唐代筆記 vol.43 大阪東洋陶瓷博物館：加彩仕女俑 - Museum Osaka Oriental Ceramic, Painted Pottery Figurine of Courtlady, Tang Dynasty
- SACA
- Aug 19
- 6 min read
加彩仕女俑
唐時代・8世紀高49.0公分，寬20.3公分，重3,520公克
安宅收藏，大阪市立東洋陶瓷美術館
自盛唐開元年間（713–741）至天寶年間（742–756），墓室壁畫與隨葬俑中所描繪的女性形象，逐漸由初唐的細身樣貌轉變為豐腴而華美的體態。本件仕女俑正是此一審美潮流的代表性佳作。其圓潤的姿態中仍保有一絲少女般的天真氣息，卻同時流露出雍容端莊之美。左手原應有小鳥停棲，似在傾耳聆聽鳥鳴，因而微微側首，姿態生動而富有情趣。
此俑以模具成形，再施以鮮麗彩繪，雖大部分彩色已不復存，但仍可想見當年絢爛華美的原貌。作為盛唐仕女俑的典型之作，其造型與神態體現了唐代社會對女性理想形象的審美轉變。
FAQ - 問答：
這件「加彩仕女俑」來自哪個時代？
這件「加彩仕女俑」是唐代的作品，特別是盛唐時期的產物，屬於8世紀。資料中明確指出其年代介於開元年間（713–741）至天寶年間（742–756）之間，這兩個時期正是唐朝國力鼎盛、文化繁榮的階段。
「加彩仕女俑」的尺寸和重量為何？
這件「加彩仕女俑」的高度為49.0公分，寬度為20.3公分，重量為3,520公克。這些具體的尺寸和重量資訊有助於我們對這件文物的實體大小有更清晰的理解。
「加彩仕女俑」目前典藏於何處？
這件「加彩仕女俑」目前是安宅收藏的一部分，並由大阪市立東洋陶瓷美術館（Museum of Oriental Ceramics, Osaka）典藏。這表明了這件珍貴的唐代文物如今被妥善保存於日本的博物館中。
這件仕女俑體現了唐代女性審美觀的何種轉變？
這件仕女俑完美體現了盛唐時期女性審美觀的重大轉變。在此之前，初唐的女性形象多為細身樣貌，但到了盛唐的開元至天寶年間，主流審美趨向於豐腴而華美的體態。這件作品的圓潤姿態正是這種「豐滿為美」的代表性佳作，展現了唐代社會對女性理想形象的新追求。
「加彩仕女俑」在細節上有哪些生動的描繪？
這件仕女俑在細節上展現出極高的藝術性與生動性。雖然姿態豐滿，卻仍保有一絲少女般的天真氣息，同時流露出雍容端莊之美。尤其引人注目的是，她的左手原應有小鳥停棲，她微微側首，彷彿在傾耳聆聽鳥鳴，這個姿態極富情趣，為雕塑增添了生命力。
「加彩仕女俑」是如何製作的？其原貌有何特點？
這件仕女俑是以模具成形的方式製作的。在完成塑形後，表面再施以鮮麗的彩繪。儘管經過歲月洗禮，大部分彩色已經不復存在，但現有的痕跡仍能讓人想像其當年絢爛華美的原貌。這種製作和裝飾方式是唐代陶瓷俑常見的工藝特點。
這件「加彩仕女俑」在唐代藝術中有何重要地位？
這件「加彩仕女俑」被譽為盛唐仕女俑的典型之作，也是這一審美潮流的代表性佳作。它的造型與神態不僅反映了當時社會對女性理想形象的審美轉變，也代表了唐代作為中國史上最國際化時代之一的藝術成就，體現了那個時代的繁榮與自信。
除了作為隨葬品，這件仕女俑還能讓我們了解唐代社會的哪些面向？
這件仕女俑除了作為墓葬中的隨葬品，其藝術風格和審美特點也能讓我們了解唐代社會的多元與開放。盛唐時期國力強盛，文化交流頻繁，藝術風格也隨之變得更加大膽和包容。女性形象從纖細到豐滿的轉變，反映了當時社會富裕安樂，對生命和肉體美的欣賞，以及一種自信雍容的時代氣度。它也暗示了唐代上層社會對生活品質和藝術享受的追求。
Painted Pottery Figurine of a Court Lady
Tang Dynasty, 8th centuryHeight: 49.0 cm; Width: 20.3 cm; Weight: 3,520 g
Ataka Collection, Museum of Oriental Ceramics, Osaka
During the flourishing period of the Tang dynasty, particularly between the Kaiyuan era (713–741) and the Tianbao era (742–756), depictions of women in tomb murals and burial figurines underwent a significant transformation. The formerly slender and willowy figures gave way to a fuller and more voluptuous style, reflecting the prevailing aesthetic ideals of the high Tang court.
This figurine is a masterpiece of that transformation. The figure retains an air of youthful innocence, while at the same time exuding a dignified elegance. Her left hand, once supporting a small bird, suggests that she tilts her head slightly as if listening to its song—a charming and vivid gesture that brings the figure to life.
The figurine was molded using a clay mold and originally embellished with brilliantly colored pigments, much of which has now faded. Nevertheless, traces of its polychromy allow us to imagine its former splendor. As a representative work of Tang court ladies, this piece epitomizes the changing ideal of feminine beauty in one of China’s most cosmopolitan eras.
FAQ Pottery Courtlady
What is the "Painted Pottery Figurine of a Court Lady"?
The "Painted Pottery Figurine of a Court Lady" is a significant ceramic artifact from the Tang Dynasty, specifically dating to the 8th century. It is currently part of the Ataka Collection at the Museum of Oriental Ceramics in Osaka.
What are the physical characteristics of this figurine?
This figurine stands at a height of 49.0 cm, has a width of 20.3 cm, and weighs 3,520 grams. It was originally adorned with vibrant, brilliant colors, though much of this polychromy has faded over time.
How was the figurine created?
The figurine was crafted using a clay mold for its initial shaping. Following the molding process, it was then embellished with vivid painted pigments, which contributed to its "splendor" and "brilliantly colored" appearance when first created.
What does the pose of the figurine suggest?
The figurine depicts a court lady with her head slightly tilted, as if attentively listening. Her left hand, now empty, originally held a small bird, implying she was listening to its song. This gesture adds a "charming and vivid" quality, bringing the figure to life. Despite its dignified elegance, the pose also conveys "an air of youthful innocence."
What aesthetic transformation in Tang Dynasty art does this figurine represent?
This figurine is a prime example of a significant shift in aesthetic ideals during the flourishing period of the Tang Dynasty, particularly from the Kaiyuan era (713–741) to the Tianbao era (742–756). Earlier depictions of women, such as those in tomb murals and burial figurines, were typically slender. However, during this period, the preference transitioned to a "fuller and more voluptuous style," reflecting the prevailing beauty standards of the high Tang court.
Why is this figurine considered a "masterpiece" and "representative work" of its time?
It is regarded as a masterpiece and representative work because it perfectly embodies the aesthetic transformation towards a fuller, more voluptuous feminine ideal during the high Tang Dynasty. Its detailed craftsmanship, vivid pose, and historical context make it a quintessential example of Tang court lady figurines, capturing the changing ideals of beauty in one of China's most cosmopolitan eras.
What is the significance of the "fuller and more voluptuous style" in Tang Dynasty art?
The shift to a "fuller and more voluptuous style" in depicting women during the High Tang period signifies a change in the prevailing aesthetic ideals of the time. It suggests a societal preference for a more robust and perhaps luxurious feminine beauty, moving away from the slender figures of earlier periods. This style is considered characteristic of the "flourishing period of the Tang dynasty."
Where is this figurine currently located?
The "Painted Pottery Figurine of a Court Lady" is housed in the Museum of Oriental Ceramics in Osaka, as part of the Ataka Collection.
加彩 仕女俑
作品名（よみ） | かさい ふじょよう |
時代1 | 唐時代 |
時代2 | 8世紀 |
高（cm） | 49.0 |
幅（cm） | 20.3 |
重量（g） | 3,520 |
コレクション名 | 安宅コレクション |
盛唐の開元年間（713-741）から天宝年間（742-756）頃になると、墓の壁画や副葬品である俑などに表された女性像は、それまでの細身のスタイルからふっくらした豊満なスタイルへと変化しました。本作はそうした盛唐の女性俑の傑作の一つといえ、少女のようなあどけなさのなかにも凛（りん）とした気品を感じさせます。左手には本来小鳥がとまっていたらしく、そのさえずりに耳を傾けるように首をややかしげたしぐさが、何ともチャーミングです。型を用いて成形されたもので、本来は華やかな彩色が施されていました。
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