三彩筆記 vol.62 繭山龍泉堂：唐三彩袖珍褐釉豬 - Mayuyama Ryusendo, Chestnut / Amber Glaze Miniature Pottery Figure of A Boar, Tang Dynasty

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本品原藏者 Wilfrid Fleisher（1897–1976）自1920至30年代開始蒐集東方藝術,並透過歐洲東方美術愛好者組成之「China Club」，與古斯塔夫六世阿道夫（Gustav VI Adolf，瑞典國王）、安特生（Johan Gunnar Andersson）等重量級人物交往密切。細觀本作與尋常豬俑迥異之處，亦足見其獨到鑑賞眼光。

唐三彩野豬存世數量本就稀少，就其尺寸而言，大致可歸納為三種規格：其一為長度約5公分之迷你型野豬（西雅圖藝術博物館藏品之尺寸規格）；其二為長度約12公分之小型野豬（可參照繭山龍泉堂線上展覽所見一例，原屬Wilfrid Fleisher（1897–1976）舊藏，本品）；其三則為尺寸逾20公分之大型唐三彩野豬，此類體量較大者可參照：東京國立博物館、埃斯肯納齊（Eskenazi），以及浦上蒼穹堂所藏之同型器例。

唐三彩袖珍褐釉猪

Tang Sancai Miniatrue Brown Glazed Boar

盛唐（7世紀）

高 4.5 cm　長 12.6 cm

2026年8月上線龍泉堂線上展廳，價格標註為：90萬日圓

来歴

Wilfrid Fleisher（1897～1976年）旧蔵.

本品為唐代前期之豬俑。古代中國厚葬之風盛行,喪葬之際多隨葬各式明器,其中尤以模擬人物、動物形貌者稱為「俑」。此類器物本為墓葬專用,千餘年來深埋地下、未見天日,直至20世紀初因鐵路修築等工事而重見於世,一經現世,其雕塑般精湛的造型美感便迅速擄獲眾多藏家之心,自此躋身鑑賞陶器之一大門類。

此件褐釉豬俑,獠牙外露、雙目圓睜,野性之姿表露無遺。豬雖為唐代動物俑中較常見之題材,然多數作品動態有限,予人模印製式、略顯單調之感。反觀本作,背脊曲線與全身肌理表現自然生動,加以其吻部修長之特徵,較同類作品更顯造型出眾,誠屬難得一見之佳作。

唐三彩褐釉野豬，尺寸22cm，東京浦上蒼穹堂，浦上滿舊藏

唐三彩褐釉陶豬，尺寸：21cm，埃斯肯納齊，2020年佳士得香港18.75萬港元售出

唐三彩褐釉豬，尺寸：20.8cm，東京國立博物館

High Tang (7th century)

H. 4.5 cm　L. 12.6 cm

PROVENANCE

Wilfrid Fleisher (1897–1976) Collection.

This is a pig figurine (yong) dating to the early Tang Dynasty. In ancient China, where the custom of lavish burial prevailed, tombs were furnished with a wide array of funerary objects, among which figures modelled after human beings and animals were known as yong. As objects intended exclusively for burial, they remained hidden from view for over a millennium, until the early 20th century, when railway construction and related excavation works brought many such pieces to light. Upon entering the market, their sculptural refinement swiftly captivated collectors, establishing them as a distinct and celebrated category within the appreciation of ceramic art.

This particular brown-glazed pig, with bared tusks and flashing eyes, vividly conveys a wild, untamed presence. While pigs appear with some frequency among Tang dynasty animal figures, the majority exhibit limited dynamism and a somewhat formulaic, mould-derived quality. By contrast, the present work displays a naturalistic curvature of the back and lifelike fleshiness throughout the body, together with a distinctively elongated snout—qualities that mark it as a superior and comparatively rare example within its type.

The piece's former owner, Wilfrid Fleisher (1897–1976), began collecting in the 1920s and 30s and, through the "China Club"—a circle of European connoisseurs of Asian art—cultivated close ties with such eminent figures as Gustaf VI Adolf and Johan Gunnar Andersson. The distinctive qualities that set this piece apart from more conventional pig figures speak to Fleisher's discerning connoisseurship.

Translator's note: The original Japanese text names "Gustav IV Adolf," which appears to be a misattribution. The Swedish monarch renowned as a collector and patron of East Asian art in the early-to-mid 20th century—and closely associated with archaeologist Johan Gunnar Andersson—was in fact Gustaf VI Adolf (1882–1973), himself a noted archaeologist and collector who served as patron of the Swedish China Committee. Gustav IV Adolf (1778–1837), by contrast, was a Swedish king of the late 18th/early 19th century, whose dates do not align with this collecting history. We recommend verifying this detail against the original source material before publication.

¥900,000 Japanese Yen as of AUG 2026, Mayuyama Online Collection

唐時代前期の猪俑です。厚葬の風習のあった古代中国では副葬用の様々な文物が作られており、特に人物や動物を模ったものを俑と呼んでいます。墓葬に供される器物ゆえに1000年以上も人目に触れることがありませんでしたが、20世紀初頭に鉄道の敷設工事などによって掘り起こされ市場に現れると、その彫刻的な優れた造形性が瞬く間に多くの蒐集家を魅了し鑑賞陶器の一分野となりました。

この褐釉猪も牙を剥き出し、目は怒り、ワイルドな印象をよく伝えています。猪は唐の動物俑の中では散見される動物ですが、多くのものは動きが少なく、より単調な型物感が強いものです。本作は背の曲線や全体の肉付きが自然で、また鼻先が長い特徴を持つこのタイプはより優れた造形かつ珍しい一品と云えるでしょう。

旧蔵者 Wilfred Fleisher (1897～1976年) は、1920～30年代に蒐集を始め「China Club」と呼ばれた欧州の東洋美術愛好家のサークルを通じGustav IV AdolfやJohan Gunnar Anderssonといった重鎮達と親交を持っていました。本作を見ても一般的な猪とは一味違うところに、氏の慧眼が感じられます。