三彩筆記 vol.50 蘇黎世瑞特堡博物館：唐三彩雙龍瓶，玫茵堂收藏 - Rietberg Museum, Tang Sancai Twin Dragon Handle Vase, Meiyintang Collection, Tang Dynasty

唐三彩雙龍瓶是唐代三彩陶器中的經典器型，造型融合中西文化：壺身源自希臘-羅馬及中亞的雙耳壺，經大唐融合為高肩細頸，雙龍耳設計以龍首銜咬杯狀口沿，象徵權威、祥瑞與守護，充分體現盛唐開放多元的藝術風貌。

唐三彩雙龍瓶整體存世極為罕見，尤其是藍釉或特殊釉色變體更屬珍稀。北京故宮博物院、上海博物館各藏有一例，但工藝與保存狀態不及玫茵堂此件精湛；鄭州文物考古研究所有一件、河南省博物院亦有一件，均為標準三彩或白釉版本。大都會藝術博物館（The Met）收藏一例，然釉色偏黃，視覺效果稍遜。古美術下條（Shimojo）藏有一件與玫茵堂此件極為接近的精品，造型、釉色風格相近，均屬頂級水準。古美術下條以獨到審美眼光聞名古代藝術圈，尤其深受日本古美術界尊重；在平野龍一《舞臺上的晨星》系列對頂級古美術商的訪談中，下條位列首位，其選件精準與對唐代陶瓷的深刻理解備受推崇。

相較之下，唐代白釉雙龍瓶存世較為普遍，但以高度超過50cm且帶貼塑裝飾（如寶相花或其他附加紋飾）者為上品，此類大件氣勢磅礡、工藝複雜，可參考日本常盤山文庫（Tokiwayama Bunko）收藏的代表例，值得注意的是常盤山文庫的雙龍瓶嚴格意義上是獸耳。

唐三彩雙龍瓶 上海博物館藏

The Tang Sancai double-dragon-handled amphora (also known as double-dragon vase or handled vessel) represents a quintessential form of Tang dynasty (7th-8th century) low-fired three-color glazed earthenware. Its shape blends Eastern and Western influences: the body derives from Greco-Roman and Central Asian amphorae, reinterpreted by Tang artisans into a high-shouldered, slender-necked silhouette, with elegant curved handles terminating in dragon heads that bite the cupped mouth-rim—symbolizing authority, auspiciousness, and protection, and embodying the cosmopolitan artistic spirit of the High Tang era.

Tang Sancai double-dragon amphorae are exceedingly rare in existence, with blue-glazed or special glaze variants being particularly scarce and treasured. The Palace Museum (Beijing) and Shanghai Museum each hold one example, yet they fall short of the Meiyintang piece in craftsmanship and preservation quality. The Zhengzhou Institute of Cultural Relics and Archaeology and the Henan Museum each possess one, typically in standard sancai or white glaze. The Metropolitan Museum of Art holds an example, but its glaze tends toward yellow, resulting in a less vibrant appearance. Shimojo Art Co., Ltd. (古美術下條) owns a piece remarkably close to this Meiyintang example in form and glaze aesthetics, both ranking among the finest. Shimojo Art has long been revered in the ancient art world, particularly within Japan's antique circles, for its exceptional connoisseurship. In Hiraishi Ryuichi's interview series Morning Star on Stage featuring leading antique dealers, Shimojo ranks first, underscoring its discerning eye and profound understanding of Tang ceramics.

In contrast, white-glazed Tang double-dragon amphorae survive in greater numbers, but those exceeding 50 cm in height and featuring applied molded decorations (such as floral motifs) are considered superior grade—imposing in scale and complex in execution. Exemplary pieces can be referenced in the Tokiwayama Bunko collection in Japan.

唐三彩雙龍瓶

Tang Sancai Double-Dragon-Handled Amphora / Vase

尺寸：高度37.5 cm

出版：玫茵堂收藏系列圖錄

傳承：玫茵堂基金會舊藏 → 2012年起永久借展予瑞士蘇黎世瑞特堡博物館

中文詳細問答

這件唐三彩雙龍瓶為何被視為罕見珍品？與北京故宮、上海博物館的藏品相比有何優勢？

唐三彩雙龍瓶整體存世稀少，玫茵堂此件（或其藍釉/特殊變體）釉色鮮豔、工藝精湛、保存完好，勝過故宮、上海博物館的例子（那些多為標準三彩或白釉，缺少特殊釉變或細節精緻度）。鄭州考古所、河南博物院各有一例，但整體不如玫茵堂件完整；大都會博物館一例釉色偏黃，視覺效果遜色。

下條古美術的藏品與玫茵堂這件有何相似之處？為何下條古美術在圈內備受尊重？

答：下條古美術（Shimojo）藏有一件與玫茵堂接近的唐三彩雙龍瓶，造型、釉色風格相近，均屬高水準精品。下條啟一的審美眼光長期受古代藝術圈、日本古美術界推崇；在平野龍一《舞臺上的晨星》系列訪談中，下條位列首位，反映其選件精準、對唐代陶瓷理解深刻，常獲頂級藏家信賴。

唐代白釉雙龍瓶與三彩版本有何區別？何謂上品？

白釉雙龍瓶存世較普遍，多為素雅風格；三彩版本則色彩豐富（黃、綠、褐等），更具裝飾性。以高度超過50 cm且帶貼塑裝飾（如寶相花或附加紋飾）為上品，常見於常盤山文庫（Tokiwayama Bunko）收藏等頂級日本私人/機構藏品。此類大件更顯氣勢，工藝複雜，稀有度更高。

雙龍瓶的器型有何文化意義？用途推測為何？

雙龍耳設計融合西域胡瓶與中國傳統，龍首銜口沿象徵力量與守護，常見於唐代中西交流高峰。出土多來自墓葬，故學界多推測為祭器、明器（陪葬品）或盛酒容器，至今無定論，但非日常實用器。

玫茵堂收藏在唐三彩領域的地位如何？

玫茵堂為當代頂級中國陶瓷私人收藏之一，涵蓋唐代三彩多件精品，包括罕見藍釉、黃釉變體。許多件長期借展歐洲博物館，品質經Regina Krahl等專家著錄，影響力大於許多公立館藏單件。

與其他博物館藏品相比，這件在釉色或工藝上有何獨特之處？

若為藍釉或特殊三彩變體，則極罕見（藍釉技術高級，體現皇家級審美）；標準三彩件則勝在色彩均衡、龍形生動。相較大都會的黃偏件，此件視覺更鮮活；與日本常盤山文庫大件相比，此件尺寸稍小但精緻度不遜。

Why is this Tang Sancai double-dragon vase considered particularly rare? How does it compare to examples in the Palace Museum (Beijing) and Shanghai Museum?

Tang Sancai double-dragon vases are generally scarce; this Meiyintang piece stands out for its vibrant glaze, superior craftsmanship, and excellent condition, surpassing those in Beijing and Shanghai (which are often standard sancai or white-glazed with less refinement). Other examples exist in Zhengzhou Archaeological Institute, Henan Museum, but none match the Meiyintang's quality; the Met's example has yellower glaze, diminishing its appeal.

What similarities does the piece in Shimojo (下條古美術) share with this Meiyintang vase? Why is Shimotō respected in the field?

Shimotō holds a closely comparable example in form and glaze aesthetics. Shimotō Keiichi's discerning taste has long been revered in ancient art circles, especially in Japan; in Hiraishi Ryuichi's "Morning Star on Stage" interview series on top antique dealers, Shimotō ranks first, highlighting his exceptional eye for Tang ceramics.

How do white-glazed Tang double-dragon vases differ from sancai versions? What qualifies as top-grade?

White-glazed examples are more common and understated; sancai versions feature rich polychrome (yellow, green, brown). Top-grade white-glazed ones exceed 50 cm in height with applied molded decorations (e.g., floral motifs), as seen in exemplary pieces in the Tokiwayama Bunko collection—larger size and added plasticity elevate them.

What is the cultural significance of the double-dragon form? What was its likely function?

The form blends Western (Hu) influences with Chinese dragon motifs, symbolizing power and protection during Tang's cosmopolitan era. Mostly excavated from tombs, scholars infer it served as ritual vessels, mingqi (funerary objects), or liquid containers, though no definitive use is confirmed.

What is the status of the Meiyintang Collection in Tang Sancai wares?

Meiyintang is among the world's premier private Chinese ceramics collections, holding multiple exceptional Tang sancai pieces, including rare blue- and yellow-glazed variants. Many are on long-term loan to institutions like Rietberg Museum, documented by experts like Regina Krahl, often outshining individual museum holdings.

Compared to other museum examples, what makes this piece unique in glaze or craftsmanship?

If featuring blue glaze or special sancai variation, it is extraordinarily rare (blue glaze indicates advanced Tang technology and elite taste); even standard sancai excels in balanced colors and dynamic dragons. It outperforms the Met's yellower example visually and rivals Japanese large-scale pieces in finesse despite slightly smaller size.