三彩筆記 vol.54 蘇黎世瑞特堡博物館：唐三彩鷹形執壺 - Rietberg Museum, Tang Sancai Egale Zun

唐代三彩鷹形執壺

此器為唐代8世紀三彩鷹形執壺（又稱鷹首注子或鷹形壺），高32.1 cm，產自河南鞏縣窯（Gongxian kilns，今鞏義地區）。造型為一隻寫實猛鷹棲息於圓盤形基座之上：鷹頭頂設短圓口為注入口，張開尖喙為流嘴，器身中空；背部飾精美雙股環形柄，柄上點綴五朵小花飾及兩處瘤狀突起，極富裝飾性；鷹面部刻劃精細，眼睛突出於厚重眼瞼之下，喙部尖銳有力；頸部與頭後以鱗片狀羽毛線條及細膩滑泥劃紋（slip feathering）表現絨羽質感；胸部刻劃平行線條示意羽毛，翅膀以浮雕鱗狀羽毛層層疊加，尾部刻劃細密；整體施三彩鉛釉，釉彩自然流淌、斑駁交融，呈現寫實與抽象美感融合的效果——喙、尾、口沿、柄部為單色綠釉，眼睛、喙內側、翅膀下方及腿部為琥珀色，胸部琥珀與白釉交疊斑點，面頰施白釉；基座底部露胎，呈奶油色陶體，胎質細膩堅硬。

此類寫實鳥形執壺在唐代陶器中極為罕見，公私收藏中僅見兩件高度相似之例：其一即本器（玫茵堂舊藏，現瑞士瑞特堡博物館永久借展）；其二為岡田美術館藏品（高31.2 cm，2018年岡田美術館5週年展展出，2025年蘇富比香港「岡田博物館專場」以2294.5萬港元成交，詳見artsaca.com（《拍賣筆記 vol.252 岡田美術館：2294.5萬港元成交，唐代三彩鷹形壺 - Sotheby’s Okada Sale, An Sancai Hawk-Form Ewer, Tang Dynasty Sold for 22.945m HKD》）。兩件尺寸相若、造型細節（羽毛處理、柄飾、花飾、釉彩分佈）幾乎一致，可視為「姊妹篇」，共同代表唐三彩鳥形器最高水準。

歷史、文化與工藝意義

唐代狩獵文化鼎盛，尤其玄宗朝（713–756年）宮廷專設「鷹坊」，蓄養獵鷹與獵犬，獵鷹象徵貴族權力、勇猛與宮廷雅趣。相關藝術與詩歌在薛愛華（Edward H. Schafer）《撒馬爾罕的金桃》（The Golden Peaches of Samarkand, 1963, pp.93–96）中有詳盡論述。

器型直接源自波斯薩珊金屬器「酒鳥」（wine birds），用於祭酒與禮儀，經絲綢之路傳入中土，體現唐代高度開放的國際主義。參見A.S. Melikian-Chirvani〈The Wine Birds of Iran〉（Bulletin of the Asian Institute, vol.9, 1995）；Margaret Medley《Metalwork and Chinese Ceramics》（1972, p.4）將鳳首/鷹首執壺與薩珊銀器並列；Bo Gyllensvärd《T’ang Gold and Silver》（1958, figs.23）更以法隆寺唐銀龍首壺為例，證明金銀器原型對陶瓷的直接影響。洛陽關林唐墓出土三彩駱駝載樂俑上亦有類似鳥形執壺描繪（《洛陽唐三彩》，1980, pl.80），證實此類器型在唐代墓葬藝術中的真實存在。

工藝上，此器融合多種高難度技法：化妝土打底、刻劃線、浮雕羽毛、滑泥劃紋、鉛釉多層澆灑，充分利用釉料流動性創造「天成」效果，充分體現唐代工匠對自然主義與裝飾主義的完美掌控。胎體堅實、釉色飽滿無開片，保存狀態極佳。

收藏史

原屬玫茵堂（Meiyintang）基金會珍藏，著錄於Regina Krahl《玫茵堂藏中國陶瓷》卷3(I), London, 2006, no.1315。2012年起永久借展於瑞士蘇黎世里特貝格博物館（Museum Rietberg），為歐洲重要亞洲藝術機構展示唐代陶瓷國際交流之典範。

此器不僅是唐三彩器型與工藝的頂級實例，更是唐代中外文化融合、宮廷生活與絲路貿易的立體證物，具有極高的學術與藝術價值。

Introduction to Tang Sancai

Tang sancai (唐三彩), or Tang three-color glazed earthenware, represents the pinnacle of Tang dynasty (618–907 CE) ceramic art. It is a low-fired lead-glazed pottery (firing temperature approx. 800–1000°C) primarily featuring yellow/amber, green, and white glazes, though additional hues such as cobalt blue and iron brown frequently appear. The technique involves biscuit-firing the earthenware body, applying a white slip (cosmetic clay), and then layering lead-fluxed glazes colored with metal oxides (copper for green, iron for amber/brown, etc.). Glazes are applied by pouring, splashing, spotting, and trailing to create vibrant, flowing, marbled effects that mimic nature. Primarily produced as mingqi (tomb furnishings) for burial, sancai flourished from the late 7th to mid-8th century (Gaozong to Xuanzong reigns), embodying the Tang empire’s economic prosperity, social openness, and extensive Silk Road cultural exchanges. Common forms include figurines, animals, and vessels; their lively modeling and brilliant polychromy provide crucial material evidence for Tang society, aesthetics, and cross-cultural technology transfer.

Tang Dynasty Sancai Hawk-Form Ewer (Museum Rietberg MYT 1315)

This exceptional sancai-glazed hawk-form ewer dates to the 8th century Tang dynasty and measures 32.1 cm in height. Produced at the Gongxian kilns in Henan province (modern Gongyi area), it is modeled as a realistic hawk perched on a circular disk base. The top of the hawk’s head features a short circular mouth for filling; the open beak serves as the spout; the body is hollow. The back is adorned with an elaborate double-stranded loop handle embellished with five small florets and two robust knobs. The hawk’s face is sharply delineated with prominent eyes beneath heavy lids and a pointed beak. The neck and back of the head display scalloped feather lines and delicate slip-feathering strokes; the breast shows incised parallel strokes; the wings feature layered scalloped feathers in relief; the tail is finely incised. The entire surface is covered in splashed sancai glazes that flow naturally: the beak, tail, rim, and handle are monochrome green; the eyes, interior of the beak, undersides of the wings, and legs are amber; the breast combines amber and white splashes; the cheeks are white. The unglazed base reveals the creamy earthenware body of fine, dense texture.

Bird-form ewers of this realistic type are exceedingly rare in Tang pottery. Only two closely comparable examples are known in public and private collections: this piece (formerly Meiyintang Collection, now on permanent loan to Museum Rietberg) and the Okada Museum of Art example (height 31.2 cm, exhibited 2018, sold at Sotheby’s Hong Kong “Okada Museum Sale” on 22 November 2025 for HKD 22.945 million; see detailed analysis on artsaca.com, Auction Notes vol.252). The two pieces are nearly identical in dimensions, modeling details (feather treatment, handle decoration, glaze application), and overall aesthetic, constituting a rare “sister pair” that defines the apex of Tang sancai avian vessels.

Historical, Cultural, and Technical Significance

Hawking was a prestigious pursuit in Tang China, peaking during Emperor Xuanzong’s reign (713–756 CE) when the imperial “Falconry Office” (鷹坊) maintained hunting hawks and hounds. Edward H. Schafer’s seminal study The Golden Peaches of Samarkand (1963, pp.93–96) thoroughly documents the artistic and poetic celebration of hawks in Tang court culture.

The form derives directly from Persian Sasanian metalwork “wine birds” used in libation rituals, transmitted via the Silk Road and exemplifying Tang cosmopolitanism. Key scholarship includes A.S. Melikian-Chirvani, “The Wine Birds of Iran” (Bulletin of the Asian Institute, vol.9, 1995); Margaret Medley, Metalwork and Chinese Ceramics (1972, p.4), juxtaposing phoenix/hawk-head ewers with Sasanian silver prototypes; and Bo Gyllensvärd, T’ang Gold and Silver (1958, figs.23), comparing sancai examples with Sasanian silver and the Horyuji Temple dragon-head ewer. A sancai camel figure from a Luoyang Guanlin tomb also carries a similar bird ewer (Luoyang Tang Sancai, 1980, pl.80), confirming the motif’s presence in Tang funerary art.

Technically, the piece masterfully combines slip application, incising, relief carving, feathering strokes, and multi-layer lead-glaze pouring. The fluid glaze movement creates a naturalistic yet decorative effect, showcasing Tang artisans’ supreme command of material and aesthetic harmony. The body is dense and well-fired, with stable, uncrackled glazes in excellent condition.

Provenance

Formerly in the renowned Meiyintang Collection, fully published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 3(I), London, 2006, no.1315. Since 2012 it has been on permanent loan to Museum Rietberg, Zurich, serving as a highlight of the museum’s Asian ceramics and a symbol of international cultural dialogue.

This ewer stands as a masterpiece of Tang sancai typology, technique, and cultural synthesis—essential for understanding Tang court life, Silk Road exchange, and ceramic innovation.

中文FAQ詳細

1. 什麼是唐三彩？其工藝特點、燒造背景與歷史定位如何？ 唐三彩為唐代低溫鉛釉陶器，核心技法在素胎施化妝土後，以鉛釉為基加入金屬氧化物，透過多層澆灑實現流動斑駁效果。燒成溫度低於瓷器，釉面光澤柔和但易流淌。興起於北朝，成熟於唐高宗–玄宗時期，主要作為明器，少數實用器，體現唐代「胡漢融合」與絲路繁榮。學術價值在於提供唐代色彩美學、墓葬制度及工藝史的直接證據。

2. 此鷹形執壺的造型有何特殊文化意義？為何採用鷹形？ 鷹在唐代象徵權力、勇猛與宮廷狩獵文化，玄宗朝鷹坊制度鼎盛。此造型源自波斯「酒鳥」金屬器，經絲路傳入後被中國工匠本土化，融合寫實動物雕塑與禮儀器功能。罕見程度極高，反映唐代對異域形式的高度吸收與再創造。

3. 與岡田美術館同款有何異同？為何兩件被視為姊妹篇？ 兩件尺寸（32.1 cm vs 31.2 cm）、鷹姿、柄飾、花紋、羽毛刻劃、釉彩分佈幾乎完全一致，僅細微斑點差異。岡田一件2025年以2294.5萬港元成交（artsaca.com有完整拍賣分析）。兩件同為8世紀鞏縣窯最高水準，文獻互證（玫茵堂圖錄no.1315與岡田展覽），構成稀有「對比研究組」。

4. 此器 provenance 與現藏情況如何？ 原玫茵堂基金會重要藏品，2006年Krahl圖錄正式著錄。2012年起永久借展瑞士里特貝格博物館，屬歐洲公開展示的頂級唐代陶瓷之一，保存狀態優異。

5. 如何從工藝角度鑑定其為唐代真品？ 胎體細膩堅硬（河南鞏縣典型）、化妝土均勻、刻劃與浮雕精準、鉛釉自然流淌無人工痕跡、底部露胎呈奶油色、釉色穩定無後加彩。與已知唐墓出土同類器型（駱駝俑上的鳥壺）及波斯原型完全吻合，無宋元或近代仿製特徵。

6. 此器是實用器還是純明器？在唐代墓葬中扮演何種角色？ 多數鳥形執壺為明器，用於墓葬酒禮或象徵宮廷生活。但其精美程度與中空設計也適合少量實用。出土實例多見於貴族墓，與駱駝、馬俑等共同構成「胡風」生活場景，反映墓主對異域奢華的追求。

7. 與其他唐三彩鳥形器相比，此件有何獨特之處？ 絕大多數唐三彩鳥形為抽象或簡化，此件為高度寫實猛鷹，羽毛層次豐富、動態生動，兼具雕塑性與器物功能，是目前已知最精美完整的單體鳥形執壺之一。

English FAQ Detailed

1. What is Tang sancai? What are its technical characteristics, production context, and historical position? Tang sancai is low-fired lead-glazed earthenware characterized by splashed yellow/amber, green, and white glazes (with additional cobalt blue and iron brown tones). The body is biscuit-fired, coated with white slip, then decorated with lead-fluxed glazes colored by metal oxides, applied in multiple layers by pouring and trailing to achieve fluid, marbled effects. Firing temperature is lower than porcelain. It emerged in the Northern Dynasties, matured under Gaozong–Xuanzong, and was primarily used as mingqi. It embodies Tang cosmopolitanism and Silk Road exchange, offering direct evidence for color aesthetics, burial practices, and technological history.

2. What is the cultural significance of the hawk form? Why choose a hawk? Hawks symbolized power, valor, and courtly hunting culture; the imperial Falconry Office flourished under Xuanzong. The shape derives from Persian Sasanian “wine birds” for libation, adapted by Tang artisans to blend realistic animal sculpture with ritual vessel function. Its extreme rarity highlights Tang absorption and reinvention of foreign forms.

3. How does this ewer compare to the Okada Museum counterpart? Why are they considered a “sister pair”?The two pieces are virtually identical in size (32.1 vs 31.2 cm), posture, handle decoration, floral motifs, feather carving, and glaze distribution, with only minor splash variations. The Okada piece sold for HKD 22.945 million in 2025 (full analysis on artsaca.com Auction Notes vol.252). Both represent Gongxian kiln peak achievement in the 8th century and are mutually referenced in scholarship (Meiyintang vol.3 no.1315 and Okada exhibition), forming an ideal comparative set.

4. What is the provenance and current location of this piece? Formerly a highlight of the Meiyintang Collection, fully published in Krahl 2006, vol.3(I), no.1315. On permanent loan to Museum Rietberg, Zurich since 2012—one of the finest Tang ceramics on public display in Europe, in excellent condition.

5. How can its authenticity as a Tang piece be verified technically? Fine, dense Henan Gongxian body; even white slip; precise incising and relief; natural lead-glaze flow without artificial marks; creamy exposed base; stable, uncrackled glazes. Matches excavated Tang tomb examples (bird ewers on camel figures) and Persian prototypes exactly; no Song/Yuan or modern replication features.

6. Is this a functional vessel or purely a mingqi? What role did it play in Tang burials? Primarily mingqi for burial wine rituals or symbolic court life, yet its hollow body and refinement suggest possible limited use. Excavated examples appear in aristocratic tombs alongside camels and horses, constructing “exotic luxury” scenes that reflect the deceased’s aspiration to Tang cosmopolitan splendor.

7. What makes this piece unique compared to other Tang sancai bird-form vessels? Most bird forms are stylized or simplified; this is a fully realistic, dynamic raptor with layered feather detailing, combining sculptural presence and vessel functionality—the most complete and refined single avian ewer known.