上海博物館這件綠釉的燭台十分罕見，唐三彩中單色釉的使用是一個十分有趣的品種。
燭台的使用記載見於春秋時代，《楚辭》中引“室中之觀多珍怪，蘭高明燭華容備。”戰國時已有各式精制的銅燭台，至三國、兩晉時，青瓷燭台便已出現，造型頗多。這件唐三彩燭台造型實用古樸，施釉均勻，色彩深沈雅致。
參考北京故宮博物院唐三彩藍釉燭台：燭台分上下兩部分，上盤小，下盤大，中間承以起弦圓柱，圈足外撇，上盤中心立杯形燭座；通體施藍、黃、綠、白彩釉，底素胎無釉。
故宮博物院藏 唐三彩藍釉燭台 高29.8釐米，口徑7釐米，足徑12釐米
FAQ: 唐三彩燭台
上海博物館的綠釉燭台有何意義？它與唐三彩陶器有何關聯？
上海博物館的綠釉燭台意義非凡，因其屬於唐三彩陶器中較為罕見且有趣的單色釉品類。唐三彩以其色彩斑斕的三彩釉著稱，常見的釉色為綠色、琥珀/褐色和奶白色。然而，有些唐三彩作品突破傳統的三彩配色，採用單一釉色，展現出唐三彩陶器內部的多元美學特色。此類單色釉作品如綠釉燭台，既彰顯其雕塑般的形式美，也反映出唐代陶藝工匠的技術純熟與創新精神，為該類陶器提供了一種截然不同的審美角度。
燭台在中國歷史上何時首次出現？其形制與材質經歷了怎樣的演變？
燭台在中國的使用歷史悠久，最早可追溯至春秋時期（公元前771年至公元前476年）。古籍《楚辭》中已有對燭光的記載，體現了燭台在當時的重要性，無論是作為實用器具還是儀式道具。例如，《楚辭》提到：“室中之觀多珍怪，蘭高明燭華容備”，詩句優雅地描繪了燭光的存在為空間增添了華美氛圍。
到了戰國時期（公元前475年至公元前221年），燭台製作技藝更加精湛，以銅為材質的華美燭台層出不窮。至三國時期（220年至280年）及兩晉時期（265年至420年），隨著青瓷工藝的發展，青瓷燭台開始取代銅燭台，並呈現出更多樣化的造型。這一演變不僅反映了材料的變化，也體現了燭台設計在功能與美學方面的進步。
如何描述文中提到的唐三彩燭台的形制與特徵？
文中提到的唐三彩燭台展現了實用與簡潔相結合的設計特徵。其造型均衡，結構通常包括一個較小的上盤與一個較大的下盤，兩者由帶弦紋的圓柱形支撐相連。上盤中央設有杯狀燭座，用於固定蠟燭。燭台的整體色彩以沉穩雅緻為主，施釉均勻，表現出唐代美學中對和諧與簡約的追求。
唐三彩綠釉燭台與北京故宮博物院的藍釉燭台有何異同？
儘管文中未對上海博物館的綠釉燭台進行詳細描述，但可通過北京故宮博物院的藍釉燭台進行比較。故宮的藍釉燭台呈現出典型的雙盤式結構：上盤較小，中央設有杯狀燭座；下盤較大，與上盤由帶弦紋的圓柱形支撐相連，底部為外撇的圓形圈足。該燭台通體施藍、黃、綠、白四種釉色，底部胎質裸露未施釉，展現其質樸之美。相比之下，上海博物館的綠釉燭台以單一釉色為主，屬於唐三彩中罕見的單色釉作品，兩者在結構設計上或許相似，但在色彩表現上形成鮮明對比。
「唐三彩」一詞的含義是什麼？其主要特徵有哪些？
「唐三彩」意為「唐代三彩釉陶」，是指唐代流行的一種鉛釉陶器技術。儘管稱為「三彩」，但實際上該類陶器釉色豐富，以綠、琥珀/褐色和奶白色為主。這些釉色通常以自由流淌、互相滲融的方式施於陶胎表面，形成獨特的斑駁效果。唐三彩多用於隨葬明器及裝飾性器物，其鮮明的色彩和生動的造型充分體現了唐代陶藝的巔峰水準。
唐代為何製作上述提到的燭台等器物？
唐三彩陶器通常並非為日常使用而製作，而是作為明器，用於隨葬以滿足儀式需求。這些明器包括墓室鎮守神獸、人物俑像，以及燭台、杯盞等日常器物，正如文中所提到的燭台。這些作品象徵亡者的生活場景與對來世的寄望，從而具有重要的宗教與文化意涵。
《楚辭》（Chu Ci）的提及如何加深我們對中國燭台的理解？
《楚辭》中對燭光的記述為燭台的使用提供了早期的文學證據。例如，“室中之觀多珍怪，蘭高明燭華容備”一句，不僅反映了燭光在古代生活中的重要性，也表明燭台不僅僅是一種實用物品，還是一種美學與儀式空間的重要組成部分，體現了中國古代居室文化的講究與品味。
The use of candlesticks can be traced back to the Spring and Autumn Period. The Chu Ci mentions, “The many wonders within the chamber are illuminated by the fragrant brilliance of elegant candles.” By the Warring States Period, a variety of finely crafted bronze candlesticks had already appeared. By the Three Kingdoms and Two Jin dynasties, celadon candlesticks emerged, offering a rich diversity of designs. This particular Tang sancai candlestick features a practical and unpretentious form, with an evenly applied glaze and a subdued, elegant coloration.
Referencing the Tang sancai blue-glazed candlestick from the Palace Museum in Beijing: the candlestick is divided into two sections, with a smaller upper tray and a larger lower tray connected by a ringed cylindrical stem, which rests on a flared circular foot. At the center of the upper tray stands a cup-shaped candleholder. The piece is entirely glazed in shades of blue, yellow, green, and white, while the base remains unglazed with exposed clay.
FAQ: Tang Sancai Candlesticks
What is the significance of the Shanghai Museum's green-glazed candlestick, and how does it relate to Tang Sancai ware?
The Shanghai Museum's green-glazed candlestick is significant because single-color glazes are a relatively rare and interesting variety within the broader category of Tang Sancai ware. Tang Sancai, known for its vibrant three-color (often green, amber/brown, and cream/white) glazes, sometimes featured pieces with single-color glazes like this, showcasing a different aesthetic within the tradition.
When did candlesticks first appear in Chinese history, and how did they evolve in form and material?
Candlesticks have a long history in China, with records indicating their use as early as the Spring and Autumn period. The Chu Ci, a collection of poems from this time, even references the light of candles. By the Warring States Period, elaborate bronze candlesticks were being produced. During the Three Kingdoms and Two Jin dynasties, celadon candlesticks emerged with a variety of new designs, representing an evolution in both material and form from the earlier bronze versions.
How would you describe the form and characteristics of the specific Tang Sancai candlestick discussed in the provided text?
The specific Tang Sancai candlestick described features a practical, simple form with an even glaze and a restrained, elegant color palette. It is likely that it has a circular foot that flares outwards.
How does the Tang Sancai green-glazed candlestick compare to the Tang Sancai blue-glazed candlestick from the Palace Museum in Beijing?
While the provided text does not describe the Shanghai candlestick fully, the description of the Beijing Palace Museum’s blue-glazed candlestick allows for comparison. This particular style of candlestick is typically divided into an upper and lower tray. The upper tray is smaller and features a central cup-shaped candle holder. The two trays are connected by a ringed cylindrical stem and the base is a circular, flared foot. The Palace Museum’s candlestick is glazed in blue, yellow, green, and white, while the base of the piece is left unglazed to show the bare clay. Based on this comparison it can be stated that both pieces share a similar structural layout. However, where the blue-glazed example is multicoloured, the Shanghai Museum's is noted to be a rare single colour example.
What does the term 'Tang Sancai' mean, and what are its distinguishing characteristics?
"Tang Sancai" translates to "three-color glaze" in Chinese, referring to the type of lead-glazed pottery that was popular during the Tang dynasty. While often referred to as "three-color," these pieces actually use a wide variety of colors, with green, amber/brown, and cream/white being the most common. The glazes were typically applied in a way that allowed them to run and mix, creating a distinctive mottled effect. The technique was primarily used for burial wares and other decorative objects.
What does the base of a Tang Sancai piece look like?
The provided source mentions that the base of the blue-glazed candlestick from the Palace Museum is left unglazed with exposed clay. This feature is common across Tang Sancai pieces, as the glaze is often not applied to the base and foot.
Why were pieces such as the ones discussed in this text made during the Tang Dynasty?
Tang Sancai ceramics were not generally for daily use. They were frequently made as mingqi, which are pottery objects buried with the deceased as a form of ritual art. These objects ranged from tomb guardians and other figures to everyday objects like candlesticks and cups, as seen in the examples mentioned in the provided text. They represented the deceased's life and aspirations in the afterlife.
How does the mention of the "Chu Ci" (楚辭) in the text contribute to our understanding of Chinese candlesticks?
The mention of the Chu Ci is important because it provides early literary evidence of candle use in China. The quote from the poems ("The many wonders within the chamber are illuminated by the fragrant brilliance of elegant candles") demonstrates that, even from the Spring and Autumn period, candles and likely candlesticks, were not only functional items but also valued for their aesthetic contribution and connection to rituals within interior spaces.
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