唐代筆記 vol.34 芝加哥藝術博物館：唐代加彩加彩陶仕女騎馬俑 - Art Institute of Chicago, A Tang Dynasty Lady Riding Horse

這件陶俑生動再現了唐代貴族階層的生活風尚。塑像精妙捕捉了貴婦騎手馭馬徐行的靜謐瞬間。馬匹造型特徵顯著：修長四肢、勁健頸項、精心修剪的鬃毛及裝飾性束尾，其原型當源自帝國西北邊疆及中亞咸海地區引進的優良馬種。通過泥條盤塑工藝，鞍韉表面呈現出仿皮毛的肌理質感。

芝加哥藝術博物館藏

唐代加彩陶仕女騎馬俑研究檔案

唐仕女騎馬俑：Tang Dynasty Lady Rider_ Chicago Art Institute

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斷代：唐（618-907），約8世紀中期

產地：中國（中原地區）

尺寸規格：56.2 × 48.2 × 39 釐米（22 1/8 × 19 × 15 3/8 英吋）

入藏編號：1970.1073

捐贈記錄：波特·帕爾默夫人捐贈

仕女造型體現盛唐審美範式：

體態豐腴：寬袖袍服褶皺、圓潤雙頰及下頜線條共同強化豐盈體態

髮型特徵：鬆散束髻配垂墜式額前發髻

服飾細節：典型盛唐寬袖長袍風格比對顯示，此造型與近年出土的740年前後高階貴族墓葬陶俑高度近似。

學術出版記錄：

《亞洲藝術檔案》1970年刊，108-109頁

陳萬里《陶俑》（中國古典藝術出版社，1957）圖版50

艾琳諾·珀爾斯坦等《芝加哥藝術博物館亞洲藝術典藏》（1993）148頁及44、46頁圖版

弗吉尼亞·鮑爾《唐代陶瓷雕塑雙璧》（《Orientations》1993年6月刊）封面及75頁圖11

伊佩霞《劍橋插圖中國史》（1996）144頁及115頁圖版

各版《芝加哥藝術博物館典藏指南》（2003/2009）相關著錄

遞藏脈絡：原屬波特·帕爾默二世舊藏

常見問題：唐代騎馬仕女陶俑

問題一：此件騎馬仕女陶俑揭示了唐代社會的哪些面向？此陶俑生動地展現了唐代貴族階層的生活風貌與審美趣味，特別反映了盛唐時期（公元八世紀中葉）上層社會女性的服飾、休閒活動（如策馬遊樂）及對理想女性體態之追求。仕女端坐高頭駿馬之上，體態豐腴、衣袂飄揚，傳遞出盛唐時期社會繁榮與對異域文化（如中亞良馬）的高度吸納與品味。

問題二：此馬的藝術與形體特徵有何值得注意之處？本俑所塑馬匹具有明顯源自西北邊疆與中亞（近咸海一帶）所引進良種馬的形貌特徵，如修長四肢、結實有力的頸部與臀部、精緻修剪之鬃毛，並綁以華麗馬尾。馬鞍墊採用絞捻陶土條塑成，逼真模仿毛氈質感，顯示唐代工匠在陶藝技術與細節處理上的卓越水平。

問題三：女性騎士的形象如何體現唐代審美理想？本俑仕女體態豐滿，雙頰圓潤，下巴略呈雙層，皆為盛唐對女性之理想體態。其寬袖長袍因動態而展現身段曲線，髮型為束髮高髻，前額垂飾，以鬆緩自然之姿表現出當時貴族女性風尚。整體造型恰與唐玄宗時期（公元八世紀中葉）之審美標準相合。

問題四：此類陶俑在唐代的功能為何？騎馬仕女俑與其他陶塑明器主要作為隨葬用品，安置於高階層墓葬中，用以模擬生前生活場景，延續故人享樂於來世之信仰。其藝術表現不僅體現墓主身分地位，也折射出唐代人對於來世觀與靈魂供養之重視。

問題五：本俑與其他已出土之唐代陶俑有何比較價值？此仕女陶俑於體態、衣飾與髮型等方面，與近年於中國中原地區發掘、可確切斷代為公元740年前後的高級墓葬陶俑極為相似，顯示本件藝術風格為唐代中葉貴族隨葬陶俑之代表性範式。其形制與出土地層資料高度吻合，具重要學術參考價值。

問題六：本陶俑之製作地點與創作時間為何？依據其造型風格與與考古對比分析判斷，此俑極可能製作於唐代中葉（約公元八世紀中期）之中國中原地區。該地為當時政治與文化中心，亦為高級明器之重要產地。

問題七：芝加哥藝術博物館藏「騎馬仕女俑」之收藏來源為何？此件陶俑現藏於芝加哥藝術博物館（藏品編號1970.1073），由Mrs. Potter Palmer捐贈，原屬Potter Palmer II私人收藏，為美國20世紀早期重要東方藝術收藏之一部分。

問題八：若欲進一步研究此件陶俑，有哪些學術資源可供參考？此俑已刊載於多部專業出版物中，包括《Archives of Asian Art》（1970）、陳萬里《陶俑》（1957）、Elinor Pearlstein與James T. Ulak編《Asian Art in the Art Institute of Chicago》（1993）、Virginia L. Bower於《Orientations》期刊（1993年刊）、Patricia Buckley Ebrey之《劍橋中國圖像史》（1996），以及芝加哥藝術博物館出版之多種導覽與圖錄中。

Chinese ceramic figures made exclusively for burial often vividly evoke the fashions and recreational activities of their aristocratic owners. This figure sensitively captures a quiet moment in the life of a matronly equestrienne, who gently guides her horse. The animal’s powerful neck and flanks, long legs, trimmed mane, and decoratively tied tail are features distinctive to the handsome breeds that were brought to China from the empire’s northwestern frontiers as well as from sites as far west as the Aral Sea. Carefully twisted strands of clay realistically depict the fur-like texture of the animal’s saddle blanket. The woman’s full proportions—evident in the folds of her flowing, wide-sleeved robe, as well as in her plump cheeks and double chin—are enhanced by her loosely gathered coiffure, which is topped with a dangling forehead bun. Her weight, costume, and hairstyle reflect early-to-mid-eighth-century ideals of feminine beauty. Stylistically, the woman closely resembles figures that archeologists have recently unearthed from the tombs of high-status individuals that are datable to about 740.

Equestrienne

Date:

Tang dynasty (618–907), mid-8th century

Artist:

China

Place

China (Object made in:)

Dimensions

56.2 × 48.2 × 39 cm (22 1/8 × 19 × 15 3/8 in.)

Credit Line

Gift of Mrs. Potter Palmer

Reference Number

1970.1073

PUBLICATION HISTORY

Archives of Asian Art, 1970, p. 108-109.

Chen Wanli, Tao Yong [Ceramic Figures]. Beijing: Zhongguo gudian yishu chubanshe, 1957, pl. 50.

Elinor Pearlstein and James T. Ulak, Asian Art in the Art Institute of Chicago (Art Institute of Chicago / Harry N. Abrams, 1993), p. 148, p. 44, 46 (ill.).

Virginia L. Bower, “Two Masterworks of Tang Ceramic Sculpture,” Orientations 24, 6 (June 1993), pp. 75-77, cover (ill.), p. 75, fig. 11.

Art Institute of Chicago: The Essential Guide (rev. ed). Art Institute of Chicago, 2003, p. 68 (ill.).

Patricia Buckley Ebrey, The Cambridge Illustrated History of China (Cambridge: Cambridge University Press, 1996), p.144, p. 115 (ill.).

Art Insitute of Chicago: Essential Guide, rev. ed. (Chicago: Art Institute of Chicago, 2009) p.85.

PROVENANCE

Ex collection: Potter Palmer II

Frequently Asked Questions: Tang Dynasty Lady Riding Horse

Q1: What does this ceramic figure of a lady on horseback reveal about the Tang Dynasty? This figure vividly portrays the lifestyle and aesthetic preferences of the Tang Dynasty aristocracy. It specifically highlights the fashion, recreational activities (such as leisurely horseback riding), and ideals of feminine beauty prevalent during that era, particularly in the mid-8th century. The depiction of the well-dressed, full-figured woman on a high-quality horse underscores the prosperity and cosmopolitan nature of the Tang Dynasty, where access to Central Asian horse breeds was a mark of status.

Q2: What are the notable artistic and physical characteristics of the horse in the sculpture? The horse is depicted with distinctive features characteristic of breeds imported from the northwestern frontiers and Central Asia (near the Aral Sea). These features include long legs, a strong neck and flanks, a meticulously trimmed mane, and a decoratively tied tail. The saddle blanket is rendered with carefully twisted clay strands to realistically mimic a fur-like texture, demonstrating the Tang artisans' attention to detail and skill in ceramic art.

Q3: How does the depiction of the female rider reflect the beauty standards of the Tang Dynasty? The female rider embodies the盛唐 (Shèng Táng, High Tang) aesthetic ideals of feminine beauty. Her full proportions are emphasized by the folds of her wide-sleeved robe, her rounded cheeks, and a discernible double chin. Her hairstyle, featuring a loosely gathered coiffure topped with a dangling forehead bun, further reinforces these contemporary standards of beauty.

Q4: What was the likely purpose of creating ceramic figures like this during the Tang Dynasty? Ceramic figures like this lady on horseback were primarily created for burial purposes. They were intended to furnish the tombs of aristocratic owners, vividly evoking aspects of their lives, including their fashions and leisure pursuits, for the afterlife. This practice reflects the Tang belief in providing for the deceased in the spiritual realm.

Q5: How does this particular figure compare to other Tang Dynasty ceramic figures found archaeologically? The stylistic features of this female rider, particularly her physique, costume, and hairstyle, bear a close resemblance to figures recently excavated from high-status tombs dating to around 740 AD. This similarity suggests that the Art Institute of Chicago's figure is a representative example of mid-8th-century aristocratic tomb figurines from the Central Plains region of China.

Q6: Where was this ceramic figure likely produced, and what is its estimated date of creation? Based on its stylistic characteristics and archaeological comparisons, this ceramic figure was likely produced in the Central Plains region of China during the mid-8th century (part of the Tang Dynasty, which lasted from 618 to 907 AD).

Q7: What is the provenance of this specific "Lady Riding Horse" figure currently housed in the Art Institute of Chicago? The "Lady Riding Horse" figure is part of the collection of the Art Institute of Chicago, with the accession number 1970.1073. It was donated by Mrs. Potter Palmer and was previously part of the collection of Potter Palmer II.

Q8: Where can I find further scholarly information about this Tang Dynasty ceramic figure? This figure has been documented in several academic publications, including the Archives of Asian Art (1970), Chen Wanli's 陶俑 (Ceramic Figures) (1957), Elinor Pearlstein and James T. Ulak's Asian Art in the Art Institute of Chicago (1993), Virginia L. Bower's article in Orientations (1993), Patricia Buckley Ebrey's The Cambridge Illustrated History of China (1996), and various editions of the Art Institute of Chicago: Essential Guide.