三彩筆記 vol.56 蘇黎世瑞特堡博物館：唐三彩撒藍釉淨瓶，玫茵堂 - Tang Sancai Splash Blue Glazed Kundika Vase, Meiyintang Collection, Tang Dynasty

瑞士蘇黎世瑞特堡博物館（Museum Rietberg）長期借展的玫茵堂收藏，唐代（7-8世紀）三彩撒藍釉淨瓶（Kundika），編號 MYT 1311。

此器通高25.5 cm，以白陶胎施白色化妝土為底，罩透明釉後點灑鈷藍斑點（blauen Sprenkeln），形成典型的「撒藍」或「藍斑」效果。器型為標準的軍持（淨瓶）造型：小口、細長頸、豐肩、鼓腹、下收圈足，帶一側流嘴，專供佛教僧侶盛放清淨水之用。

價格參考：

拍賣筆記 vol.237 佳士得紐約：藍理捷，唐三彩藍釉灑藍斑白釉淨瓶，60960美元成交 - Christie’s NY, J.J.Lally, A Blue-Splashed Straw-Glazed Pottery Kundika, Tang Dynasty, Sold for 60960USD

純藍釉、白釉、響銅參考：

三彩筆記 vol.56 蘇黎世瑞特堡博物館：唐三彩純藍釉淨瓶，玫茵堂 - Tang Sancai Pure Blue Glazed Kundika Vase, Meiyintang Collection, Tang Dynasty

唐代筆記 Vol.15 白釉淨瓶：大都會博物館 vs 常盤山文庫，對比兩件百年傳承之唐代淨瓶 - Comparing Two White Glaze Kundika, Metropolitan Museum 1916 vs Tokiwayama Collection.

北朝筆記 vol.24 大都會博物館：北齊青銅淨瓶 - Met Museum, Northern Qi Bronze Kundika Vase

與純藍釉淨瓶（通體施單一深藍釉，色澤均勻流動，呈寶石般冷豔效果）相比，此件屬「撒藍釉」類型。藍色以斑點或潑灑形式出現，與透明釉及白底形成對比，展現另一種隨性而生動的唐代低溫釉裝飾風格。鈷藍料源自中亞（波斯地區），唐代極為珍貴，無論純藍或撒藍，均反映盛唐絲路文化交流與高階釉料技術。

義淨《南海寄歸內法傳》記載，佛教淨瓶宜用瓦瓷（陶瓷），因其易保持清淨，不易生垢；金屬器則多用於觸瓶。此類唐三彩淨瓶的出現，正體現唐代陶瓷在佛教物質文化中的實用與審美地位。

撒藍釉唐三彩器存世亦屬少見，此件尺寸適中、造型規整，為研究唐代軍持演變與藍釉裝飾技法提供了重要實例。相較純藍釉的凝重奢華，撒藍更顯活潑靈動，二者共同構成唐三彩藍釉體系的珍稀面貌。

器型與佛教背景

軍持（梵語 kundikā 的音譯，又譯君持、君遲、捃稚迦等）是佛教僧侶的傳統法器之一，屬於「十八物」（比丘隨身十八件用品）之一。唐代高僧義淨在《南海寄歸內法傳》中詳細記載：僧人將水瓶分為「淨瓶」與「觸瓶」。淨瓶專用陶瓷燒製，須以潔淨之手持握，用於非時飲水（過午飲水）或宗教灑淨儀式；觸瓶則可用金屬，較為日常。

這件器物造型典型：圓鼓腹、細長直頸、小盤口（用於注水或飲用），肩部一側伸出彎曲短流嘴（spout），便於緩慢傾倒淨水而不污染。整體無把手，適合僧人手持或隨身攜帶。傳入中國後，此類器形不僅用於寺院，也常見於貴族墓葬，象徵清淨、吉祥與宗教修行。

與恭陵藍釉的聯繫

此件純藍釉淨瓶的釉色、胎質與工藝風格，可與唐高宗李治與武則天長子李弘（652–675）的恭陵（位於河南偃師）相關考古發現相互印證。

李弘早逝後被追諡「孝敬皇帝」，與妃裴氏合葬於恭陵。陵墓雖早年遭盜掘，但20世紀考古工作中仍追回或出土一批高規格藍釉陶器，包括藍釉陶俑、藍釉器皿等。這些器物使用同樣的進口鈷料，藍色飽滿穩定，燒成技術精湛，被視為唐代早期至武則天時期皇家陶瓷工藝的代表。學界認為，武則天為哀悼長子，可能特別督造或選用此類藍釉器物作為陪葬，體現藍色在當時所具備的尊貴、神秘與皇家象徵意義。

雖然里特貝格這件淨瓶並非直接出土於恭陵，但其純藍釉的特徵與恭陵藍釉群的技術水準高度一致，為研究唐代鈷藍釉的起源、傳播與皇家用瓷提供了重要實物例證。

Among the permanent loans from the Meiyintang Collection at the Museum Rietberg in Zurich is a Tang dynasty (7th–8th century) sancai-glazed kundika, inventory number MYT 1311.

The vessel stands 25.5 cm tall. It is made of earthenware with a white slip, covered by a transparent glaze and decorated with cobalt-blue splashes (blauen Sprenkeln), characteristic of the “blue-splashed” or “splash-blue” style. The classic kundika form features a small mouth, slender neck, rounded shoulder, bulbous body, and a side spout, traditionally used by Buddhist monks to hold pure water.

Compared to pure blue-glazed kundika (where the entire surface is covered in a deep, uniform cobalt blue with flowing, gem-like luster), this piece belongs to the blue-splashed category. The blue appears as irregular spots or splashes against the transparent glaze and white ground, creating a more dynamic and spontaneous aesthetic typical of Tang low-temperature glaze decoration. Cobalt, imported via the Silk Road from Central Asia (Persian regions), was extremely costly in the Tang period; both pure blue and splashed blue variants highlight the luxury and technical sophistication of the era.

As recorded in Yijing’s Nanhai jigui neifa zhuan (A Record of the Buddhist Religion as Practised in India and the Malay Archipelago), ceramic (wa ci) was preferred for purification bottles (净瓶) because it maintains cleanliness more effectively than metal, which was more commonly used for everyday “touch” vessels. Such Tang sancai kundika exemplify the practical and aesthetic role of ceramics in Buddhist material culture.

Blue-splashed sancai vessels are also relatively rare. This well-proportioned and intact example provides valuable material for studying the evolution of Tang kundika shapes and blue-glaze decorative techniques. While pure blue conveys solemn elegance, splashed blue offers liveliness; together they represent the diverse and precious expressions of blue in Tang sancai.