唐代筆記 vol.35 芝加哥藝術博物館：唐代三彩瓜型鉢 - Art Institute of Chicago, A Tang Dynasty Melon Shaped Altar Jar

此件小型供鉢以對稱瓜棱式紋樣成器，體量雖小，卻蘊含唐代三彩工藝的精髓。全器施以鉛釉，色彩黃、綠、白等交融層疊，為典型唐三彩風格。瓜形的設計源於對自然果實的模仿，象徵豐饒與吉祥，為唐代供器中常見形式之一。此類供鉢一般用於佛教或道教供養儀式中，亦常出現於高等墓葬隨葬器物組合中，兼具宗教與喪葬用途。

瓜形造型在唐代尤其受到重視，不僅表現自然物象之生命力，也與《抱朴子》及《神異經》等古代文本中對「仙果」「瑞實」的文化想像有所呼應，反映了當時社會對來世安寧與靈界資糧的重視。此外，器身小巧雅致，為宮廷、貴族墓葬中小型明器之代表，與大型駱駝、馬俑、女侍俑等並列，構成唐代三彩「樂舞儀仗＋供養設施」的完整視覺系統。

供鉢（瓜型）

產地： 中國（藝術家國籍：）

年代： 唐代（西元618–907年）

材質： 陶胎，施三彩鉛釉尺寸： 高 5.5 公分（2 3/16 吋）；直徑 8.2 公分（3 1/4 吋）

捐贈來源： 戈登‧帕爾默夫人捐贈

館藏編號： 1975.651

唐代瓜型鉢：Tang Dynasty Sancai Melon Jar_ Chicago Art Institute

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唐代瓜型供鉢常見問題集（FAQ）

Q1：何謂唐代瓜型供鉢？其最具代表性的特徵為何？此器為唐代（618–907年）製作之小型陶質供鉢，出土於中國。其最顯著之特色為對稱瓜棱形器身，並施以「三彩」（sancai）鉛釉裝飾。三彩釉色常見赭（黃）、綠與白等色交融重疊，形成典型唐代陶器色彩風格。儘管尺寸僅為高5.5公分、直徑8.2公分，此器仍被視為唐代三彩陶藝精神的濃縮表現。

Q2：此類瓜型供鉢在唐代主要具何功能？此類器物兼具宗教與喪葬雙重用途。在宗教儀式中，多作為佛教或道教供器使用，承載香果、飲食等祭品；於墓葬中，則屬「明器」之一，象徵為死者提供靈界資糧，助其往生安樂。其形式與功能密切反映唐人對現世與來世之關聯想像。

Q3：為何唐代會選擇瓜形作為此類供器的設計主題？瓜形設計在唐代具有重要象徵意涵。一方面模仿自然瓜果形態，寓意豐饒、繁衍與吉祥；另一方面，亦與《抱朴子》與《神異經》等古代典籍中所述之「仙果」與「瑞實」等神話概念互為呼應，代表靈界之食，延伸至明器的精神功能，將器形美學與宗教文化深度結合。

Q4：三彩釉的使用對此件器物有何文化與技術意義？三彩釉為唐代陶器最具代表性之裝飾技法，顯示當時陶藝工匠之高度技術水準與藝術風格。三彩釉料含鉛，經高溫燒成後呈現出流動斑斕的色彩效果。其多見於帝王貴族用器，反映出三彩陶器在唐代社會中所具有的尊貴地位與審美品味。

Q5：此類小型瓜型供鉢通常會出現於何種墓葬脈絡之中？此類供鉢常見於宮廷與貴族階層之墓葬中，屬於「明器」體系中的一環。其常與三彩駱駝、馬俑、女侍俑等大型器物一同出現，構成一整套模擬現世生活的葬儀體系，藉以延續生前的身份、富裕與社會地位於來世。

Q6：這件小供鉢如何幫助我們理解唐代文化與信仰？此件看似平凡的小器物，實則蘊藏豐富的文化信息。其形制與裝飾反映唐代對自然形式的喜好，對來世的重視，以及宗教與日常生活交融的精神世界。三彩技術的運用亦體現了唐代陶藝的技術成就與美學高度，並揭示其使用者之社會地位與精神信仰。

Q7：此瓜型供鉢的歷史與地理來源為何？本件瓜型供鉢現藏芝加哥藝術博物館，製作年代為唐代（618–907年），原產地為中國。雖文獻中未明確指出其窯址，然唐代三彩器主要燒製地集中於中國中原地區，尤以洛陽、長安（今西安）周邊窯場為盛，與唐代政治與宗教中心高度重疊。

Q8：此器與唐代其他藝術與物質文化類型有何關聯？此供鉢為唐代物質文化系統中極具代表性之一環，反映出當時社會對色彩、自然造形與異域文化影響的高度接受度。其與其他三彩陶俑、器皿形式（如馬俑、駱駝俑、樂舞伎俑等）同為唐代墓葬制度下再現現世生活與精神追求的組成部分。宗教意涵方面，其亦體現佛教與道教影響下唐代喪葬儀制的融合與發展。

Melon-Shaped Jar

Place

China (Artist's nationality:)

Date 

618 CE–907 CE

Medium

Earthenware with three-color (sancai) lead glazes

Dimensions

5.5 × 8.2 cm (2 3/16 × 3 1/4 in.); Diam.: 8.2 cm (3 1/4 in.)

Credit Line

Gift of Mrs. Gordon Palmer

Reference Number

1975.651

Frequently Asked Questions about the Tang Dynasty Melon-Shaped Altar Jar

Q1: What is the Tang Dynasty Melon-Shaped Altar Jar and what are its defining characteristics? This is a small ceramic offering bowl created during the Tang Dynasty (618–907 AD) in China. Its most notable features include its symmetrical, melon-shaped form and the application of sancai, or three-color, lead glazes. The glazes typically display a vibrant interplay of amber, green, and white hues. Despite its small size (5.5 cm high and 8.2 cm in diameter), it is considered to embody the essence of Tang Dynasty sancai ceramic artistry.

Q2: What was the primary purpose of such melon-shaped altar jars during the Tang Dynasty? These jars served a dual purpose, functioning both as ritual vessels in religious ceremonies (primarily Buddhist or Daoist) and as burial goods in the tombs of the elite. In religious contexts, they were used as offering bowls. In funerary settings, they were placed in tombs as part of the provisions and symbolic representations intended for the afterlife.

Q3: Why was the melon shape a significant design choice for these jars during the Tang Dynasty? The melon shape was highly valued during the Tang Dynasty for several reasons. Firstly, it directly mimicked natural fruit, symbolizing themes of abundance, fertility, and auspiciousness. Secondly, this shape resonated with cultural imaginations of "immortal fruits" and "auspicious produce" described in ancient texts like the Baopuzi and Shenyi Jing. These texts alluded to otherworldly sustenance, aligning with the jar's funerary role in providing for the deceased in the afterlife. The melon form thus connected earthly prosperity with hopes for the afterlife.

Q4: What does the presence of sancai glaze signify about this artifact? The application of sancai, or three-color lead glazes, is a hallmark of Tang Dynasty ceramics and indicates a high level of craftsmanship and artistic sophistication. The characteristic layering and blending of amber, green, and white (though other colors could be present) were achieved through a specific firing process and glaze composition. Sancai ceramics, including this melon-shaped jar, were often associated with the imperial court and the aristocracy, signifying wealth and status.

Q5: In what kind of burial context would this small melon-shaped jar typically be found? This type of small and refined altar jar was characteristic of elite burials, including those of the court and aristocracy. It would typically be found as part of a larger assemblage of funerary objects known as mingqi or "spirit goods." These sets often included representations of daily life, such as figures of attendants, animals like camels and horses (often depicted in elaborate sancai), and other symbolic items intended to equip the deceased for the afterlife.

Q6: How does this small jar contribute to our understanding of Tang Dynasty culture and beliefs? This seemingly modest artifact provides valuable insights into Tang Dynasty culture. Its form and decoration reveal the aesthetic preferences of the time, the importance of natural symbolism, and the prevalence of beliefs concerning the afterlife and the need to provide for the deceased. Its dual use in religious rituals and burials underscores the interconnectedness of spiritual practices and funerary customs in Tang society. The use of sancai reflects the technological and artistic achievements of Tang potters and the wealth and status of those who commissioned or were buried with such items.

Q7: What is the historical and geographical origin of this particular Melon-Shaped Jar? This specific Melon-Shaped Jar in the collection of the Art Institute of Chicago was produced in China during the Tang Dynasty (618–907 AD). While the exact kiln site is not specified in the provided text, Tang Dynasty sancai wares were primarily produced in kilns located in the central plains of China, particularly around the Luoyang and Xi'an (then Chang'an) regions, the capitals of the Tang empire.

Q8: How does this Melon-Shaped Jar relate to other forms of Tang Dynasty art and material culture? This jar is part of a broader artistic and material culture of the Tang Dynasty characterized by vibrant colors, naturalistic forms, and a reflection of cosmopolitan influences. It shares stylistic similarities with other sancai ceramics, including larger tomb figures and vessels. Its presence alongside other mingqi in elite tombs illustrates the Tang elite's desire to recreate a semblance of their earthly life and status in the afterlife, complete with attendants, transportation (represented by animal figures), entertainment (suggested by dancer and musician figurines), and provisions (including vessels like this jar). It also connects to the religious landscape of the Tang, reflecting the influence of Buddhism and Daoism on funerary practices and artistic motifs.