三彩貼花爐，陶器，唐代，高16釐米，口徑15釐米，腹圍70釐米。1976年7月河南省鄭州市鞏義黃冶遺址出土，河南博物院藏。
深度品鑒
三彩貼花爐，鞏義黃冶窯出土。整件器物造型渾圓飽滿。白陶胎，侈口，短頸，口沿部向外翻轉成弧形，口沿上遺留有三處支燒痕。肩部飾有兩條非常淺的弦紋，腹部鼓起，圜底下有三個外撇的獸蹄足，呈三足鼎立之勢。（圖一）在器身中上部施有淺色黃釉及藍釉，下部施褐色釉。爐的肩、腹部採用貼花工藝各貼塑四朵花卉和寶相花圖案作為主題紋裝飾。（圖三）
圖一 三彩貼花爐口沿部
圖二 三彩貼花爐腹部
圖三 三彩貼花爐上的貼花圖案
三彩爐肩部的花卉浮雕，整體左右對稱，上部是團簇狀花蕊，兩側為捲曲的花絮，中間滿布竪線形花絮，下部飾叉形花托，組成一個桃形花卉裝飾。貼花工藝使得器物表面凹凸不平，呈現出較強的立體感；貼花上施彩釉，釉層聚散薄厚不一，色彩濃淡深淺各異，彰顯了三彩製品的無窮魅力。
獸足形爐腿，塑造成一隻獸腿，腿部肌肉發達，足部趾爪突露。由於腿短粗，肌肉發達，顯得強健有力，突露的趾爪落地，增強了器物的穩定性。（圖四）
圖四 三彩貼花爐足部
三彩貼花爐整體塑造的豐潤飽滿，貼花圖案構圖精巧、做工精細，富有濃郁的裝飾效果；交錯的釉色浸潤流淌，色彩艷而不俗。它的造型與色彩構成了豐富的藝術語言，詮釋了大唐的審美風尚，是為唐三彩藝術品中的傑出代表。
文化解讀
唐三彩，是指唐代多彩釉陶器。它是在漢代釉陶的基礎上直接發展演變而來的一種唐代特有的低溫和具有多彩釉色的釉陶新品種。一件三彩器的製作，須經過陶土的淘洗、沈澱、揉練、模印、粘接、貼敷、刮削、修整、乾燥、焙燒、掛彩、施釉、彩繪等數道工序才能完成。
位於河南省中部的鞏義黃冶窯是燒制唐三彩的主要窯址。在黃冶唐三彩窯址考古工作者發現的燒制唐三彩的窯具、模範和三彩器及殘片數以萬計。出土三彩製品種類極為豐富，基本上可歸納為五類：器皿類、俑類、模型類、玩具類、建築構件類。其中器皿類數量最多，為黃冶窯的大宗產品，主要有盤、盆、罐、壺、碗、碟、盞爐、杯、水盂等。其中，爐的數量在黃冶窯出土器物中居於首位。
在黃冶窯出土的三足爐、洗等器物上，可以發現大多數爐的口沿處及內底上均遺留有三處支燒痕。由此可知，燒制爐、洗等大件器物時，會在其上再疊燒其他器物，以此充分利用空間，增加每窯的裝燒量。
我們通過黃冶窯出土的貼花爐這一類器皿，來瞭解一下與之相關的製作工藝。三足爐的成型方法：圓形器皿部分採用轉盤拉坯工藝製作；三足和貼花部分則另外模制或捏制後粘貼而成。
在鞏義黃冶窯發掘出土了製作三足爐的器足模（圖五），高7釐米、寬5釐米、厚3.4釐米。
圖五 三足爐器足模
貼花工藝是黃冶窯最常見的一種裝飾技法，紋樣題材也最豐富，廣泛運用於爐、豆、鉢、罐、壺等器皿上。這種貼花多裝飾在三彩三足爐、罐、豆的肩腹部或三彩馬鞍韉的革帶上。貼花工藝是以胎泥為原料，用模印或者堆塑方法製成單獨的浮雕狀花紋坯，用泥漿貼在已制好的器坯肩部、腹部，然後施釉，入窯燒成。這種工藝更加凸顯了其立體的裝飾效果。
黃冶窯址出土的各種模具中，製作貼花的模具，數量最多，紋飾題材也多種多樣。如花卉圖案貼花模制模模具（圖六），高9釐米、寬9釐米、厚1.8釐米，模整體呈桃形，三朵花與五片葉子之間以梗莖相連，構成一幅左右對稱的圖案，疏密適度佈局緊湊；又如虎面貼花模制模模具（圖七），徑4釐米、厚1.2釐米，模整體略呈方形，虎面塑造的極為生動，突眉爆目，鼻翼突出，張嘴露齒，兩道排牙，面容顯得十分威猛。
圖六 花卉圖案貼花模制模模具
圖七 虎面貼花模制模模具
在施釉技法上，黃冶窯的三足爐多采用澆釉的方法，多施在罐、鉢、爐、瓶的口、肩或腹部，一般施釉不到底。焙燒過程中，燒熔的色釉沿著製品的傾斜表面從上而下流動，形成厚薄不一，深淺各異的釉層，取得活潑流暢，瑩潤自然，富有動態美的藝術效果。
民間收藏界有一種說法“三彩掛藍，價值連連”。唐代的藍釉三彩器往往被稱為極品。有關研究資料表明，鈷藍在中國的應用始於春秋戰國時期的陶胎琉璃珠，而用於中國陶器較早的例子則是唐三彩藍釉器。雖然唐三彩發現和出土較多，但是掛藍釉的卻相對少見。據專家考證，燒制這種藍釉的呈色劑是鈷，來源很可能是唐代通過絲綢之路傳入中國的一種釉料；此外，藍釉三彩器在上色和燒制時難度較大。所以，稀有的釉料加之複雜的施釉工藝，使得藍釉三彩器有著極高的藝術欣賞價值和科學研究價值。在鞏義黃冶窯中發現的唐三彩藍釉器數量極少，施有藍釉的三彩貼花爐顯得彌足珍貴。
鞏義黃治窯址唐三彩三足爐等遺物的出土，再現了唐三彩的製作工藝流程，使我們對唐三彩製品的成型、裝飾、燒成工藝過程有了更加全面的認識。
比較研究
爐為焚香及陳設用品，大約起於戰國時期，漢代流行熏爐，主要用於熏香，美化居室。到唐代頗為盛行。唐代香爐一般為圓形或扁圓形，有三足。雖然唐三彩一般為隨葬品，但有人認為唐三彩爐為實用器。三足爐是鞏義黃冶窯常見的器型，以唐三彩較為多見，此外還有白釉、黑釉、藍釉等品種。下面我們共同欣賞幾件河南出土的三彩三足爐。
河南省永城市唐墓出土的三彩獅形貼花爐（圖八）
口徑12.5釐米，腹徑21.3釐米，高17.1釐米，侈口外翻，卷沿圓唇，短頸微束，豐肩略斜，圓鼓腹，圜形底，腹下部位設有獸爪狀三足。肩部的五片葉狀貼花，與腹部的五隻獅形貼花等距離交錯裝飾。施釉不及底，露出陶胎，質地潔白，細密堅致。據有關專家研究成果表明，這件唐三彩三足爐應是鞏義黃冶窯製品。
圖八 永城市唐墓出土的三彩獅形貼花爐
1987年，河南省淮陽縣王店鄉大宋村唐墓出土的三彩伎樂人貼花三足爐（圖九），爐殘高16釐米，侈口卷沿，圓唇略斜，短束頸，豐肩，鼓腹，圜底，腹下部原有三足，惜已殘失。肩部一周等距飾以六片草葉紋貼花。腹上部與三足對應飾有三尊菩薩貼花圖案。腹中部三足之間相應位置，裝飾三組松葉忍冬卷草紋間伎樂人的貼花圖案。通體施以黃、綠、白三色彩釉，綠釉為主，間飾黃白釉，底部略露白胎。
圖九 淮陽縣唐墓出土的三彩伎樂人貼花爐及局部
河南出土的唐三彩三足爐中，大部分都是有器無蓋，但也發現有一些帶蓋的。如1991年禹州市郭連鄉郭東村唐墓出土的三彩帶蓋三足爐（圖十），通高20釐米。侈口，卷沿，圓唇，短頸，鼓腹，圜底，下有三獸爪形足。上承鬥笠形蓋，頂設圓紐。蓋及肩部飾有數周凹弦紋。器身與蓋交錯施以橙、綠、白釉，橙色為主，間飾綠白釉，並以斑點形式構成多組不規則抽象梅花圖案。三足外側均施綠釉。器底和足底及內側部位露出白色陶胎。
圖十 禹州市郭連鄉郭東村唐墓出土的三彩帶蓋爐
1998年，周口市信用社唐墓出土的三足爐（圖十一），高14.6釐米，侈口圓唇，口緣外翻，短頸微束，豐肩，鼓腹，圜底，下有三獸爪形足。肩、腹部飾三組數周弦紋，有凸有凹，唯肩與腹之連接處凸稜明顯，轉折起伏，富於變化。白胎，體敷化妝土，釉至下腹，底部露胎。施藍、黃、白三色彩釉，口足部分為黃釉，肩與腹部藍釉為地，交錯飾以三層點綴有黃釉的白花，釉色在燒制過程中暈染流動，如浮光掠影，十分特別。
圖十一 周口市信用社唐墓出土的三足爐
1992年，鄲城墨河唐墓出土的三足爐（圖十二）。該爐高14.9釐米，侈口，卷沿，圓唇，束頸，豐肩，鼓腹，圜底，下承以三獸足。爐口、頸及足部施以黃褐釉，肩部飾有一週三色覆蓮瓣紋，層次分明，腹部交錯施以黃、綠、白釉，黃綠打底，白斑點綴，似為花瓣，飄拂散落。釉色斑斕，黃、綠、白、褐各色相互交融浸潤，給人一種暖色基調和美的質感。釉不及底，積釉處呈現熟褐色調。胎質潔白，瑩潤細膩。
圖十二 鄲城墨河唐墓出土的三足爐
平頂山市發現的唐三彩三足爐（圖十三），侈口、卷沿、圓唇、短束頸、鼓腹、圜底略平、下承三獸爪形足。頸肩及底部飾有凸弦紋。釉不及底、敷化妝土並露白胎。口、頸部與足部施醬黃釉，身施黃、綠、白三色彩釉，肩部一周飾有草葉紋，紋飾簡約，淳樸自然。
圖十三 平頂山市發現的唐三彩三足爐
通過對上述唐三彩三足爐的比較研究，我們認為其中不少器物是由鞏義黃冶窯生產的。綜上所述，黃冶窯生產的三足爐主要特徵為：
一、器皿造型方面：卷沿，短頸，廣肩，鼓腹，圜底，有三個獸蹄形足。
二、裝飾技法方面：肩腹部多飾兩道平行凸弦紋以及不同式樣的貼花圖案。貼花題材豐富，如人物、動物、植物等。表現了當時的審美風尚和社會習俗。
三、釉彩方面：器表多采用澆釉、點釉等施釉技法，在口沿與外壁往往先施一層化妝土，然後施黃、宗、綠、藍等色釉，施釉至下腹部，底部露胎；內壁多施黃釉或淺黃透明釉。黃冶窯三彩製品的顏色釉屬低溫色釉，所以釉層清澈透明，釉面光澤度強，表面平整光滑。
Three-Color Decorated Incense Burner
Material: Ceramic
Dynasty: Tang
Dimensions: Height 16 cm, Mouth Diameter 15 cm, Circumference 70 cm
Excavated: July 1976, Huangye site, Gongyi, Zhengzhou, Henan Province
Collection: Henan Museum
In-Depth Analysis
The Three-Color Decorated Incense Burner was unearthed at the Huangye kiln site in Gongyi. The piece features a plump and rounded shape, made from white ceramic clay. It has an outward-flared mouth with a short neck, where three firing support marks remain on the rim. The shoulder is adorned with two shallow horizontal lines, while the belly is rounded and supported by three outward-leaning beast-shaped legs arranged in a tripod structure (Figure 1).
The upper body of the burner is glazed in light yellow and blue, while the lower portion is coated in brown glaze. Floral and lotus-inspired motifs are applied as the primary decorative elements on the shoulder and belly using a relief technique (Figure 3).
Figure 1: Mouth Rim of the Three-Color Incense Burner
Figure 2: Belly of the Three-Color Incense Burner
Figure 3: Relief Decorations on the Burner
The floral reliefs on the shoulder are symmetrical, with clustered petals at the top, curled tendrils on both sides, and vertical details filling the center. Forked pedestals at the base complete the peach-shaped floral decoration. This relief technique adds a pronounced three-dimensional quality to the surface, with the glaze pooling and thinning in varying intensities, highlighting the beauty of the Tang dynasty’s three-color ceramics.
The tripod legs are sculpted as robust animal limbs, with prominent muscles and claws that enhance the stability of the burner (Figure 4).
Figure 4: Beast-Shaped Legs of the Burner
Overall, the burner’s design is full-bodied and adorned with meticulously crafted reliefs. The harmonious interplay of glazes results in vibrant yet tasteful colors, showcasing the aesthetic sophistication of the Tang dynasty. This burner exemplifies the pinnacle of Tang dynasty three-color ceramics.
Cultural Insights
Tang Sancai, or Tang three-color ceramics, refers to glazed pottery from the Tang dynasty featuring multicolored low-temperature glazes. It evolved from earlier glazed pottery traditions, incorporating intricate techniques. The production process involved numerous steps, including washing, sedimentation, kneading, molding, assembling, trimming, drying, firing, glazing, and painting.
The Huangye kiln in central Henan Province was a key production site for Tang Sancai. Archaeological discoveries from the site include kiln tools, molds, and a vast number of finished and fragmented ceramic pieces. The range of items produced can be categorized into five types: vessels, figurines, models, toys, and architectural components. Among these, vessels were the most common, with incense burners being the predominant type found.
The characteristic three-prong support marks on the rims and bases of larger vessels like incense burners indicate an efficient stacking method used during firing to maximize kiln space.
Figure 5: Mold for Incense Burner Legs
The relief technique was a hallmark of Huangye kiln decorations, applied extensively on vessels such as burners, jars, and bowls. Relief motifs were crafted using clay molds or freehand techniques, then adhered to the vessels with slurry before glazing and firing. This technique significantly enhanced the three-dimensional appeal of the pieces.
Molds discovered at the Huangye site include a wide variety of patterns. For example, a peach-shaped floral mold (Figure 6) features a symmetrical arrangement of three flowers connected by stems, while a tiger-face mold (Figure 7) depicts a fierce expression with protruding eyebrows, flared nostrils, and bared teeth.
Figure 6: Floral Relief Mold
Figure 7: Tiger-Face Relief Mold
In terms of glazing, Huangye kiln incense burners often employed pouring techniques, with glaze typically applied to the upper portions of the vessels. During firing, the glaze would flow downwards, creating varying thicknesses and dynamic patterns.
Blue-glazed Tang ceramics are particularly prized due to their rarity and the complexity of their production. The cobalt used for the blue glaze likely came via the Silk Road, and the application of this material required skillful glazing techniques, enhancing both artistic and scientific value.
The discovery of Tang three-color incense burners at the Huangye kiln site has provided invaluable insights into the craftsmanship and cultural significance of these ceramics.
Comparative Study
Incense burners, initially used for burning incense and later as decorative items, date back to the Warring States period. By the Han dynasty, incense burners were widely used, with round tripod designs gaining popularity in the Tang dynasty. While most Tang Sancai artifacts served as burial objects, some suggest that incense burners were functional household items.
Below are notable examples of Tang three-color incense burners excavated from Henan Province:
Three-Color Lion-Decorated BurnerExcavated: Yongcheng, Tang tombDimensions: Mouth Diameter 12.5 cm, Belly Diameter 21.3 cm, Height 17.1 cmFeatures: Beast-shaped feet and alternating lion and floral reliefs on the shoulder and belly. (Figure 8)
Three-Color Musician-Decorated BurnerExcavated: Huaiyang, Tang tombHeight: 16 cm (partially damaged)Features: Reliefs of musicians and foliage motifs arranged symmetrically. Glazed in yellow, green, and white. (Figure 9)
Three-Color Lidded BurnerExcavated: Yuzhou, Tang tombTotal Height: 20 cmFeatures: A conical lid with floral motifs and orange-dominant glaze patterns. (Figure 10)
Three-Color Burner with Blue HighlightsExcavated: Zhoukou, Tang tombHeight: 14.6 cmFeatures: Blue glaze with yellow and white highlights flowing naturally. (Figure 11)
Three-Color Burner with Lotus MotifsExcavated: Dancheng, Tang tombHeight: 14.9 cmFeatures: Relief decorations of lotus petals and flowing glaze patterns in warm hues. (Figure 12)
Simplistic Three-Color BurnerExcavated: Pingdingshan, Tang tombFeatures: Minimalist floral decorations with yellow, green, and white glazes. (Figure 13)
Through comparative analysis, many of these artifacts share key characteristics linked to Huangye kiln production: short necks, rounded bellies, tripod beast-shaped legs, and vibrant multi-colored glazes.
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