三彩筆記 vol.65 西雅圖藝術博物館：唐代三彩綠釉侏儒俑，中亞奴還是道州奴？- Seattle Art Museum, Glazed Pottery Figure of a Dwarf, Tang Dynasty

這件釉陶侏儒俑是Eugene Fuller Memorial Collection舊藏，編號48.247，高約21.1公分。施黃、綠鉛釉，眼睛與鬍鬚用黑彩細緻勾畫，表情安靜謙卑，衣著樸素。館方說明指出，唐代宮廷中有來自中亞的侏儒擔任弄臣或侍從，墓中陪葬此類俑，應是期望他們在冥界繼續服侍墓主。

從面相觀察，本件帶有較明顯的中亞特徵（深目、鼻較大、鬍鬚形態），較符合「中亞進貢」類型。歷史上確有相關紀錄：開元年間（約724年），康國（Samarkand，今撒馬爾罕）曾向唐朝進貢「侏儒」與胡旋女子；同年室利佛逝亦進貢侏儒。Edward Schafer《撒馬爾罕的金桃》與《新唐書》均有記載。相對而言，西雅圖藝術博物館同系列另一件黃釉侏儒俑（館藏編號49.57）的鬍鬚形態更接近漢人常見的短鬚，面相整體偏中國人特徵，較可能對應國內「道州奴」系統。兩件一外一內，恰好呈現唐代宮廷侏儒的兩大來源。

這類俑在市場上並不常見，也不太被充分理解。它們其實記錄了唐代宮廷娛樂中很重要的一部分——侏儒作為弄臣、優伶的角色。文獻中既有中亞、東南亞進貢的記載，也有著名的「道州奴」說法：湖南道州（今道縣）因居民身材矮小，長期被要求以「矮奴」名義進貢朝廷。白居易《道州民》一詩正是批評此制，後來陽城任刺史時才停止進貢。

從更長的歷史看，漢代已有類似的說唱俑（俳優形象），造型誇張、動作生動，多被認為是侏儒藝人。銅製的說唱鎮（一組四件，有錯金銀例子）也屬於同一系統，可能是這類宮廷娛樂形象的早期根源。

SACA觀察

這件與編號49.57的另一件侏儒俑同屬Eugene Fuller Memorial Collection，尺寸略大（約21.1公分對17.8公分）。從面相上，本件偏中亞特徵，另一件偏漢人特徵，正好對應「外國進貢」與「道州奴」兩種來源。這類侏儒俑雖然尺寸小、題材邊緣，卻是唐代宮廷生活的真實切片。它既連接中亞進貢系統，也連接國內道州貢制，更可上溯漢代說唱俑與銅鎮的俳優傳統。市場目前對它們關注不足，往往只當成「奇趣小品」，但其實它們記錄了娛樂、權力與身體政治交織的複雜面向。完整度、釉色層次與表情刻畫，仍是判斷級別的關鍵。這件西雅圖館藏來源清楚、釉色與黑彩細節仍在，屬於值得記錄的標準例子。

關於藏家

Eugene Fuller Memorial Collection以Eugene Fuller（1858–1930）命名。他是紐約知名泌尿外科醫師，其遺產為西雅圖藝術博物館的建立提供了重要資金基礎。真正推動收藏與建館的是其子Richard E. Fuller（1897–1976）與母親Margaret MacTavish Fuller。Richard於1933年創立西雅圖藝術博物館並擔任館長長達四十年，不支薪，專注亞洲藝術收藏，使該館成為美國重要的中國藝術收藏地之一。Eugene Fuller Memorial Collection即以此為核心，涵蓋大量早期入藏的中國文物。

Q1：這件俑代表什麼身份？

宮廷侏儒。唐代宮廷與貴胄之家常見侏儒，職責包括滑稽表演、弄臣、雜役，甚至「肉几」（供主人憑坐）。來源可能是中亞、東南亞進貢，或國內道州等地的「矮奴」。本件從面相看，較接近中亞進貢類型。

Q2：什麼是「道州奴」？

道州（今湖南道縣）因居民身材矮小，長期被要求每年進貢侏儒入宮，號稱「道州任土貢」。白居易詩《道州民》記其事，陽城任刺史後抗疏停貢。部分記載提到人工致矮，但真實程度仍有討論。同系列另一件（49.57）從面相看較可能屬此系統。

Q3：什麼是「中亞奴」？與道州奴有何區別？

「中亞奴」並非正式專稱，而是指由中亞諸國（尤其是康國／撒馬爾罕）作為朝貢物品進獻的侏儒。史載開元年間（約724年），康國曾進貢「侏儒」與胡旋女子，同年室利佛逝亦有進貢。這類外來侏儒多帶有深目高鼻等中亞面相特徵，在宮廷中同樣擔任弄臣或娛樂人員。 與「道州奴」的主要區別在於來源：道州奴是國內土貢、漢人系統；中亞奴是外國朝貢、胡人系統。兩者在宮廷中職能相近，但種族與進貢途徑不同。本件面相偏中亞，較接近後者；另一件（49.57）偏漢人特徵，較接近前者。

Q4：這類俑在市場上的地位如何？

相對冷門，成交不多，價格通常不高。市場對它們的理解仍有限，但其實它們直接反映了唐代宮廷娛樂與社會風尚中被忽略的一環。完整、釉色保存好、表情生動的例子更值得注意。

This glazed pottery figure of a dwarf is from the Eugene Fuller Memorial Collection (accession 48.247). Height approximately 21.1 cm. It is covered in yellow and green lead glaze, with eyes and beard carefully outlined in black pigment, conveying a quiet and humble expression. The plain garments indicate low social status. The museum notes that dwarves from Central Asia served as jesters or servants in the Tang capital, and their tomb representations were likely intended to continue serving the deceased in the afterlife.

From facial features, this example shows clearer Central Asian traits (deeper-set eyes, higher nose bridge, beard style), aligning more closely with the “Central Asian tribute” type. Historical records confirm such tribute: in the Kaiyuan period (around 724), the kingdom of Kang (Samarkand) presented dwarfs and huxuan dancers to the Tang court; in the same year Srivijaya also sent dwarfs. Both Edward Schafer’s The Golden Peaches of Samarkand and the New Book of Tang record these events. By contrast, the companion yellow-glazed dwarf (49.57) has a beard style closer to typical Chinese short whiskers and overall more Chinese facial features, making it more likely to represent the domestic “Daozhou slave” type. The two pieces thus illustrate the two main sources of Tang court dwarfs—one foreign, one domestic.

Figures of this type are relatively uncommon on the market and remain insufficiently understood. They in fact record an important aspect of Tang court entertainment—the role of dwarves as jesters and performers. Historical records mention tribute from Central Asia and Southeast Asia, as well as the well-known “Daozhou slaves”: the people of Daozhou (present-day Daoxian, Hunan) were regularly required to send short-statured individuals to the court under the name of “dwarf slaves.” Bai Juyi’s poem Daozhou Min criticizes the practice, which was later stopped by the prefect Yang Cheng.

Looking further back, the Han dynasty already produced similar storyteller figurines (shuochang yong), often interpreted as dwarf entertainers with exaggerated postures. Bronze paperweights in sets of four (some with gold and silver inlay) belong to the same tradition and may represent an earlier root of these court-entertainment images.

SACA Observation

This piece and the companion dwarf (acc. 49.57) both belong to the Eugene Fuller Memorial Collection. The present example is slightly larger (approx. 21.1 cm versus 17.8 cm). Facially, this one leans toward Central Asian features, while the other leans toward Chinese features—corresponding respectively to foreign tribute and the Daozhou levy. Although small in size and peripheral in subject, these dwarf figures are genuine slices of Tang court life. They link both the Central Asian tribute system and the domestic Daozhou system, while also tracing back to the Han-dynasty tradition of storyteller figurines and bronze paperweights depicting entertainers. The market currently under-appreciates them, often treating them merely as curious novelties. In reality they record the complex intersection of entertainment, power, and the politics of the body. Completeness, glaze quality, and the refinement of facial expression remain the key criteria for judging level. This Seattle example has clear provenance and retains its glaze and black-pigment details, making it a standard specimen worth recording.

About the Collector

The Eugene Fuller Memorial Collection is named after Eugene Fuller (1858–1930), a prominent New York urological surgeon whose estate provided the financial foundation for the Seattle Art Museum. The actual builders of the collection and the museum were his son, Dr. Richard E. Fuller (1897–1976), and his mother, Margaret MacTavish Fuller. Richard founded the Seattle Art Museum in 1933 and served as its unpaid director for forty years, focusing intensively on Asian art and establishing one of the major Chinese collections in the United States. The Eugene Fuller Memorial Collection forms the core of these early holdings.

FAQ

Q1: What identity does this figure represent? A court dwarf. Dwarves were common in Tang imperial and aristocratic households, serving as jesters, entertainers, servants, and occasionally as “human stools” for sitting. They could come from Central Asian or Southeast Asian tribute, or from domestic sources such as the “dwarf slaves” of Daozhou. Facially, this example aligns more closely with the Central Asian tribute type.

Q2: What are the “Daozhou slaves”? Daozhou (present-day Daoxian, Hunan) was known for its short-statured population and was required to send dwarfs annually to the court as tribute, known as “Daozhou local products.” Bai Juyi’s poem Daozhou Min records the practice; the prefect Yang Cheng later stopped it by petition. The companion piece (49.57) appears facially closer to this domestic type.

Q3: What are the “Central Asian dwarfs”? How do they differ from Daozhou slaves? “Central Asian dwarfs” is not an official term, but refers to dwarfs presented as tribute by Central Asian states, especially Kang (Samarkand). Historical records note that in the Kaiyuan period (around 724), Kang presented dwarfs and huxuan dancers; Srivijaya also sent dwarfs the same year. These foreign dwarfs typically show deeper-set eyes and higher nose bridges. The main distinction from Daozhou slaves lies in origin: Daozhou slaves were domestic Chinese tribute; Central Asian dwarfs were foreign tributary gifts. Both served similar court functions as jesters and entertainers, but differed in ethnicity and route of entry. This figure’s facial features lean toward the Central Asian type; the companion (49.57) leans toward the Chinese/Daozhou type.

Q4: How are these figures regarded on the market? They remain relatively overlooked, with few sales and generally modest prices. Market understanding is still limited, yet they directly reflect an important and often neglected aspect of Tang court entertainment and social customs. Complete examples with well-preserved glaze and vivid expression deserve greater attention.

館藏資料

Dwarf

early 7th–early 10th century

China

Ceramic

8 5/16 × 4 3/16 × 3 1/4 in. (21.12 × 10.64 × 8.26 cm)

Eugene Fuller Memorial Collection, 48.247

The dwarves are painted with yellow and green lead glaze, their eyes and beards delineated carefully with black color to emphasize a quiet and humble expression, while their plain garments also indicate their low social status. Given the fact that dwarves from Central Asia served in the Chinese capital during the Tang Dynasty as jesters and/or servants, it is likely that their representations in tombs of the affluent were also expected to serve the deceased.

參考文獻 / References

1. Seattle Art Museum. Dwarf. Eugene Fuller Memorial Collection, accession no. 48.247.https://art.seattleartmuseum.org/objects/16667/dwarf

2. Seattle Art Museum. Tomb dwarf man. Eugene Fuller Memorial Collection, accession no. 49.57（同系列對照件）. https://art.seattleartmuseum.org/objects/6255/tomb-dwarf-man

3. 故宮博物院。《陶彩繪侏儒俑》。 https://www.dpm.org.cn/collection/sculpture/233419.html

4. 白居易。《道州民》。 https://zh.wikisource.org/wiki/道州民

5. 《新唐書》卷一二一下〈西域傳〉（康國進貢侏儒記載）。

6. Edward H. Schafer. The Golden Peaches of Samarkand: A Study of T’ang Exotics. University of California Press, 1963.（記錄724年康國與室利佛逝進貢侏儒）

7. HistoryLink.org. Fuller, Dr. Richard Eugene (1897-1976). https://www.historylink.org/file/7190