唐 三彩馬
TANG DYNASTY (AD 618-907)
成交價：美元 675,000
估價：美元 400,000 – 美元 600,000
30 ¼ in. (76.8 cm.) high
重要的唐代三彩釉陶大馬唐代（公元618-907年）
來源：弗雷德里克·A.與莎倫·L.克林根斯坦收藏
成交價：USD 675,000
估價：USD 400,000 – USD 600,000
成交日期：2019年9月13日
這件精美的費爾干馬雕塑造型宏偉，呈四足站立於矩形底座之上，頭微微側向一邊，嘴略微張開。馬身覆蓋濃郁的琥珀釉，波浪狀的鬃毛與前額髮以乳白釉點綴，鞍部以潑彩釉裝飾於乳白色馬毯上，毯邊以葉綠釉描邊。複雜的馬具在馬臀部裝飾有「杏葉形」徽章，胸前懸掛乳白色流蘇。
來源
C. Winslow-Taylor先生收藏，1947年前。
某女士藏品；倫敦蘇富比，1984年12月11日，拍品編號113。
A & J Speelman Ltd.，倫敦，1986年。
文獻
東方陶瓷學會，《中國陶瓷雕塑展覽圖錄》，《東方陶瓷學會會刊》，倫敦，第22卷，1946-47年，編號61。
瑪格麗特·梅德利，《唐代陶瓷》，倫敦，1981年，第41頁，圖版30（局部）。
展覽
倫敦，東方陶瓷學會，《中國陶瓷雕塑展覽》，1947年4月8日至6月21日。
倫敦，維多利亞與阿爾伯特博物館，借展。
這件雕塑尺寸宏大，造型雄健有力，釉色保存完好，展現了唐代陶瓷雕塑在技術和藝術風格上的成熟，完美捕捉了這一傳奇動物的精神與力量。在中國文學與藝術中，最為著名的馬匹莫過於漢代（公元前206年－公元220年）從西域引入中原的費爾干馬。這些馬以速度、力量和耐力著稱，因為據說它們能夠日行千里，又被稱為「千里馬」。
與此件雕塑有相似華麗馬具的唐代大型三彩釉馬，包括印第安納波利斯藝術博物館藏品，著錄於Y. Mino與J. Robinson《Beauty and Tranquility: The Eli Lilly Collection of Chinese Art》，印第安納波利斯，1983年，第174-175頁，圖版61（高26英寸）；芝加哥藝術俱樂部1970年9月21日至11月13日展覽《Chinese Art from The Collection of James W. and Marilynn Alsdof》圖錄，編號c21（高22½英寸）；以及E. Schloss《Ancient Chinese Ceramic Sculpture》，康涅狄格州斯坦福，1977年，第II卷，彩圖版V（高26½英寸）。這些雕塑均呈琥珀釉或棕釉馬身，乳白釉點綴口鼻、鬃毛與前額毛髮。與本拍品相似的是，Lilly與Alsdorf收藏的馬匹均配有側邊打褶的馬毯，蓋於馬背之上。而Schloss收藏的馬則以綠釉覆蓋蹄部，背部披蓋綠釉毯，毯面紋理精緻，模擬毛皮質感。
掛於臀部繫帶上的葉形飾件被稱為「榛葉」或「杏葉」。類似金銅飾件的實物例子可見於永泰公主墓（公元706年），著錄於Y. Mino與J. Robinson《同上書》，第174頁，圖版61，圖E。
AN IMPORTANT MASSIVE SANCAI-GLAZED POTTERY FIGURE OF A FEREGHAN HORSE
TANG DYNASTY (AD 618-907)
Property From The Collection Of Frederick A. And Sharon L. Klingenstein
Price realised：USD 675,000
Estimate：USD 400,000 – USD 600,000
Closed: 13 Sep 2019
The superbly modeled horse is shown standing foursquare on a rectangular base, its head turned slightly to one side, and its mouth slightly open. The body is covered with a rich amber glaze, the wavy mane and forelock picked out in cream, and the saddle is splash-glazed on top of the cream saddle blanked edged in leaf green. The elaborate trappings are hung with 'apricot leaf' medallions on the rump, and cream-colored tassels on the chest.
30 ¼ in. (76.8 cm.) high
PROVENANCE
Mr. C. Winslow-Taylor Collection, by 1947.
The property of a lady; Sotheby's London, 11 December 1984, lot 113.
A & J Speelman Ltd., London, 1986.
LITERATURE
The Oriental Ceramic Society, 'Catalogue of The Exhibition of Chinese Ceramic Figures', Transactions of the Oriental Ceramic Society, London, vol. 22, 1946-47, no. 61.
Margaret Medley, T'ang Pottery & Porcelain, London, 1981, p. 41, pl. 30. (detail)
EXHIBITED
London, The Oriental Ceramic Society, The Exhibition of Chinese Ceramic Figures, 8 April-21 June 1947.
On loan: London, Victoria and Albert Museum.
This impressively large and powerfully modelled horse, with its well-preserved sancai glaze, captures the spirit and power of this celebrated animal and reveals the technical accomplishment and stylistic maturity of Chinese ceramic sculpture at the peak of the Tang dynasty. The most magnificent horses, immortalized in Chinese literature and the visual arts, were the Ferghana horses introduced into central China from the West during the Han dynasty (206 BC-AD 220). These horses were known for their speed, power and stamina, and were sometimes referred to as ‘thousand li horses’, after the belief that they were able to cover a thousand li in a single day.
Large sancai-glazed pottery horses featuring similar elaborate trappings, in particular this combination of cream-colored tassels on the chest and foliate medallions on the rump, include the figure in the Indianapolis Museum of Art, illustrated by Y. Mino and J. Robinson in Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Indianapolis, 1983, p.174-75, pl. 61 (26 in. high); the figure illustrated in the exhibition catalogue, Chinese Art from The Collection of James W. and Marilynn Alsdof, The Arts Club of Chicago, 21 September – 13 November 1970, c21 (22 ½ in. high); and the figure illustrated by E. Schloss in Ancient Chinese Ceramic Sculpture, Stamford, Connecticut, 1977, vol. II, col. pl. V (26 ½ in. high). All of these figures feature amber or brown-glazed bodies and cream-glazed muzzles, manes and forelocks. Like the current figure, the Lilly and Alsdorf horses each have a saddle covered with a cloth pulled into pleats on either side, which is set on a blanket draped over the horse’s back. The horse illustrated by Schloss has green-glazed hooves like the present figure, but is draped over its back with a green-glazed blanket richly textured to simulate fur.
The foliate plaques hung from the straps on the rump are of a type that has been labeled 'hazel-leaf' or 'apricot-leaf'. For actual examples of similar gilt-bronze ornaments from the tomb of Princess Yongtai, buried in AD 706, see Y. Mino and J. Robinson, op. cit., p. 174, pl. 61, fig. E.
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