三彩筆記 vol.49 蘇黎世瑞特堡博物館：唐三彩灑藍釉高足盤 - Rietberg Museum, Tang Sancai Splashed Blue Glazed High Foot Dish

這件唐三彩灑藍釉高足盤是瑞士蘇黎世瑞特堡博物館（Museum Rietberg）中國館藏中的一件珍品，館藏編號 MYT 1262，來自玫茵堂基金會（Meiyintang Foundation）的長期借展。自2012年起，這批玫茵堂早期陶瓷系列公開陳列於博物館，成為西方觀眾了解中國陶瓷發展的重要窗口。

此件唐代藍釉托盤（Serving Tray with Blue Spots），唐代（8世紀），陶質胎體，外施透明釉與藍色斑點釉（藍釉斑），尺寸約 8.5 × 25.1 × 25.1 cm。器形為大型圓形托盤，藍釉呈現不規則斑塊狀分佈，色澤深沉而富有層次，屬於唐代低溫鉛釉陶器中的罕見藍彩變體。藍釉的使用源自西域進口鈷料，成本極高，極其珍稀。

此類托盤形制的起源可追溯至北朝乃至更早的豆形器（高足盤），北朝、隋代已有類似單色或多色釉的高足托盤或大型盤類作品，作為飲食器或陳設器使用。入唐後，這一形制與唐三彩技法結合，發展出更豐富的彩釉裝飾，藍釉尤其代表技術與審美的巔峰。從北朝—隋—唐，這類大型托盤/盤器一脈相承，體現了中國陶瓷從單色釉向多彩釉、低溫鉛釉向高級彩釉的演進脈絡，而尺寸如此巨大、又純以藍釉為主的完整作品，更是唐代陶瓷中的極罕珍品，彰顯盛唐奢華與絲路交流的輝煌。

This Tang Dynasty blue-glazed serving tray (Serving Tray with Blue Spots), 8th century, earthenware body with transparent glaze and applied blue spots (cobalt-blue glaze splashes), dimensions approx. 8.5 × 25.1 × 25.1 cm. The vessel is a large circular tray form, with the blue glaze forming irregular mottled patches, deep and layered in tone, representing a rare variant of Tang low-fired lead-glazed ware featuring prominent blue coloration.

The form of such trays traces its origins to earlier dou-shaped vessels (high-footed dishes) from the Northern Dynasties, with similar monochrome or polychrome glazed large trays/dishes appearing in the Northern Dynasties and Sui period, used as food servers or display pieces. Entering the Tang, this shape merged with sancai techniques, evolving into richer polychrome glazes; blue glaze in particular marks a technical and aesthetic pinnacle. From Northern Dynasties—Sui—Tang, large trays/dishes of this lineage represent a continuous tradition, illustrating the progression from monochrome glazes to multicolored low-fired lead glazes in Chinese ceramics. A piece of such monumental size executed almost entirely in blue glaze is extraordinarily rare and precious, embodying the opulence of the High Tang and the splendor of Silk Road cultural exchanges.

玫茵堂兄弟介紹

玫茵堂（Meiyintang，意為「玫瑰園中的廳堂」）收藏由瑞士裔菲律賓兄弟吉爾伯特·祖利格（Gilbert Zuellig，1918–2009）與斯蒂芬·祖利格（Stephen Zuellig）自1960年代起，歷經五十餘年精心蒐集而成。Gilbert 專注新石器時代至宋代的早期陶瓷，Stephen 則聚焦元明清瓷器。這是全球最重要的中國陶瓷私人收藏之一，曾於倫敦大英博物館（1994年起）、紐約、巴黎等地展出，並由陶瓷學權威 Regina Krahl 編撰多卷目錄，成為學界經典參考。Gilbert 過世後，其早期陶瓷部分轉入玫茵堂基金會，2012年起逾650件珍品長期借展於瑞特堡博物館，惠及全球觀眾。

The Meiyintang Collection (“Hall among Rosebeds”) was assembled over more than five decades starting in the 1960s by the Swiss-Filipino brothers Gilbert Zuellig (1918–2009) and Stephen Zuellig. Gilbert focused on early ceramics from the Neolithic through the Song dynasty, while Stephen concentrated on later porcelains of the Yuan, Ming, and Qing. It ranks among the world’s most significant private collections of Chinese ceramics, exhibited at the British Museum (from 1994), New York, Paris, and elsewhere, with definitive multi-volume catalogues authored by leading scholar Regina Krahl. After Gilbert’s passing, the early ceramics portion was transferred to the Meiyintang Foundation and placed on long-term loan to the Museum Rietberg in 2012 (over 650 pieces), making it accessible to the public worldwide.

藍釉的重要性

藍釉（或稱「灑藍」、「藍斑釉」）是唐三彩/唐代低溫釉陶中最珍貴、最具代表性的裝飾技法之一。藍色著色劑來自中亞/波斯進口的鈷料（cobalt oxide），經絲綢之路輸入唐朝，價格高昂（往往數倍於黃金），故藍釉極少使用，多限於皇室、貴族墓葬或高級器物。相較常見的黃、綠、褐釉，藍釉不僅色澤深邃絢麗，更象徵唐代開放、奢華與國際交流的頂峰。「撒藍」技法（斑點或不均勻施釉）創造出流動、自然的視覺效果，與唐三彩的雕塑性相得益彰，是中國陶瓷史上從單色向多彩、從本土向外來技術融合的里程碑。此件大型藍釉托盤的保存完整，更凸顯其無可比擬的珍稀價值。

Splashed or mottled blue glaze (often termed “splat blue” or “blue spots”) ranks among the rarest and most emblematic decorative techniques in Tang sancai and low-fired glazed wares. The blue colorant derived from imported cobalt oxide via the Silk Road from Central Asia/Persia, extremely costly (often many times the price of gold), thus restricted largely to imperial, aristocratic burials or elite vessels. Compared to common yellow, green, and brown glazes, blue glaze offered profound depth and brilliance, symbolizing the zenith of Tang openness, luxury, and cosmopolitan exchange. The “splashing” method (irregular application creating flowing, natural patterns) produced dynamic visual effects that complemented the sculptural quality of sancai, marking a pivotal milestone in Chinese ceramics—from monochrome to polychrome, and from indigenous to imported techniques. The exceptional preservation and monumental size of this blue-glazed tray further underscore its unparalleled rarity and value.

此件 MYT 1262 唐代藍釉托盤的基本資訊與形制特徵為何？

此器為唐代（8世紀，盛唐時期）低溫鉛釉陶質大型圓形托盤，館藏編號 MYT 1262，尺寸約高 8.5 cm、直徑 25.1 cm，胎體為白色陶土，外施透明釉底並以鈷料點灑形成不規則藍色斑塊，呈現自然流動的「撒藍」效果。器壁較厚、底足圈足外撇，屬於盛唐時期高規格陳設與侍食器，與同批玫茵堂 MYT 1261 藍釉雙耳杯構成完整侍食組合。其形制穩重對稱，藍斑分布疏密有致，色澤深沉帶紫韻，保存完整無修補，堪稱唐代藍釉陶器中的巔峰之作。

此托盤形制源自何處？與北朝、隋代豆形器有何傳承關係？

此類大型圓形托盤的原型可直接追溯至北朝（5–6世紀）及隋代（581–618）的豆形高足盤與大型侍食托盤。北朝晚期已出現施單色或多色低溫釉的圓盤與高足器，用作墓葬明器或日常陳設；隋代進一步規整器形，加大盤徑並強化足部支撐。入唐後，此形制與唐三彩技法完美融合，發展出多彩斑釉變體，從而形成北朝—隋—唐一脈相承的陶瓷形制演進鏈條。本件 MYT 1262 即為此傳統在盛唐的頂級體現，其巨大尺寸與純藍釉裝飾超越前代，標誌著從實用器向奢華藝術品的轉型。

撒藍釉（藍斑釉）在唐代陶瓷中的重要性為何？

撒藍釉是唐代低溫鉛釉陶器中最珍貴、最具技術突破性的裝飾技法，其著色劑為經絲綢之路自中亞／波斯進口的鈷礦（cobalt oxide），原料稀缺且成本高昂（往往數倍於黃金），故僅限於皇室、貴族或高級官宦墓葬使用。相較常見的黃、綠、褐三彩，藍釉呈現深邃寶石般光澤與自然斑駁流動效果，象徵唐帝國開放包容與中外文化交融的最高成就。本件大型托盤通體撒藍，藍斑面積廣大且保存完美，充分體現此技法的巔峰水準與不可替代的歷史價值。

此托盤與傳統唐三彩的關係為何？屬於何種變體？

本器屬於唐三彩的珍稀藍釉變體。傳統唐三彩以黃、綠、白三色為主，藍釉則需進口鈷料，屬高階技術分支，常與雕塑性強的俑類或大型器物結合。本托盤以藍釉為絕對主色，僅輔以少量透明釉，突破常規三彩配色框架，展現盛唐工匠對外來釉料的嫻熟掌控與審美創新，從而將唐三彩從「三色」提升至「多彩斑斕」的藝術高度。

為何此件大型藍釉托盤極其珍貴罕見？

其珍貴性在於三重稀缺疊加：尺寸巨大（直徑逾25 cm）、通體以昂貴鈷藍釉為主且斑紋完整自然、完整無損存世極少。唐代藍釉器多為小件或局部點綴，大型完整藍釉托盤在全球公私收藏中屈指可數；玫茵堂基金會此件更經 Regina Krahl 等權威學者著錄，來源清晰，學術價值與市場稀缺性兼具，堪稱唐代陶瓷藍釉類的國寶級代表。

玫茵堂兄弟是何許人？其收藏對中國陶瓷研究有何貢獻？

玫茵堂收藏由瑞士裔菲律賓兄弟吉爾伯特·祖利格（Gilbert Zuellig, 1918–2009）與斯蒂芬·祖利格（Stephen Zuellig）自1960年代起歷經半世紀精心蒐集而成。Gilbert 專注新石器時代至宋代早期陶瓷（含本件藍釉托盤），Stephen 則聚焦元明清瓷器。兄弟二人將西方商業視野與東方美學完美結合，藏品數量逾千件，品質頂尖，1994年起多次於大英博物館、紐約、巴黎展出，並由 Regina Krahl 編撰多卷權威目錄，成為國際陶瓷學界不可或缺的參考基準。2012年起 Gilbert 部分（逾650件）由玫茵堂基金會永久借展予瑞特堡博物館，實現私人珍藏向公共學術資源的華麗轉身。

此托盤反映了唐代怎樣的歷史與文化背景？

藍釉托盤的出現正是盛唐開放繁榮、絲綢之路鼎盛的物質見證。鈷料自中亞輸入、長安洛陽貴族墓葬普遍使用三彩明器，均顯示唐帝國與西域的緊密聯繫與文化自信。本器巨大尺寸與奢華藍釉，反映當時上層社會對異域珍稀原料的追求與對視覺奢華的極致追求，同時也體現唐代陶瓷工匠將外來技法本土化、藝術化的高超能力，是「胡漢融合」與「盛世氣象」的立體縮影。

此件如何進入玫茵堂收藏並展出於瑞特堡博物館？

本器原為 Gilbert Zuellig 私人珍藏，2011年 Gilbert 逝世後，其早期陶瓷部分正式轉入玫茵堂基金會。2012年起基金會將逾650件頂級早期陶瓷（含本托盤）永久借展予瑞士蘇黎世瑞特堡博物館，成為該館中國藝術廳核心展品之一。博物館為此專門翻新展廳、安裝專業照明，使觀眾得以近距離欣賞唐代藍釉的迷人光澤。此展覽模式開創私人頂級收藏與歐洲公立博物館長期合作之先河，廣受國際學界讚譽。

與北朝、隋代同類作品相比，此托盤有何藝術與技術上的超越？

北朝、隋代同類豆形托盤多施單色或簡單雙色釉，尺寸較小，釉層較薄，色彩平淡。本件唐代藍釉托盤不僅尺寸大幅增加，更以進口鈷料創造出層次豐富、流動自然的撒藍效果，釉面光澤度與斑紋藝術性遠超前代。技術上，唐代工匠已完全掌握鈷料在低溫鉛釉中的穩定呈色與流動控制，實現從「實用」到「審美至上」的飛躍，奠定了後世藍釉瓷器（元明青花、明清灑藍）發展的技術基礎。

此托盤對中國陶瓷史研究有何學術價值？

本器為研究唐代低溫釉陶從形制繼承到釉藥創新的關鍵實物證據，證實了北朝—隋—唐陶瓷傳統的連續性與藍釉技術的絲路來源；同時因其出自玫茵堂並長期公開展覽，為西方學界提供可直接觀察、測量與比對的頂級標本，對唐三彩分期、釉藥化學分析、墓葬等級研究均具不可替代的參考意義，已被多部權威圖錄收錄，成為國際陶瓷學界公認的經典範例。

What are the basic specifications and morphological characteristics of the MYT 1262 Tang blue-glazed serving tray?

This vessel is a large circular serving tray from the Tang dynasty (8th century, High Tang period), low-fired lead-glazed earthenware, inventory MYT 1262, measuring approximately 8.5 cm in height and 25.1 cm in diameter. The body is of white earthenware, covered with a transparent glaze base and irregularly splashed with cobalt-derived blue spots creating a natural flowing “splash-blue” effect. The thick-walled body features an everted ring foot; it belongs to high-status display and serving ware of the High Tang, forming a complete service set with the companion MYT 1261 blue-glazed two-handled cups from the same Meiyintang group. The symmetrical and stable form, balanced distribution of blue mottling with deep purplish tones, and flawless preservation without restoration make it a pinnacle example of Tang blue-glazed earthenware.

What is the origin of this tray’s form and its developmental relationship with dou-shaped vessels of the Northern Dynasties and Sui period?

The prototype of this large circular serving tray traces directly to the dou-shaped high-footed dishes and large serving trays of the Northern Dynasties (5th–6th centuries) and Sui dynasty (581–618). Late Northern Dynasties already produced monochrome or polychrome low-fired glazed round dishes and high-footed forms for funerary mingqi or daily display; the Sui further standardized the shape, enlarging the diameter and strengthening the foot support. Upon entering the Tang, this typology merged seamlessly with sancai techniques to develop polychrome splashed-glaze variants, forming a continuous evolutionary chain from Northern Dynasties—Sui—Tang. MYT 1262 represents the supreme Tang culmination of this tradition, its monumental scale and dominant blue-glaze decoration surpassing earlier examples and marking the transformation from utilitarian vessels to luxurious works of art.

What is the significance of splashed blue glaze (cobalt-blue splash) in Tang ceramics? Splashed blue glaze ranks as the rarest and most technically innovative decorative technique in Tang low-fired lead-glazed earthenware; its colorant derives from cobalt oxide imported via the Silk Road from Central Asia/Persia—extremely scarce and costly (often many times the price of gold)—thus restricted to imperial, aristocratic, or high-official burials. Compared to the common yellow, green, and brown sancai triad, blue glaze produces a profound gem-like luster and naturally mottled flowing effects, symbolizing the zenith of Tang cosmopolitan openness and Sino-foreign cultural synthesis. The extensive, perfectly preserved blue mottling covering this monumental tray fully exemplifies the technique’s peak achievement and irreplaceable historical importance.

What is the relationship between this tray and classical Tang sancai ware, and what variant does it represent?

This piece represents a rare blue-glaze variant of Tang sancai. Classical sancai primarily employs yellow, green, and white, whereas blue glaze requires imported cobalt and constitutes an elite technical subset, frequently combined with strongly sculptural figurines or large vessels. By making blue the dominant color with only minimal transparent glaze accents, the tray transcends the conventional three-color palette, demonstrating High Tang artisans’ masterful command of exotic glazes and aesthetic innovation, thereby elevating sancai from “three colors” to a polychrome, jewel-like artistic pinnacle.

Why is this large blue-glazed serving tray exceptionally rare and precious? Its rarity results from a triple convergence of scarcity: monumental size (diameter exceeding 25 cm), dominant use of costly cobalt-blue glaze with perfectly preserved natural mottling, and extremely few intact surviving examples worldwide. Tang blue-glazed wares are mostly small-scale or局部 accents; complete large blue-glazed trays are virtually unknown in global public or private collections. This Meiyintang example, moreover, is documented by leading scholars such as Regina Krahl, with impeccable provenance, combining supreme academic value with market rarity and qualifying as a national-treasure-level representative of Tang blue-glazed ceramics.

Who were the Meiyintang brothers and what contributions did their collection make to Chinese ceramics studies?

The Meiyintang Collection was assembled over half a century starting in the 1960s by the Swiss-Filipino brothers Gilbert Zuellig (1918–2009) and Stephen Zuellig. Gilbert specialized in early ceramics from the Neolithic through the Song dynasty (including this blue-glazed tray), while Stephen focused on Yuan, Ming, and Qing porcelains. Combining Western commercial acumen with profound Eastern aesthetic sensitivity, the brothers amassed over a thousand pieces of supreme quality. From 1994 onward, selections were exhibited at the British Museum, New York, Paris, etc., accompanied by definitive multi-volume catalogues authored by Regina Krahl, establishing an indispensable scholarly benchmark. Since 2012, Gilbert’s portion (over 650 objects) has been placed on permanent loan by the Meiyintang Foundation to Museum Rietberg, transforming private treasure into a public academic resource of global significance.

What historical and cultural context does this tray reflect in the Tang dynasty?

The appearance of blue-glazed trays precisely embodies the material evidence of High Tang openness, prosperity, and the zenith of the Silk Road. Cobalt imported from Central Asia and the widespread use of sancai mingqi in Chang’an and Luoyang aristocratic tombs demonstrate the Tang empire’s intimate ties with the Western Regions and cultural self-confidence. The tray’s monumental scale and luxurious blue glaze reflect elite society’s pursuit of exotic rare materials and ultimate visual opulence, while simultaneously showcasing Tang potters’ mastery in localizing and artistically elevating foreign techniques—a three-dimensional epitome of “Sino-foreign fusion” and the “splendor of a great age.”

How did this piece enter the Meiyintang Collection and come to be exhibited at Museum Rietberg? Originally part of Gilbert Zuellig’s private collection, the tray was formally transferred to the Meiyintang Foundation after his passing in 2011. Since 2012 the Foundation has placed over 650 premier early ceramics—including this tray—on permanent loan to Museum Rietberg in Zurich, forming a core of the museum’s Chinese art galleries. The museum specially renovated the galleries and installed professional lighting, allowing visitors to appreciate the mesmerizing luster of Tang blue glaze at close range. This exhibition model pioneered long-term collaboration between a world-class private collection and a major European public museum, earning widespread international scholarly acclaim.

Compared with similar works from the Northern Dynasties and Sui, what artistic and technical advancements does this tray represent? Northern Dynasties and Sui dou-shaped trays typically feature monochrome or simple bichrome glazes, smaller dimensions, thinner glaze layers, and subdued coloration. This Tang blue-glazed tray dramatically enlarges the scale while employing imported cobalt to create richly layered, naturally flowing splash-blue effects whose depth, luster, and artistic mottling far surpass earlier examples. Technically, Tang potters had fully mastered stable color development and fluid control of cobalt in low-fired lead glazes, achieving a leap from “utilitarian” to “aesthetic supremacy” and laying the technical foundation for later blue-glazed porcelains (Yuan-Ming underglaze blue, Ming-Qing splashed blue).

What scholarly value does this tray hold for the study of Chinese ceramic history?

The tray constitutes crucial physical evidence for tracing the transition from typological inheritance to glaze innovation in Tang low-fired glazed wares, confirming the continuity of the Northern Dynasties—Sui—Tang ceramic tradition and the Silk Road origin of blue-glaze technology. As a Meiyintang piece on long-term public display, it offers Western scholarship an accessible, measurable, and comparable top-tier reference specimen for sancai periodization, glaze chemistry, and burial-rank studies. Included in multiple authoritative catalogues, it is universally recognized as a classic benchmark in international ceramic studies.