隋代筆記 vol.06 哈佛大學博物館：藍理捷隋代陶香薰，對比春秋、六朝、唐代薰爐 - Harvard Museum, J.J.Lally Sui Dynasty Domed Censer or Hand Warmer with Stylized Floral Decor

藍理捷隋代陶香薰，現藏於哈佛藝術博物館。該香薰器高9.5公分、直徑13.4公分，呈圓頂狀，並以抽象化的花卉紋飾裝飾，其造型融合了傳統香器的實用性與儀式性的美學要求。

歷史上，自春秋戰國時期便已有香薰器的使用記錄，而六朝及隋唐時期的發展則顯示出材質與製作技術的革新，使器物在功能與藝術表現上皆臻完美。隋代作為中華歷史上承前啟後的短暫朝代，不僅在政治統一與文化交流上具有重要意義，更在陶瓷製作上表現出精細與創新的特點。

該香薰器可能兼具熏香與手暖之功能，其圓頂造型及細膩的紋飾反映出當時對香文化儀式及居家雅趣的追求，顯示出隋代工匠在造型設計和技術應用上的綜合水平。此外，此器物的現代流傳歷程——從紐約藍理捷收藏再至哈佛館藏，不僅證實了其藝術與歷史價值，同時也為研究古代香文化在中外交流中的傳播提供了珍貴實證。

Dimensions

H. 9.5 x Diam. 13.4 cm (3 3/4 x 5 1/4 in.)

Provenance

J.J. Lally & Co., New York (Lally inventory number 93368)

Credit Line

Harvard Art Museums/Arthur M. Sackler Museum, Bequest of David Berg, Esq., by exchange

參考同類作品：

安思遠 / Robert Ellsworth Collection

唐代筆記 Vol.17 認識唐三彩，以德馨書屋唐三彩香薰為例 - Collecting Guide: Tang-dynasty Sancai, Dexinshuwu Censer.

拍賣筆記 Vol.41 坂本五郎：42万成交滑石香薰 - Sakamoto Gorō, A Sui-Tang Dynasty Polished Stone Openwork Incense Burner

青銅筆記 vol.24 吉賽爾：春秋戰國錯銀透雕龍雲紋薰，藍理捷同款 - Gisèle Croës, An Archaic Bronze Openwork Tripod Incense Burner Or Perfumer

北朝筆記 vol.13 南北朝编织熏炉：青瓷與銀器的材質交融，哈佛大學藝術博物館所藏 - Nothern and Southern Dynasties Woven Basket, Silver and Celadon in Harvard Art Museum.

This study examines the Sui Dynasty ceramic incense burner from the J.J. Lally collection (inventory no. 93368), currently housed in the Harvard Art Museums. Measuring 9.5 cm in height and 13.4 cm in diameter, the vessel features a domed shape adorned with stylized floral motifs that encapsulate both ritual functionality and refined aesthetic ideals.

Historically, incense burners have been integral to Chinese cultural practices since the Spring and Autumn and Warring States periods, with significant evolution during the Six Dynasties and the Sui–Tang era, as innovations in materials and techniques enabled a synthesis of utilitarian and ceremonial functions.

The Sui Dynasty, though brief, served as a pivotal transitional period that integrated earlier traditions with emerging artistic and technological advancements, as exemplified by the intricate design and smooth glaze of this incense burner. Functionally, the piece may have served dual roles as an incense censer and a hand warmer, reflecting the era’s emphasis on both ritual propriety and domestic comfort. Its documented provenance—from acquisition by J.J. Lally in New York to its eventual accession into the Harvard collection—not only underscores its cultural and historical significance but also provides vital insight into the transnational circulation of Chinese art and ritual objects.