唐代筆記 vol.49 藍理捷2014展覽：唐三彩陶馬（47cm） - J.J.Lally & Co. Exhibition 2014, A Sancai-Glazed Pottery Figure Of A Saddled Horse, Tang Dynasty
- SACA
- Jan 16
- 5 min read
J.J. Lally & Co. 成立於 1970 年代，長期立足紐約，是二十世紀末以來北美最具學術導向的中國古代藝術經銷機構之一。藍理捷的定位，並非以市場熱點或價格驅動為核心，而是以器物質量、來源體系與博物館標準作為選件基礎。
其展覽策劃一向數量克制、品質高度集中，往往聚焦於早期陶塑、唐三彩、漢唐金屬器與重要舊藏標本。藍理捷所經手之作品，常可追溯至 20 世紀中葉以前的重要歐美私人收藏或學者收藏，並與美國主要博物館（如波士頓美術館、明尼阿波利斯藝術館、亞洲協會等）的收藏體系保持長期、穩定的學術互動。
2014 年舉辦的 “Ancient Chinese Sculpture: Recent Acquisitions” 展覽，即為其典型風格的集中體現：不以規模取勝，而以尺度、完成度、造型語言與來源完整性構成清晰判斷標準。此次展出的唐三彩陶馬（高 47 公分），正是在此一框架下被重新呈現與定位。
J.J. Lally & Co., established in New York in the 1970s, has long been recognized as one of the most academically driven dealers of ancient Chinese art in North America. Rather than responding to short-term market trends, the gallery has consistently emphasized quality, connoisseurship, and documented provenance as its core principles.
Lally’s exhibitions are deliberately selective in scale, often focusing on early Chinese sculpture, Tang sancai, and works with established Western collecting histories dating back to the mid-20th century or earlier. Many objects handled by the gallery later entered major museum collections, reflecting its close and sustained engagement with curatorial and scholarly communities.
The 2014 exhibition Ancient Chinese Sculpture: Recent Acquisitions exemplifies this approach. The Tang sancai-glazed pottery horse, standing 47 cm in height, was presented not as an isolated masterpiece, but as part of a coherent sculptural and historical narrative grounded in form, technique, and provenance.
唐代 三彩陶加鞍馬
高度：47 公分
年代：唐代，西元八世紀
此件三彩陶馬立姿矯健，作昂首俯頸之勢，頭部微低並向一側轉動，張口露齒，鼻孔外張，形態生動而富張力。頸部弧線強勁有力，長鬃梳理整齊，披覆於近側頸部，施以乳白色釉。額前分髮後掠，左右分披；雙耳一豎一伏，細節刻畫入微。
馬身通體施濃郁栗褐色釉，頭部與胸前可見乳白色釉自然流淌形成的斑痕。全身佩戴華麗馬具，鼻帶上飾以花形紋飾，鼻梁、額部與面頰處懸垂清晰模製之棕櫚葉形垂飾。馬鞍覆以琥珀色釉布，布面作褶皺狀，自兩側垂落，內襯為綠釉斑點鞍墊，釉色交錯，層次分明。
胸前橫帶施多色釉，其上飾五枚白色流蘇；馬腹兩側各垂六枚棕櫚葉形飾件，分別懸掛於長短交錯之帶索上，並濺施鮮綠色釉。後臀部以六條帶索自中央圓形飾件向外放射連結，圓飾模印卷草紋。尾部短截並束縛，施稻草色釉；蹄部亦以淡稻黃色釉點染。
陶胎呈粉紅偏褐色，腿部可見由上而下流淌之褐色釉痕。器物置於一平整之長方形素胎底座之上，未施釉。
來源（Provenance）
華盛頓特區，美國私人收藏
紐約 Ellsworth & Goldie, Ltd.，1962 年
威廉・莫里森（William Morrison）收藏
阿爾弗雷德・薩蒙尼（Alfred Salmony，1890–1958）收藏，購自中國
展覽
康乃狄克州新倫敦市，萊曼・艾林博物館（Lyman Allyn Museum）
比較例證
一件在造型與裝飾上極為相近、尺寸相同之唐三彩陶馬，著錄於《繭山七十年》第一卷（東京，1976 年），頁 77，圖 207。
另可比較波士頓美術館藏一件尺寸略大的同類加鞍三彩陶馬，來源為約翰・加德納・庫利奇（John Gardner Coolidge）舊藏，著錄於吳同：《Earth Transformed: Chinese Ceramics in the Museum of Fine Arts, Boston》（波士頓，2001 年），頁 40–41。
FAQ｜常見問題
Q1｜為什麼「藍理捷來源」在唐三彩研究與收藏中具有重要意義？
Why does a J.J. Lally provenance matter in Tang sancai studies and collecting?
中：藍理捷並非單純的交易中介，而是以學術標準篩選器物。其來源體系通常可追溯至 20 世紀早期或中期的重要西方收藏，降低了來源不明與後期市場拼接的風險，對學術研究與長期收藏具有高度參考價值。
EN:A Lally provenance signals rigorous selection and scholarly scrutiny. Objects typically come from early or mid-20th-century Western collections, offering a higher level of confidence in authenticity, condition, and historical context.
Q2｜2014 年藍理捷展覽的定位是「市場展示」還是「學術展示」？
Was the 2014 Lally exhibition market-driven or academically oriented?
中：該展覽更接近學術展示。展品數量有限，說明文字重在造型、工藝與比較案例，而非市場敘事，呈現的是一套可被博物館與研究者直接引用的判斷框架。
EN:The exhibition was academically oriented. With a limited number of works, it emphasized form, technique, and comparative material rather than commercial narratives.
Q3｜這件 47 公分唐三彩馬在同類作品中處於什麼位置？
How does this 47 cm Tang sancai horse rank among comparable examples?
中：47 公分屬於唐三彩陶馬中的大型等級，兼具完整馬具系統與高度動態造型，並有可靠的早期來源，可視為「博物館級別」的標準標本。
EN:At 47 cm, the horse belongs to the larger and more ambitious category of Tang sancai figures, combining dynamic modeling, elaborate trappings, and a solid early provenance—qualities consistent with museum-level examples.
Q4｜藍理捷展覽對後續學術與市場有何影響？
What impact do Lally exhibitions have on later scholarship and the market?
中：其影響更多體現在「標準建立」而非價格推動。藍理捷所呈現的器物，常成為後續出版、博物館收藏與市場比較的重要參照系。
EN:Lally exhibitions tend to establish benchmarks rather than chase prices. Objects shown often become reference points for later publications, museum acquisitions, and comparative studies.
Ancient Chinese Sculpture: Recent Acquisitions
March 14 - April 5, 2014
A SANCAI-GLAZED POTTERY FIGURE OF A SADDLED HORSE
Tang Dynasty, A.D. 8th Century
shown standing in a vigorous pose with head lowered and turned, mouth open and nostrils flared, the powerful arched neck with long mane combed over the near side and covered with a cream-colored glaze, the parted forelock swept back to each side across the forehead, with one ear pricked and the other ear folded back, the body covered in a strong chestnut-brown glaze, showing streaks of cream-colored glaze on the head and chest, caparisoned with an elaborate bridle ornamented with florettes on the noseband and crisply moulded palmette pendants on the nose, forehead and cheeks, the saddle covered with an amber-glazed cloth gathered into pleated folds draped on either side over a cream-dappled green-glazed saddle blanket, the multi-colored strap across the chest decorated with five white tassels, the trappings on the flanks with six palmette pendants on either side hung from alternating long and short straps and splashed with bright green glaze, linked over the hind quarters by six straps radiating from a central roundel moulded with scroll motifs, above a short docked and bound tail covered with straw glaze, the hooves also picked out in pale straw-toned glaze, on a flat rectangular unglazed base, the pinkish-buff-colored pottery splashed with brown glaze running down from the legs.
Height 18 1⁄2 inches (47 cm)
Provenance
American Private Collection, Washington D.C.Ellsworth & Goldie, Ltd., New York, 1962William Morrison CollectionAlfred Salmony Collection (1890-1958), acquired in China
Exhibited
Lyman Allyn Museum, New London, Connecticut
A very similarly modelled and decorated sancai-glazed horse of the same size is illustrated in Mayuyama, Seventy Years, Volume One, Tokyo, 1976, p. 77, no. 207.
Compare also the similarly modelled larger sancai-glazed figure of a saddled horse dressed in very similar trappings illustrated by Wu, Earth Transformed: Chinese Ceramics in the Museum of Fine Arts Boston, Boston, 2001, pp. 40-41, from the John Gardner Coolidge Collection.
唐 三彩陶馬 高 47 厘米
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