Page 26 - Classical Chinese Ceramics Vol 2 June 2016

3106 CONTINUED 本件三彩馬造型生動、釉彩華美，其引項顧首之瞬間動態充分彰顯
了盛唐雕塑的高超技藝。此件三彩馬的造型源於中亞的Ferghana
The present sancai horse is exceptionally well-modelled, revealing 馬，即廣為人知的「汗血寶馬」。有唐一代武功昭隆、四夷賓服，
the technical accomplishment and stylistic maturity of Chinese 疆域曾一度西至蔥嶺，西北達巴爾喀什湖，西域的良駒寶馬做為戰
ceramic sculpture at the peak of the Tang dynasty. This breed of 利品或貢品來到中原，成為了帝唐國強大軍事力量的基石以及貴族
magnificent horses was imported from Ferghana, Central Asia and 彰顯地位的象徵。
was immortalised in Chinese literature and the visual arts. The
horse itself was a potent image during the vigorous expansion of 三彩馬如本品之體量、氣度者頗為罕見。其優雅的動態，張嘴嘶鳴
the Tang ‘golden age’. In style and subject matter, the present 的細節，以及華美的鞍具更顯珍罕。可比一匹近似的顧首張嘴馬，
horse with sancai or ‘three-colour’ glaze was developed during the 售於紐約佳士得，2002年3月21日，拍品103號。東京國立博物館
sixth century when Tang artisans experimented with sancai glazes, 藏有另一件近似例，載於《龍泉集芳》，東京，1976年，第一集，
creating a lively spectrum of blue, green, amber, and yellow over 編號198。
a creamy-white ground. The distribution of glaze on this current
horse displays an unusually high degree of control. 本品鞍具上的裝飾細節亦十分精彩。馬鞍上覆蓋的織物刻畫流暢，
有迎風飄揚之感，上飾之羽毛裝飾更加增添了富麗之美感。多倫多
Sancai horses of such imposing size are extremely rare and the 皇家安大略博物館藏有一件飾相同羽毛織物，型態、尺寸類似之三
most prized among collectors. Elaborately caparisoned and 彩馬，與本品或為一對，僅鬃毛色彩有別。（圖一）而馬絡帶下垂
standing foursquare with its head gracefully turned to the left, 的每個葉形裝飾中都有一隻匍匐的蟾蜍。《太平御覽》卷九百二十
bulging eyes, mouth agape and ears alert, the sculpture successfully 九引西晉道家王長文 (230-302年)《通玄經》曰:“蟾蜍辟兵”。馬
imparts a sense of realism and subtle movement. A comparable 具上飾蟾蜍紋蓋取其避兵之意也。此類蟾蜍紋馬具可見於幾件館藏
horse also naturalistically modelled with its head elegantly turned 的重要例子，如東京出光美術館藏的一件三彩馬，載於《出光美術
and mouth agape was sold at Christie’s New York, 21 March 館藏品圖錄：中國陶磁》，東京，1987年，圖錄編號50；以及紐約
2002, lot 103. Another example of similar size is in the Tokyo 佳士得2004年3月24日拍賣的一例，拍品139號。
National Museum, illustrated in Mayuyama, Seventy Years, vol. 1,
Tokyo, 1976, no. 198.

The present horse is further distinguished by its detailed animal-
form trappings and simulated fur blanket, which adds a refined
finish to the beautiful, cream-glazed body. The moulded trappings
hang pendent leaf-form plaques enclosing a recumbent toad.
Whilst the motif of the toad is rarely seen on appliqués, the
importance of the toad can be found in Daoist philosophies dating
to the Western Jin dynasty (265-317). It is recorded in the Tong
Xuan Jing written by the Daoist philosopher Wang Cheng Wen
(230-302), that a toad-like talisman offers protection from evil and
harm during battle. The depiction of the toad on trappings appears
on several examples of important sancai horses, such as one found
in the Idemitsu Museum of Art, Tokyo, illustrated in Chinese
Ceramics in the Idemitsu Collection, Tokyo, 1987, no. 50. Another
comparable example with similar trappings can be found on a
sancai horse sold at Christie’s New York, 24 March 2004, lot 139.

The simulated fur blanket on the present horse is also a very
unusual feature. Similarly rendered saddle blankets with moulded
florettes studs also appear on a horse of almost identical size in the
Royal Ontario Museum, Toronto, Canada (fig. 1). This horse
and the present lot were possibly made from the same group, both
similarly sculpted in a splendid style capturing the animal’s spirited
movement, and distinguished only by the colour of the manes,
tail, body, and the form of their trappings.

fig. 1 A sancai-glazed horse.
With permission of the Royal Ontario Museum ©ROM

（圖一）三彩馬 多倫多皇家安大略博物館藏品

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