三彩筆記 vol.55 蘇黎世瑞特堡博物館：唐三彩藍釉注子（球形壺），玫茵堂收藏 - Rietberg Museum, Tang Sancai Blue Glazed Ewer, Meiyintang Collection, Tang Dynasty

唐代藍釉注子（球形壺）

蘇黎世瑞特堡博物館

編號MYT 1254

一件極具代表性的唐代低溫鉛釉陶器，源自8世紀的鞏縣窯或類似河南窯口，體現了大唐帝國在陶瓷工藝上的巔峰成就與絲綢之路的文化交融。此器物為球形壺，通高11.2厘米，採用白胎陶土，覆蓋藍色釉料。藍釉色澤深沉、流暢，燒成溫度約800–1000°C，屬於低溫釉陶範疇。器形圓潤飽滿，頸部短直，腹部球形，底足微撇，造型簡約而優雅，無繁複裝飾，強調藍釉的純淨與貴氣。作為墓葬隨葬品或宮廷用器，這類藍釉器物常見於初唐至中唐的高等級墓葬，象徵墓主人的尊貴地位與對異域奢華的追求。

此件藏品的歷史背景可追溯至唐高宗至玄宗時期（7世紀後半葉至8世紀初），正值唐代陶瓷技術創新高峰，藍釉的引入源自波斯鈷料（cobalt oxide）經絲綢之路傳入中國。由於鈷料稀缺且價格高昂（往往數倍於黃金），藍釉器物多限於皇室或貴族使用，代表了唐代「三彩貴藍」的審美階序。蘇黎世瑞特堡博物館的這件藍釉球形壺來自玫茵堂基金會的永久借展，基金會由瑞士裕利兄弟（Zuellig兄弟）於20世紀中葉蒐集而成，該收藏以系統性與高品質著稱，涵蓋新石器至清代的中國陶瓷藝術。裕利兄弟的蒐藏理念強調「稀有性」，此件藍釉壺即為其唐代藍釉系列的典型代表，與全球其他頂級博物館（如哈佛藝術博物館、國立歷史博物館）的藍釉萬年罐類似，均反映了唐代陶瓷的國際化風格與奢華創新。

參考SACA學會（artsaca.com）發布的《展覽筆記 vol.4 武則天兒子李弘的恭陵藍釉三彩》，其中提到恭陵出土的藍釉器物（如藍釉雙龍柄尊、藍釉燈）證明藍釉技術在高宗、武則天時代已臻成熟，用於皇家墓葬以彰顯尊貴。SACA亦指出，類似藍釉萬年罐（藍釉球形罐）在全球存世稀少，哈佛藝術博物館及國立歷史博物館藏有同款，生產於鞏縣窯，7世紀後半葉至8世紀初，藍釉潑灑或條紋裝飾，體現中西交流高峰。關於同款在拍賣市場的記錄，藍釉球形壺或萬年罐極罕上拍，但SACA《三彩筆記 vol.52》提及蘇黎世瑞特包博物館另一件藍釉萬年罐（MYT 1291，高27厘米，藍綠條紋裝飾），其相似器物曾在Sotheby's 2021年拍賣中以藍灑彩萬年罐（高26.8厘米）售出，成交價高達數萬美元；Christie's亦有藍條紋變體（唐/遼時期）記錄，強調其「unusual decoration」的稀有性。這些拍賣案例顯示，藍釉器物因鈷料珍貴與歷史價值，常以「藍籌」標的身份流通，市場熱度持續上升，預估完整藍釉球形壺價值可達10–50萬美元，視保存狀況而定。

藍理捷（J.J. Lally）作為知名中國古董商，曾經手多件唐代藍釉器物，近期有一件同款的作品在拍賣釋放，進一步證實此類器物的市場認可。學者研究顯示，唐代藍釉不僅是技術創新，更是文化符號，體現波斯影響與唐帝國的開放性（如劉航宇《恭陵美陶》，《中原文物》2000年第3期）。此件MYT 1254的學術價值在於填補藍釉器物形態的多樣性空白，為研究唐代釉色演變提供實物依據。

拍賣筆記 vol.236 佳士得紐約：藍理捷，唐三彩藍釉注子40640美元成交 - Christie’s NY, J.J.Lally, A Blue-Glazed Ovoid Pottery Ewer, Tang Dynasty, Sold for 40640USD

唐三彩

唐三彩（Tang Sancai），又稱唐三彩陶器或唐三彩釉陶，是唐代（618–907年）最具代表性的低溫鉛釉陶器藝術形式，盛行於7–8世紀，產地主要為河南鞏縣窯（今鞏義市黃冶窯）、陝西西安及洛陽周邊窯口。名稱源自其典型的三種釉色：黃（鐵質）、綠（銅質）和白（無色或乳白），但實際可擴展至藍、褐、黑等多色變體。燒成溫度約800–1000°C，胎體為白或紅陶土，先施白色化妝土（engobe），再潑灑或塗刷釉料，二次燒成後呈現斑駁流淌的藝術效果。器物類型多樣，包括陶俑（仕女、武士、馬匹、駱駝、異域人物）、器皿（壺、罐、盤、爐）和建築構件（如瓦當、磚雕），主要用作墓葬隨葬品（明器），反映唐代社會生活、審美風尚與中西文化交流。

唐三彩起源於初唐（或更早的北齊時期），早期產品見於高宗時期墓葬（如670年張文舉墓），但至武則天執政後才大規模流行，開元、天寶年間達巔峰，安史之亂（755–763年）後逐漸衰落。考古證據顯示，其消費階層從皇室擴展至官宦與富商，墓葬出土量龐大（如洛陽邙山墓群、西安唐墓）。藝術特點包括造型生動寫實、釉色大膽潑灑、異域元素融入（如胡人俑、駱駝），象徵大唐帝國的繁榮開放與絲路貿易高峰。學者認為，唐三彩受波斯薩珊藝術、佛教影響，技術上借鑒金屬器工藝（如貼花、錘揲），是中國陶瓷史從單色釉向多色釉轉型的關鍵階段。全球博物館藏品豐富，如大英博物館、維多利亞與阿爾伯特博物館的唐馬俑，市場上完整件成交價可達數百萬美元，1989年英國鐵路養老基金會的唐馬俑以374萬英鎊創紀錄。

藍釉的特殊性

藍釉是唐三彩體系中最珍稀的變體，使用鈷料（cobalt oxide）作為著色劑，呈現深邃鮮豔的藍色（cobalt blue），最早見於7世紀後半葉，受絲綢之路影響從波斯或中亞進口。鈷料稀缺、價格高昂（勝過黃金），燒製難度大（需精準控制溫度以防釉流），故藍釉器物多限於初唐至中唐的高等級墓葬，象徵墓主人的尊貴與帝國奢華。藍釉常與黃、綠、白搭配，形成「三彩掛藍」的視覺衝擊，成本遠超常見三彩，市場上被譽為「三彩貴藍，價值連城」。

藍釉的特殊性尤體現於恭陵（Gongling）——唐高宗李治與武則天之子李弘（652–675年）的陵墓，位於河南省洛陽市偃師區緱氏鎮滹沱嶺上。李弘為高宗第五子、武則天長子，675年暴卒（傳聞為武則天所害），追謚「孝敬皇帝」，以天子規格安葬。次年，其妻裴氏（哀皇后）悲憤而亡，垂拱三年（687年）合葬恭陵。1998年發掘出土一批藍釉器物，包括藍釉烛台（高33.6厘米，文獻僅見實物首現）、藍釉三足爐（高17厘米，口徑13厘米）、藍釉燈等，總計250件（含被盜追回61件），代表初唐陶瓷藝術最高水平。這些藍釉器華美稀罕，造型古朴、釉色深沉，專為皇陵御用明器，體現武則天對早逝兒子的哀悼與皇家規格。學者劉航宇在《恭陵美陶》（《中原文物》2000年第3期）中分析，此批藍釉證明技術成熟，受波斯影響，用於彰顯李唐王朝的威儀。藍釉在恭陵的集中出土，填補了唐代藍釉研究的空白，強調其作為文化符號的稀有性——全球存世藍釉器屈指可數，如洛陽博物館藍釉馬（高32.5厘米）、明尼阿波利斯美術館藍釉馬等，僅個位數完整件。

藍釉的出現標誌唐代陶瓷從本土單色向異域多色的轉型，後影響元明藍白瓷的發展。恭陵藍釉不僅是技術成就，更是歷史鏡像，反映武則天時代的權力鬥爭與文化融合。

唐三彩藍釉注子 中文FAQ

以下是針對唐代藍釉球形壺（MYT 1254）及相關唐三彩、藍釉特殊性的詳細FAQ，基於考古、文獻與市場研究，旨在提供學術深度與內容豐富性。參考來源包括SACA學會、劉航宇等學者著作，以及全球博物館與拍賣記錄。

1. Q: 唐代藍釉球形壺的起源與製作工藝是什麼？ A: 此類器物起源於7–8世紀唐代鞏縣窯或陝西窯口，使用白陶胎，先施白色化妝土，再塗刷含鈷藍釉料，低溫二次燒成。藍釉源自波斯進口鈷料，工藝受金屬器影響（如貼花），造型簡約，強調釉色純淨。學者認為其為墓葬明器，體現唐代陶瓷的國際化。（參考SACA《三彩筆記 vol.52》及蘇黎世瑞特堡館藏記錄）。

2. Q: 藍釉在唐三彩中的地位為何如此特殊？ A: 藍釉因鈷料稀缺（價格勝黃金），燒製難度高，僅用於高級墓葬，象徵尊貴。與黃綠白三色不同，藍釉代表絲路奢華，受波斯影響，唐代僅個位數完整件存世，如恭陵藍釉烛台。劉航宇研究顯示，其為初唐創新高峰。（《中原文物》2000年第3期）。

3. Q: 恭陵藍釉器物有何歷史意義？ A: 恭陵為李弘（武則天長子）陵墓，1998年出土藍釉烛台（高33.6厘米）、三足爐等250件，代表初唐陶瓷頂峰。藍釉專為皇家製，體現武則天哀悼與權力象徵。被盜案追回國寶級文物，填補藍釉實物空白。（參考《國寶檔案》及SACA《展覽筆記 vol.4》）。

4. Q: 同款藍釉器物在拍賣市場的表現如何？ A: 藍釉萬年罐極罕，Sotheby's 2021年藍灑彩罐售出數萬美元；Christie's藍條紋變體亦高價成交。藍理捷（J.J. Lally）經手類似件，市場視為「藍籌」，完整件價值10–50萬美元。（SACA《拍賣筆記》系列）。

5. Q: 唐三彩的藝術與文化價值在哪裡？ A: 唐三彩生動再現唐社會（如胡人俑），融合中西元素，受佛教、金屬工藝影響。考古出土量大（如洛陽墓群），市場紀錄高（如1989年374萬英鎊唐馬）。學者視其為中國陶瓷多色轉型的橋梁。（參考《馬年說唐馬》及大英博物館研究）。

6. Q: 如何辨別真偽與保存藍釉器物？ A: 真品釉流自然、胎土細膩、藍色深沉無化學痕迹。保存需避光、防潮，博物館如Rietberg使用恆溫展櫃。學者建議TL熱釋光檢測。（國際拍賣指南及SACA研究）。

7. Q: 藍釉對後世陶瓷的影響？ A: 藍釉奠基元明藍白瓷，鈷料技術本土化後普及。恭陵藍釉證明唐代為藍色釉起源高峰。（參考《中國陶瓷史》及波士頓美術館藏品分析）。

8. Q: 全球博物館中類似藏品有哪些？ A: 哈佛藍釉萬年罐、洛陽博物館藍釉馬、明尼阿波利斯藍釉馬、Rietberg藍釉馬（MYT 1196）。存世稀少，僅個位數。（SACA《三彩筆記》及財新報導）。

9. Q: 武則天與藍釉的關聯？ A: 武則天時期藍釉廣用，如恭陵藍釉為其子李弘製，體現皇家專屬。藍釉象徵權力與哀悼。（劉航宇論文及SACA展覽筆記）。

10. Q: 研究藍釉的推薦文獻？ A: 劉航宇《恭陵美陶》；SACA《展覽筆記 vol.4》；《唐代陶瓷史》（中國社會科學院）；國際如《Tang Sancai》（大英博物館）。

The Tang Dynasty blue-glazed spherical ewer (Rietberg Museum accession MYT 1254) is a quintessential example of Tang low-temperature lead-glazed earthenware, originating from the 8th century Gongxian kilns or similar sites in Henan, embodying the zenith of Tang ceramic craftsmanship and Silk Road cultural fusion. This vessel, a spherical ewer, measures 11.2 cm in height, crafted from white clay with a cream-colored engobe underlayer and covered in blue glaze. The glaze is deep and fluid, fired at approximately 800–1000°C, belonging to the low-temperature glazed pottery category. Its form is plump and rounded, with a short straight neck, spherical body, and slightly flared foot, featuring minimalist design that emphasizes the purity and nobility of the blue glaze. As a funerary object or court vessel, such blue-glazed wares were common in high-status tombs from the early to mid-Tang, symbolizing the owner's prestige and pursuit of exotic luxury.

The historical context traces back to the reigns of Emperor Gaozong to Xuanzong (late 7th to early 8th century), during the peak of Tang ceramic innovation, with blue glaze introduced via Persian cobalt oxide along the Silk Road. Due to cobalt's scarcity and high cost (often several times that of gold), blue-glazed objects were reserved for imperial or aristocratic use, representing the "sancai values blue most" aesthetic hierarchy. This Rietberg piece is on permanent loan from the Meiyintang Foundation, assembled by the Swiss Zuellig brothers in the mid-20th century, renowned for its systematic and high-quality scope covering Neolithic to Qing ceramics. The Zuelligs' collecting philosophy emphasized rarity; this blue-glazed ewer exemplifies their Tang blue-glaze series, akin to blue-glazed Wannian jars in Harvard Art Museum and National Museum of History, reflecting Tang ceramics' international style and luxurious innovation.

Referencing SACA Society (artsaca.com) in "Exhibition Notes vol.4: Blue Glaze from Tang Emperor and Empress," it notes blue-glazed artifacts from Gongling (such as blue-glazed double-dragon vases and lamps) demonstrating maturity in Gaozong and Wu Zetian's era, used in imperial tombs for prestige. SACA also highlights similar blue-glazed Wannian jars (blue-glazed spherical jars) as globally rare, with Harvard and National Museum of History holding comparable pieces from Gongxian kilns, late 7th to early 8th century, featuring splashed blue spots or stripes. Regarding auction records of similar items, blue-glazed spherical jars or Wannian jars are extremely rare at auction, but SACA's "Sancai Notes vol.52" mentions another Rietberg blue-glazed Wannian jar (MYT 1291, 27 cm high, with blue-green stripes), whose analogs sold at Sotheby's 2021 as a blue-splashed Wannian jar (26.8 cm high) for tens of thousands of USD; Christie's has records of blue-striped variants (Tang/Liao period), emphasizing their "unusual decoration" rarity. These cases indicate blue-glazed wares as "blue-chip" assets in circulation, with sustained market heat, estimating intact blue-glazed spherical ewers at $100,000–500,000 depending on condition.

J.J. Lally, a renowned Chinese antiquities dealer, has handled similar blue-glazed pieces sold at auction, further affirming such artifacts' market recognition. Scholarly studies indicate Tang blue glaze as not only technical innovation but also a cultural symbol, embodying Persian influence and Tang empire's openness (e.g., Liu Hangyu's "Gongling Meitao," Cultural Relics of Central China, 2000, no. 3). The academic value of MYT 1254 lies in enriching the diversity of blue-glazed forms, providing material evidence for studying Tang glaze evolution.

Introduction to Tang Sancai

Tang Sancai, also known as Tang tri-colored glazed pottery, is the most iconic low-temperature lead-glazed earthenware art form of the Tang Dynasty (618–907), flourishing in the 7th–8th centuries, primarily from Gongxian kilns in Henan (modern Gongyi Huangye kilns) and sites around Xi'an and Luoyang in Shaanxi. The name derives from its typical three glazes: yellow (iron-based), green (copper-based), and white (colorless or milky), but extends to blue, brown, black, and other variants. Fired at about 800–1000°C, the body is white or red clay, first coated with white slip (engobe), then splashed or brushed with glazes, resulting in mottled, flowing artistic effects upon secondary firing. Artifact types are diverse, including figurines (ladies, warriors, horses, camels, exotic figures), vessels (ewers, jars, plates, censers), and architectural components (roof tiles, bricks), mainly serving as funerary goods (mingqi), reflecting Tang social life, aesthetics, and Sino-Western cultural exchanges.

Tang Sancai originated in the early Tang (or earlier Northern Qi period), with early examples in Gaozong-era tombs (e.g., Zhang Wenju's tomb, 670 AD), but proliferated under Wu Zetian's rule, peaking in the Kaiyuan and Tianbao eras (early 8th century), declining after the An Lushan Rebellion (755–763). Archaeological evidence shows consumption spanning from royalty to officials and wealthy commoners, with massive excavations (e.g., Luoyang Mangshan tombs, Xi'an Tang tombs). Artistic features include vivid realism, bold glaze splashing, and exotic elements (e.g., Central Asian figurines, camels), symbolizing the Tang empire's prosperity, openness, and Silk Road trade zenith. Scholars view it as influenced by Persian Sasanian art and Buddhism, technically borrowing from metalwork (e.g., appliqué, repoussé), marking a key transition in Chinese ceramics from monochrome to polychrome glazes. Global museum collections are abundant, such as British Museum and V&A's Tang horse figurines; market values are high, with a 1989 British Rail Pension Fund Tang horse selling for £3.74 million, a record for decades.

Introduction to the Specificity of Blue Glaze

Blue glaze is the rarest variant in the Tang Sancai system, using cobalt oxide as a colorant to produce deep, vibrant cobalt blue, first appearing in the late 7th century, imported from Persia or Central Asia via the Silk Road. Cobalt's scarcity and high cost (surpassing gold) made firing challenging (requiring precise temperature control to prevent running), restricting blue-glazed objects to high-status tombs from early to mid-Tang, symbolizing imperial luxury. Often combined with yellow, green, and white, it creates the visually striking "sancai with blue accents," costing far more than standard tri-colors, hailed in markets as "sancai values blue most, worth a fortune."

Its specificity is exemplified in Gongling Mausoleum—the tomb of Li Hong (652–675), son of Emperor Gaozong and Wu Zetian, located on Huotuo Ridge, 2.5 km northeast of Gou Town, Yanshi District, Luoyang, Henan. Li Hong, Gaozong's fifth son and Wu Zetian's eldest, died suddenly in 675 (rumored poisoned by Wu Zetian), posthumously titled "Emperor Xiaojing," buried with imperial rites. The following year, his consort Pei shi (Empress Ai) died in grief, interred in 687. Excavations in 1998 yielded 250 blue-glazed artifacts (including 61 recovered from theft), such as blue-glazed candlesticks (33.6 cm high, first physical example beyond texts), tripods (17 cm high, 13 cm diameter), and lamps, representing the pinnacle of early Tang ceramics. These wares are ornate and rare, with archaic forms, even glazing, deep colors, and elegant nobility, crafted as imperial funerary vessels. Scholar Liu Hangyu's "Gongling Meitao" (Cultural Relics of Central China, 2000, no. 3) analyzes this group as evidence of technical maturity, Persian influence, and Tang dynasty's grandeur. Gongling's concentrated blue-glaze finds fill gaps in Tang blue-glaze studies, emphasizing its rarity as a cultural emblem—globally, surviving blue-glazed pieces are countable, like Luoyang Museum's blue-glazed horse (32.5 cm) or Minneapolis Institute of Art's examples, with only single-digit intact specimens.

The emergence of blue glaze marks Tang ceramics' shift from indigenous monochrome to exotic polychrome, later influencing Yuan-Ming blue-and-white porcelain. Gongling blue glazes are not just technical feats but historical mirrors, reflecting Wu Zetian-era power struggles and cultural synthesis.

Tang Sancai Blue Glazed Ewer FAQ

The following is a detailed FAQ on the Tang blue-glazed spherical ewer (MYT 1254) and related Tang Sancai, blue glaze specificity, based on archaeology, literature, and market research, offering scholarly depth and rich content. References include SACA Society, Liu Hangyu's works, and global museums/auctions.

1. Q: What is the origin and production technique of the Tang blue-glazed spherical ewer? A: Such vessels originated in 7th–8th century Tang Gongxian or Shaanxi kilns, using white clay body, white slip, and cobalt blue glaze, secondary low-temperature firing. Influenced by metalwork (e.g., appliqué), forms are simple, emphasizing glaze purity. Scholars see them as funerary mingqi, reflecting Tang ceramics' internationalization. (Ref: SACA "Sancai Notes vol.52" and Rietberg records).

2. Q: Why is blue glaze so distinctive in Tang Sancai? A: Due to scarce cobalt (costlier than gold), high firing difficulty, it's restricted to elite tombs, symbolizing prestige. Unlike yellow-green-white, blue represents Silk Road luxury, Persian influence; surviving intact pieces are single-digit globally, like Gongling candlesticks. Liu Hangyu's research highlights early Tang innovation peak. (Cultural Relics of Central China, 2000, no. 3).

3. Q: What is the historical significance of Gongling blue-glazed artifacts? A: Gongling, tomb of Li Hong (Wu Zetian's eldest son), yielded 250 pieces in 1998, including blue-glazed candlesticks (33.6 cm, first physical from texts), tripods, and lamps, pinnacle of early Tang ceramics. Crafted for imperial rites, reflecting Wu Zetian's mourning and status. Theft recovery made them national treasures, filling blue-glaze evidential gaps. (Ref: National Treasures Archive and SACA "Exhibition Notes vol.4").

4. Q: How do similar blue-glazed items perform in auctions? A: Blue Wannian jars are rare; Sotheby's 2021 blue-splashed jar sold for tens of thousands USD; Christie's blue-striped variants high-priced. J.J. Lally handled analogs, market treats as "blue-chip," intact pieces $100,000–500,000. (SACA "Auction Notes" series).

5. Q: What are the artistic and cultural values of Tang Sancai? A: Vividly depicts Tang society (e.g., Central Asian figurines), fusing East-West elements, influenced by Buddhism/metalcraft. Massive excavations (e.g., Luoyang tombs), high auction records (e.g., 1989 £3.74 million horse). Scholars view as bridge to polychrome ceramics. (Ref: "Horse Year Talks about Tang Horses" and British Museum studies).

6. Q: How to authenticate and preserve blue-glazed artifacts? A: Genuine have natural glaze flow, fine clay, deep blue without chemicals. Preserve in low-light, humidity-controlled environments; museums like Rietberg use constant-temperature cases. Thermoluminescence (TL) testing recommended. (International auction guidelines and SACA research).

7. Q: What influence did blue glaze have on later ceramics? A: Laid foundation for Yuan-Ming blue-and-white, with cobalt localized post-Tang. Gongling pieces prove Tang as blue glaze origin peak. (Ref: History of Chinese Ceramics and Boston Museum analyses).

8. Q: What similar collections exist in global museums? A: Harvard blue Wannian jar, Luoyang blue-glazed horse (32.5 cm), Minneapolis blue horse, Rietberg blue horse (MYT 1196). Surviving rare, single-digit. (SACA "Sancai Notes" and Caixin reports).

9. Q: What is Wu Zetian's connection to blue glaze? A: Widespread under her rule, e.g., Gongling pieces for son Li Hong, symbolizing power and mourning. (Liu Hangyu's paper and SACA exhibition notes).

10. Q: Recommended literature for studying blue glaze? A: Liu Hangyu's "Gongling Meitao"; SACA "Exhibition Notes vol.4"; History of Chinese Ceramics (Chinese Academy of Social Sciences); international like "Tang Sancai" (British Museum).