫鉛釉多色陶（唐三彩技法變體），以罕見的鈷藍釉為主色，現為瑞士蘇黎世瑞特堡博物館（Museum Rietberg）長期借展藏品，來自玫茵堂基金會（Meiyintang Foundation）。館藏編號MYT 1197（系列中相近MYT 1196–1199常成組展出，MYT 1197為其中一件藍釉馬俑）。

基本資訊

產地：中國陝西省（西安附近）或河南省（洛陽、鞏縣窯系），唐代三彩主要生產與出土地。

年代：唐代，8世紀（盛唐時期）。

器型：立馬俑（鞍馬明器，墓葬隨葬品）。

材質與技法：陶胎，低溫鉛釉施彩（sancai polychrome glaze），主施鈷藍釉，輔以琥珀黃、綠等色。

尺寸：長約40.5 cm，高約34.2 cm（中等偏大型，體現唐馬雄健比例）。

館藏編號：MYT 1197。

來源：玫茵堂長期借展，自2012年起於瑞特堡博物館中國廳公開陳列。

造型與工藝特徵

此馬姿態昂首挺胸、四肢勻稱有力，馬身大面積覆蓋深邃流暢的鈷藍釉，呈現寶石般光澤與自然滴流、斑駁效果，局部點綴黃綠釉彩，形成強烈視覺對比。馬鞍、韁繩等細節精緻，體現唐代寫實與誇張並重的雕塑風格。藍釉使用進口鈷料（源自中亞/波斯），發色穩定、濃郁，屬唐三彩中最奢華稀有品種，常限於高階墓葬。

歷史與文化意義

唐代崇馬文化源於軍事與絲路交流，「天馬」象徵貴族地位與開放氣象。藍釉馬不僅是陪葬明器，更是盛唐經濟繁榮、科技交流（鈷料貿易）的物質證據。其稀有性極高，完整傳世藍釉馬全球屈指可數，學術價值超越一般三彩。

收藏背景

玫茵堂收藏由瑞士裕利兄弟（Gilbert Zuellig 1918–2009 與 Stephen Zuellig）自1950–1960年代起蒐集逾50年，Gilbert專攻先秦至唐宋高古陶瓷。2012年起逾600件早期陶瓷轉為基金會長期借展予瑞特堡博物館，出版系列圖錄（Regina Krahl主編）為當代中國陶瓷研究權威參考。

拍賣與市場地位

唐代藍釉馬存世極為罕見，完整傳世品全球屈指可數，多數藏於博物館或私人收藏中，鮮有公開流通。此類珍品在國際拍賣市場上極其稀缺，1989年英國鐵路退休金基金會（British Rail Pension Fund）的一件唐代藍釉躍馬於蘇富比倫敦拍賣會以374萬英鎊（約合610萬美元）成交，創下當時中國陶瓷拍賣紀錄，凸顯其極高市場價值與投資潛力，受保存狀態、釉色濃郁度及尺寸等因素影響，類似頂級品種成交價常達數百萬美元級別。此件玫茵堂藍釉馬（MYT 1197）未曾進入公開拍賣市場，作為博物館級藏品，其學術研究與展示價值遠超商業考量，體現了高古陶瓷從私人蒐藏向公共領域轉移的典範。

藍釉之重要性

藍釉為唐三彩最高端變體，鈷料進口成本高昂（數倍於黃金），發色技術需精準控溫，象徵唐代對外開放與奢華巔峰。相較常見黃綠三彩，藍釉出現率極低，體現階層區隔與絲路物質文化。

Basic Information

Maker: Unknown (anonymous Tang tomb figurine craftsmen).

Place of Production: Shaanxi Province (near Xi'an) or Henan Province (Luoyang/Gongxian kiln area), China – core regions for Tang sancai production and excavation.

Date: Tang Dynasty, 8th century (High Tang period).

Object Type: Standing horse figurine (saddled horse mingqi, funerary ware).

Material and Technique: Earthenware with low-fired lead sancai (three-color) glazes, predominantly cobalt blue glaze, accented with amber yellow and green.

Dimensions: Length 40.5 cm, height approx. 34.2 cm (medium-large size, reflecting robust Tang equine proportions).

Inventory Number: MYT 1197.

Provenance: On permanent long-term loan (Dauerleihgabe) from the Meiyintang Foundation to Museum Rietberg, Zurich, since 2012.

Form and Craftsmanship

The horse stands with head raised, chest proud, and limbs balanced and powerful. The body is extensively covered in deep, fluid cobalt blue glaze, exhibiting gem-like luster, natural runs, and variegated pooling, with accents of yellow and green creating dramatic contrast. Saddle, bridle, and harness details are finely rendered, embodying the Tang blend of realism and stylized grandeur. The cobalt, imported from Central Asia/Persia, yields stable, intense color – a hallmark of the most luxurious sancai variant.

Historical and Cultural Significance

Tang society revered horses as symbols of military prowess, aristocratic status, and Silk Road cosmopolitanism. This blue-glazed horse serves not only as a tomb offering but also as tangible evidence of Tang economic prosperity, technological exchange (cobalt trade), and cultural openness. Complete blue-glazed Tang horses are exceedingly rare worldwide, elevating its scholarly value beyond standard sancai.

Collection Background

The Meiyintang Collection was assembled over five decades by Swiss brothers Gilbert Zuellig (1918–2009) and Stephen Zuellig, with Gilbert focusing on pre-Song ceramics. Since 2012, over 600 early pieces have been on long-term loan to Museum Rietberg, Zurich, complementing the museum’s Chinese holdings. Catalogues edited by Regina Krahl remain standard references in Chinese ceramics studies.

Auction and Market Status

Tang dynasty blue-glazed horses are exceedingly rare in existence, with intact surviving examples worldwide countable on one hand, predominantly housed in museums or private collections, and seldom appearing in open circulation. Such treasures are extraordinarily scarce in the international auction market; in 1989, a Tang blue-glazed prancing horse from the British Rail Pension Fund achieved £3.74 million (approximately $6.1 million) at Sotheby's London, setting a world record for Chinese ceramics at the time and underscoring their immense market value and investment potential, influenced by factors such as condition, glaze intensity, and size, with comparable top-tier pieces often fetching millions of USD. This Meiyintang blue-glazed horse (MYT 1197) has never been offered at public auction, and as a museum-grade artifact, its scholarly research and exhibition value far surpasses commercial considerations, exemplifying the transition of ancient ceramics from private holdings to public domains.

Importance of Blue Glaze

Blue glaze represents the pinnacle of Tang sancai innovation: cobalt pigment was extravagantly expensive (several times the price of gold) and technically demanding to fire stably. Reserved for elite burials, it symbolizes Tang imperial luxury, Silk Road connectivity, and social hierarchy far beyond common yellow/green sancai wares.

FAQ：玫茵堂藍釉馬（MYT 1197）

Q1: 這件藍釉馬的基本資訊是什麼？ A: 這是一件唐代（8世紀，盛唐時期）墓葬明器陶馬俑，材質為低溫鉛釉多色陶（唐三彩技法變體），主施鈷藍釉，輔以黃、綠等色。尺寸：長約40.5 cm，高約34.2 cm。產地主要為中國陝西省（西安附近）或河南省（洛陽、鞏縣窯系）。現為瑞士蘇黎世瑞特堡博物館（Museum Rietberg）長期借展藏品，來自玫茵堂基金會（Meiyintang Foundation），館藏編號MYT 1197。自2012年起，此類玫茵堂早期陶瓷系列公開陳列於博物館中國藝術廳。

Q2: 為什麼藍釉這麼特別且稀有？ A: 唐三彩常見黃、綠、白三色，但藍釉使用進口鈷料（cobalt oxide，從波斯/中亞經絲路輸入），成本極高（數倍於黃金），發色需精準控溫，技術難度大。藍釉馬因此限於高階貴族或皇室墓葬，傳世完整品全球極少，象徵唐代奢華、絲路交流與階層象徵，遠超一般三彩價值。

Q3: 這件藍釉馬的造型與工藝特點？ A: 馬匹昂首挺胸、四肢勻稱，姿態雄健有力，馬身大面積覆蓋深邃流暢鈷藍釉，呈現寶石光澤、自然滴流與斑駁效果，局部點綴黃綠釉，形成強烈對比。鞍具、韁繩等細節精緻，融合寫實與誇張，體現盛唐雕塑風格與異域影響（如汗血馬崇拜）。

Q4: 藍釉馬在市場上的地位如何？有沒有拍賣紀錄？ A: 完整唐藍釉馬極罕見，流通極少，多藏博物館或私人珍藏。此件MYT 1197未曾公開拍賣，屬博物館級藏品，學術與展示價值更高。參考1989年英國鐵路退休金基金會（British Rail Pension Fund）一件唐藍釉躍馬於蘇富比倫敦拍賣，以374萬英鎊（約610萬美元）成交，創當時中國陶瓷世界紀錄。類似頂級藍釉馬如今成交價常數百萬美元，視保存、釉色與尺寸而定。

Q5: 玫茵堂收藏與這件藏品的背景？ A: 玫茵堂由瑞士裕利兄弟（Gilbert Zuellig 1918–2009 與 Stephen Zuellig）歷50年蒐集，Gilbert專攻先秦至唐宋高古陶瓷。2012年起逾600件早期陶瓷轉入基金會，長期借展予瑞特堡博物館，出版Regina Krahl編多卷圖錄，為中國陶瓷研究權威參考。此件藍釉馬為其唐三彩系列代表，體現私人收藏向公眾開放的典範。

Q6: 產地如何確定為陝西或河南？ A: 唐代三彩主要窯口集中河南鞏縣、洛陽及陝西西安附近墓葬群，出土最多。藍釉馬多見於這些地區高階墓葬，無法精確到單一窯場，但兩省為公認核心生產與陪葬區。

Q7: 有沒有類似作品或比較？ A: 完整藍釉馬全球屈指可數，多出土陝西/河南唐墓，或藏大都會藝術博物館、克利夫蘭美術館等。玫茵堂系列中還有其他唐三彩馬（MYT 1196–1199等），常成組展出，展示唐馬造型多樣性。藍釉因鈷料稀缺而更珍貴，學術價值極高。

FAQ: Meiyintang Blue-Glazed Horse (MYT 1197)

Q1: What are the basic details of this blue-glazed horse? A: This is a Tang Dynasty (8th century, High Tang period) funerary pottery horse figurine (mingqi), made of low-fired lead-glazed earthenware with sancai polychrome technique variant, predominantly cobalt blue glaze accented by yellow and green. Dimensions: length approx. 40.5 cm, height approx. 34.2 cm. Likely produced in Shaanxi Province (near Xi'an) or Henan Province (Luoyang/Gongxian kiln areas). Currently on long-term loan at Museum Rietberg, Zurich, from the Meiyintang Foundation, inventory number MYT 1197. Since 2012, this series of early Meiyintang ceramics has been on permanent display in the museum's Chinese art galleries.

Q2: Why is the blue glaze so special and rare? A: Standard Tang sancai features yellow, green, and white, but blue derives from imported cobalt oxide (from Persia/Central Asia via the Silk Road), extremely costly (several times the price of gold) and technically demanding to fire stably. Blue-glazed horses were thus reserved for elite aristocratic or imperial tombs; intact surviving examples worldwide are exceedingly few, symbolizing Tang luxury, Silk Road exchange, and social hierarchy—far surpassing ordinary sancai in value.

Q3: What are the form and craftsmanship features? A: The horse stands with head raised proudly, limbs balanced and powerful. The body is extensively coated in deep, fluid cobalt blue glaze with gem-like luster, natural runs, and variegated pooling, accented by yellow/green for dramatic contrast. Saddle, bridle, and harness details are finely modeled, blending realism with stylized grandeur, reflecting High Tang sculpture and foreign influences (e.g., Ferghana "heavenly horses").

Q4: What is its market status? Any auction records? A: Intact Tang blue-glazed horses are extraordinarily rare and seldom circulate, mostly in museums or private hands. This MYT 1197 piece has never appeared at public auction and holds superior scholarly/exhibition value as a museum-grade artifact. For reference, in 1989 a Tang blue-glazed prancing horse from the British Rail Pension Fund sold at Sotheby's London for £3.74 million (approx. $6.1 million), setting a world record for Chinese ceramics at the time. Comparable top-tier blue-glazed horses today often fetch millions of USD, depending on condition, glaze quality, and size.

Q5: What is the background of the Meiyintang Collection and this piece? A: The Meiyintang Collection was assembled over five decades by Swiss brothers Gilbert Zuellig (1918–2009) and Stephen Zuellig, with Gilbert specializing in pre-Song ceramics. Since 2012, over 600 early pieces have been on long-term loan to Museum Rietberg via the foundation, with catalogues by Regina Krahl serving as definitive references. This blue-glazed horse exemplifies the collection's Tang sancai masterpieces and the paradigm of private holdings transitioning to public access.

Q6: How is the provenance determined as Shaanxi or Henan? A: Tang sancai production centered on Henan (Gongxian, Luoyang) and Shaanxi (Xi'an area) kilns and tomb clusters, where most examples—including blue-glazed—have been excavated. Precise kiln attribution is challenging, but these provinces are the recognized core regions for production and burial.

Q7: Are there similar pieces or comparables? A: Complete blue-glazed Tang horses are countable on one hand globally, mostly from Shaanxi/Henan Tang tombs or held by institutions like the Metropolitan Museum of Art (New York) and Cleveland Museum of Art. The Meiyintang series includes other sancai horses (e.g., MYT 1196–1199), often displayed together to illustrate Tang equine diversity. Blue-glazed examples command greater value due to cobalt scarcity and hold exceptional academic significance.