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三彩筆記 vol.52 蘇黎世瑞特堡博物館：唐三彩藍釉萬年罐 - Rietberg Museum, Tang Sancai Blue Glazed Wannian Jar

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    SACA
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Ceramic vase with green, blue, and white abstract stripes on a light background. Rounded shape with a wide opening. Minimalist setting.

唐三彩藍釉萬年罐（MYT 1291，瑞特堡博物館藏，玫茵堂基金會長期借展）是一件極具代表性的唐代（8世紀）低溫鉛釉陶器，器高約27 cm。器型為經典球腹短頸罐（卵形或球形萬年罐），唐代陶瓷工藝中廣受青睞的儲物罐形式，俗稱「萬年罐」。


胎質粉白或淺紅陶土，有的是白胎，淺紅胎或先施化妝土提升白度，再覆透明含鉛釉為基底，外部以鈷藍釉大膽點綴、灑潑或條紋裝飾，呈現藍綠調或藍斑效果，內壁或施淡黃/琥珀釉，釉層止於足部以上，底露胎。此藍釉屬唐三彩中極其珍稀的品類，鈷料主要自西域（波斯/中亞）進口，價格高昂，等同黃金數十倍，限用於高級脈絡。藍釉在低溫燒成時流淌性強，形成自然斑駁、條紋或抽象交融，尤以藍綠條紋類似西瓜皮的視覺效果最為罕見，增添獨特異域風情與絲路影響。


斷代聚焦高宗至玄宗時期（7世紀後半至8世紀前半），河南鞏縣窯為核心產地，安史之亂後產量急劇衰減。此件藍綠調裝飾與哈佛大學、國立歷史博物館等藏品之灑藍斑/藍條紋萬年罐風格高度相近，體現唐代陶瓷技術在中西交流高峰下的國際化與奢華創新。



唐三彩介紹

唐三彩（Tang Sancai）一直是代表唐代偉大藝術的核心產品，唐代（618–907年）最具標誌性的低溫鉛釉陶器。「三彩」為泛稱，涵蓋多色釉陶，主要以綠（銅氧化物）、黃/琥珀/褐（鐵氧化物）、白/透明（基底）為主，偶爾融入藍（鈷）、紫等珍稀色。工藝流程：先素燒胎體（約1000°C），再施彩釉，二次低溫燒成（約800–1000°C），釉料流動強烈，產生自然斑駁、潑灑或多色交融的浪漫效果，極具裝飾性與藝術張力。


分為兩大類：（1）陶俑（如馬、駱駝、仕女），生動再現唐代社會生活與審美風貌；（2）器皿（如罐、壺、盤），萬年罐即典型球形儲物罐。產地以河南鞏縣窯、陝西西安周邊為主，盛於開元、天寶年間（8世紀前半），安史之亂後逐漸衰退。唐三彩外銷中亞、日本、埃及等地，象徵大唐帝國的繁榮、開放與文化自信。其藝術成就自唐以降影響深遠，1989年英國鐵路養老基金會（British Rail Pension Fund）於拍賣會上以374萬英鎊創下唐三彩馬匹拍賣紀錄，此後長期保持最高價位，彰顯其在全球藝術市場的經典地位。



藍釉介紹

唐三彩藍釉極為罕見，使用鈷（cobalt）作為著色劑，鈷料主要經絲綢之路自波斯（今伊朗/阿富汗）進口，屬極度奢侈原料。藍釉呈現鮮豔深藍或藍綠調，在低溫鉛釉中穩定卻易流淌，形成灑藍斑、藍條紋或通體藍效果。


最早系統出現於高宗時期（7世紀中後期），如武則天之子李弘（孝敬皇帝）與哀皇后恭陵出土藍釉器（包括藍釉盆、雙龍柄尊、燭台等），這些紀年明確的皇家級遺物證實藍釉技術已臻成熟，釉色飽滿、匀淨，高貴典雅。藍彩象徵珍貴與異域奢華，使用量極少，存世完整器更稀。相較綠（銅）、黃（鐵），藍釉技術門檻最高，反映唐代中西交流的巔峰與皇家專屬工藝。




中文詳細FAQ

什麼是「萬年罐」？ 

唐代陶瓷中經典的球形/卵形罐（常帶蓋），寓意「萬年不朽」，常用作儲物或裝飾器皿，形制優美飽滿，體現唐代工藝的和諧與永恆美學。


為什麼藍釉唐三彩這麼少？ 

鈷料進口極貴、稀缺，唐代僅限少量使用，多為灑斑或條紋而非通體藍。安史之亂後技術衰退，藍釉器存世極稀。


藍綠條紋像西瓜的裝飾有何特別？ 此類藍綠條紋或斑駁效果模仿西瓜皮的自然紋理，極為罕見，源自釉料流淌與蠟繪/防染技法，展現唐代抽象裝飾的創新與異域靈感。


如何區分真品與仿品？ 

真品：胎體粉白/淺紅，釉流動自然、具虹彩或銀化（長期氧化），底部露胎有旋紋；低溫二次燒，釉薄易微脫落。仿品常高溫燒、釉厚均勻、胎過白、無自然老化跡象。


此件MYT 1291有什麼特別之處？ 

玫茵堂舊藏，藍綠調裝飾（含罕見西瓜式條紋），尺寸適中（27 cm），代表唐代中西融合的稀有藍釉萬年罐，藝術價值極高。


唐三彩藍釉與後世青花有何不同？ 

唐三彩藍釉為低溫鉛釉、覆燒（on-biscuit），流動自然、抽象；青花為高溫釉下彩（underglaze），穩定精準。唐三彩藍釉是中國最早系統使用鈷的先驅。


全球博物館同款或極相似藏品

此類藍條紋萬年罐存世極稀，全球公開藏品中僅少數可與圖片高度比對，主要特徵為球形身、垂直藍綠條紋、白地留白、蠟繪技法。


  1. 國立歷史博物館（台北）——最接近同款 唐三彩藍條紋萬年罐（館藏編號 85-00305）

    • 尺寸：高 22.7 cm、口徑 10.5 cm、底徑 11 cm（尺寸、比例與 MYT-1291 極近）

    • 形制：外反口、短頸、球腹、撇足，完全一致

    • 裝飾：藍、綠、褐釉為主，直條紋與少量圓點，運用脫蠟法創造白地層次，條紋流淌效果與圖片「西瓜紋」幾乎相同（白條與藍綠波浪交錯，視覺紋理高度吻合）

    • 技法：先施化妝土，下腹以下露胎，釉止不規則線，與圖片完全一致

    • 入藏：1996 年購藏，公開展示 連結：https://collections.culture.tw/nmh_collectionsweb/collection.aspx?GID=MCMDMF0IM6 （文化部典藏網官方頁面，含詳細描述與圖像）

    另一相關連結（數位典藏聯合目錄）：https://catalog.digitalarchives.tw/item/00/12/4a/4d.html

  2. 其他博物館藍釉/條紋相關參考

    • Harvard Art Museums：唐藍斑罐（cobalt-splashed jar），以大面積藍斑為主，非規則條紋，但同屬鈷料稀有應用。 連結：https://harvardartmuseums.org/tour/497/slide/11100

    • 其他如克利夫蘭藝術博物館、舊金山亞洲藝術博物館等有藍釉變體，但無公開垂直西瓜紋萬年罐完整同款。 （玫茵堂系列藏品中類似藍釉器散見，但 MYT-1291 為最具代表性條紋例）

拍賣市場曾出現的同款或類似品

純藍條紋萬年罐極罕上拍（多為私人珍藏，未流通），市場以「藍灑彩」（blue-splashed）或「藍釉」罐較常見，但條紋型視為「unusual decoration」而備受關注。

總結市場：純藍條紋完整萬年罐幾乎未見公開大拍（反映其博物館級稀有），但藍灑/藍釉同類型穩定在五位數至六位數美元區間，品相佳、來源可靠者（如 Meiyintang 系）更具溢價空間。類似條紋變體偶見於高端拍賣，但與圖片垂直西瓜紋高度匹配者極少。


結論與稀有性評估

結合圖片，MYT-1291 屬唐代藍釉萬年罐中最具代表性的「西瓜紋」條紋類型，全球公開同款/極相似主要為台北國立歷史博物館 85-00305 一件可直接比對，其他多為藍斑或灑藍變體。


稀有原因：

  • 鈷料全靠西域進口，價格昂貴，等同黃金數十倍；

  • 蠟繪+流淌技法難度極高，成品率低；

  • 存世完整器本就少，此特定垂直條紋更為鳳毛麟角。

此器與台北藏品共同代表唐代陶瓷國際化與奢華審美的最高水準。若需進一步比對圖片或聯繫博物館，可提供更多細節查證。



Tang Sancai Blue-Glazed "Wannian Guan" Jar

 MYT 1291, Museum Rietberg, long-term loan from Meiyintang Foundation is a quintessential 8th-century Tang dynasty low-fired lead-glazed earthenware jar, height approx. 27 cm. The form is a globular or ovoid vessel with short neck and everted rim, termed "wannian guan" (myriad-year jar) in scholarship, prized for its timeless aesthetic and storage/decorative function.


The buff or pinkish-white earthenware body is coated with white slip, then a clear lead-fluxed glaze base. The exterior displays bold cobalt-blue splashes, streaks, or stripes (appearing blue-green from firing/oxidation variations), with possible amber/yellowish interior glaze stopping above the foot; base unglazed. This rare cobalt application marks it as elite Tang sancai, with cobalt imported from West Asia (Persia/Central Asia) at exorbitant cost. The blue-green stripes strikingly resemble watermelon rind patterning—exceptionally rare and visually striking among extant pieces.


Dating centers on the Gaozong to Xuanzong reigns (mid-7th to mid-8th century), primarily Gongxian kilns in Henan. The decorative effect highlights Silk Road influences and Tang cosmopolitan innovation.


Tang Sancai

Tang Sancai has always stood as the core embodiment of Tang dynasty's great artistic achievement. These low-fired lead-glazed earthenwares from the Tang era (618–907) feature vibrant polychrome glazes. "Sancai" describes multiplicity rather than exactly three colors: typically green (copper oxide), amber/brown/yellow (iron oxide), cream/white (base), with rare blue (cobalt) or purple additions. Biscuit-fired (~1000°C), then glazed and low-fired (~800–1000°C), the fluid glazes create spontaneous mingling and flowing effects full of decorative romance.


Categories include: (1) figurines (horses, camels, attendants) capturing Tang life's cosmopolitan vibrancy; (2) vessels like jars, ewers, dishes; the wannian guan is a signature globular storage form. Henan (Gongxian) and Shaanxi production peaked in the Kaiyuan-Tianbao eras (early-mid 8th century), declining post-An Lushan Rebellion. Widely exported along the Silk Road, sancai symbolizes Tang prosperity and openness. Its prestige endures: in 1989, a Tang sancai horse from the British Rail Pension Fund sold at auction for £3.74 million, a record long-held in the international art market.


Blue Glaze

Blue glaze in Tang sancai is exceptionally rare, using cobalt oxide as colorant, imported via Silk Road from Persia at immense expense. It yields intense blues (often blue-green from variations), applied sparingly in splashes, streaks, or full coverage. Earliest systematic use appears mid-7th century, exemplified by blue-glazed vessels (basins, double-dragon ewers, candlesticks) from the Gongling Mausoleum of Li Hong (son of Wu Zetian) and his consort the哀皇后, providing dated royal-context evidence of mature blue technology—rich, even, and luxurious. Blue signified elite exotic luxury, far scarcer than green or amber, foreshadowing later cobalt underglazes.


English FAQ

What is a "wannian guan"? 

A classic Tang globular jar (often lidded), meaning "myriad-year jar," valued for storage or decoration; its balanced form epitomizes Tang ceramic harmony and enduring beauty.


Why are blue-glazed sancai pieces so rare? 

Cobalt was imported, exorbitantly expensive, and limited; mostly splashes/stripes, not full coverage. Production declined sharply after mid-8th century.


What is special about the blue-green "watermelon-like" stripes? 

The irregular blue-green stripes or mottling mimic watermelon rind texture—highly unusual and rare—achieved via glaze flow and resist/wax techniques, showcasing Tang abstract innovation and foreign inspiration.


How to distinguish authentic Tang sancai from fakes? 

Genuine: buff/pinkish body, natural glaze flow/iridescence/silvering from age, unglazed base with wheel marks; low-fired, thin glazes with minor flaking. Fakes: high-fired, uniform thick glazes, overly white bodies lacking patina.


What makes MYT 1291 special? 

Prestigious Meiyintang provenance; blue-green decor (including rare watermelon-style stripes); mid-size (27 cm); exemplifies Tang Sino-Western fusion in elite blue-glazed ware.


How does Tang sancai blue differ from later blue-and-white? 

Tang blue: low-fired lead glaze (overglaze/on-biscuit), fluid and expressive; blue-and-white: high-fired underglaze on porcelain, precise/stable. Tang blue pioneered systematic cobalt use in Chinese ceramics.


Comparable Examples in Global Museums

This type of blue-striped wannian guan is exceedingly rare worldwide. Only a very small number of publicly accessible pieces closely match the image’s key features: globular form, vertical blue-green stripes, white-ground reserves, and wax-resist technique.


  1. National Museum of History, Taipei — Closest Comparable Example Tang Sancai Blue-Striped Wannian Guan (accession no. 85-00305)

    • Dimensions: height 22.7 cm, mouth diameter 10.5 cm, base diameter 11 cm (very close in scale and proportion to MYT-1291)

    • Form: everted mouth, short neck, globular body, flared foot — identical profile

    • Decoration: primarily blue, green, and brown glazes in vertical stripes with occasional dots; uses wax-resist to create layered white ground; flowing stripe effect almost identical to the “watermelon rind” texture in the image (white bands alternating with blue-green waves, highly matching visual rhythm)

    • Technique: white slip applied, glaze stops irregularly below mid-body, base unglazed — exact match to the image

    • Acquisition: purchased 1996, publicly displayed Link: https://collections.culture.tw/nmh_collectionsweb/collection.aspx?GID=MCMDMF0IM6 (Official page on Taiwan Ministry of Culture Collections Network, with detailed description and images)

    Additional related link (Digital Archives Union Catalog): https://catalog.digitalarchives.tw/item/00/12/4a/4d.html

  2. Other Museum References for Blue-Glazed / Striped Variants

    • Harvard Art Museums: Tang cobalt-splashed jar — large-area blue splashes rather than regular stripes, but shares the rare cobalt application. Link: https://harvardartmuseums.org/tour/497/slide/11100

    • Other institutions (e.g., Cleveland Museum of Art, Asian Art Museum of San Francisco) hold blue-glazed variants, but no publicly documented complete vertical watermelon-rind striped wannian guan matching this exact style. (Pieces from the Meiyintang series, to which MYT-1291 belongs, include similar blue-glazed examples, but MYT-1291 remains the most representative striped specimen.)


Auction Market Records of Similar or Closely Related Pieces

Complete blue-striped wannian guan jars of this exact type almost never appear at public auction (mostly held in private or museum collections). The market more commonly sees “blue-splashed” or plain blue-glazed jars, but striped examples are noted as “unusual decoration” and attract significant attention when they surface.

Market Summary: Complete blue-striped wannian guan jars of this precise vertical watermelon-rind pattern are museum-level rarities and virtually never appear in major public sales. Related blue-splashed / blue-glazed examples consistently achieve five- to six-figure USD prices, with premium for excellent condition and strong provenance (e.g., Meiyintang-related pieces command higher value).


Conclusion and Rarity Assessment

Combining the provided image, MYT-1291 represents one of the most characteristic examples of Tang blue-glazed wannian guan with the iconic “watermelon-rind” vertical stripe decoration. The closest publicly documented parallel is the National Museum of History, Taipei (85-00305); other examples are mostly blue-splashed variants. Reasons for extreme rarity:

  • Cobalt pigment was entirely imported from West Asia, extremely expensive (equivalent to dozens of times the price of gold);

  • Wax-resist combined with controlled glaze flow was technically very challenging, resulting in low success rate;

  • Very few complete examples survive overall, and this specific vertical striped pattern is among the rarest.

Together with the Taipei piece, MYT-1291 exemplifies the zenith of Tang ceramic internationalization and luxurious aesthetic innovation. For further image comparison or museum contact, additional details can be provided for verification.


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