A blue and sancai-glazed tripod dish, Tang dynasty, 8th century | 唐八世紀　三彩加藍寶相花三足盤

A Japanese private collection.

Kochukyo Co., Ltd, Tokyo.

To So Meito ten [Masterpieces of Tang and Song Ceramics], Ceramic Society of Japan, Nihonbashi Shirakiya, Tokyo, 1964, cat. no. 24.

Sansai no michi: Chugoku, Perusha, Nihon [The Route of Sancai: China, Perusia and Japan], Suntory Museum of Art, Tokyo, 1971, cat. no. 15.

5th Anniversary Exhibition. All-Stars of the Okada Collection: Masterworks of Korin, Jakuchu, Hokusai and the Ru Ware Kilns, Okada Museum of Art, Hakone, 2018-19, exh. no. 30 (unillustrated).

Masahiko Sato and Gakuji Hasebe, Ceramic Art of the World, vol. 11: Sui and T'ang dynasties, Tokyo, 1976, pl. 59.

Mizuno Seiichi, Toji Taikei [Complete Series of Ceramics], vol. 42: Tang dynasty sancai, Tokyo, 1977, pl. 54.

Gakuji Hasebe, Chugoku no toji [Chinese Ceramics], vol. 3: Sancai, Tokyo, 1995, pl. 48.

Akio Donohashi and Nakano Toru, eds, New History of World Art, vol. East Asia 4: Sui and Tang dynasties, Tokyo, 1997, pl. 243.

Kobayashi Tadashi, ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, no. 6.

Of all the ceramic wares made during the Tang dynasty, tripod dishes with such flamboyant floral designs in brilliant sancai enamels perhaps best illustrate the international spirit of the period. The intensification of trade via the Silk Route resulted in the emergence of new commercial cities throughout China, including the capital Chang’an, modern Xi’an, Shaanxi province, which became the largest city in the world. These bustling urban centres attracted an influx of foreigners who came from such disparate places as Central Asia, the Middle East, Africa, Rome, India, and Japan. The goods they brought with them and their tastes strongly influenced the repertoire of Tang craftsmen. The moulded floral motif on this dish and the use of cobalt are examples of this interaction: the former was inspired by designs on Central Asian textiles, while the latter was an expensive pigment imported from Persia.

Tang potters took inspiration from a wide variety of sources and often looked for inspiration in objects in more luxurious materials, such as silver. The characteristic form of this dish with three cabriole legs was inspired by contemporary silver offering trays, such as the lobed tray unearthed at the site of the Daming Palace, Xi’an, now in the National Museum of China, Beijing, accession no. 1101012180003610675715. These offering trays were held by the legs, as illustrated in a wall painting of a lady carrying such a tray, in the tomb of Princess Fangling (d. 673) in Zhaoling, now preserved in the Shaanxi History Museum, Xi’an. 

Dishes of similar design include one sold in our New York rooms, 4th December 1985, lot 176; another with a flat rim, sold in these rooms, 2nd March 1971, lot 123, and now in the Tokyo National Museum; and a third dish, with the blue stopping below the well, sold in these rooms, 9th December 1986, lot 56; a fourth dish of similar design but on a resist-spotted ground from the Yangdetang Collection was sold at Christie’s Hong Kong, 6 October 2015, lot 90.

來源

日本私人收藏

壺中居，東京

展覽

《唐宋名陶展》，日本陶磁協會，日本橋白木屋，東京，1964年，編號24

《三彩の道．中国—ペルシャー日本》，サントリー美術館，東京，1971年，編號15

《開館5周年記念展―美のスターたち―光琳．若冲．北斎．汝窯など名品勢ぞろい》， 岡田美術館，箱根，2018-19年，展覽編號30（沒載圖）

出版

佐藤雅彦及長谷部楽爾，《世界陶磁全集》，卷11：隋．唐，東京，1976年，圖版59

水野清一，《陶磁大系》，卷35：唐三彩，東京，1977年，圖版54 

長谷部楽爾，《中国の陶磁》，卷3：三彩，東京，1995年，圖版48

百橋明穂及中野徹編，《世界美術大全集》，東洋編卷4：隋．唐，東京，1997年，圖版243

小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號6

有唐一代燒造的所有陶瓷中，飾有華麗花卉紋樣、施以明麗三彩釉的三足盤，或許最能體現當時的國際化精神。絲綢之路貿易的蓬勃發展，催生了長安（今陝西西安）等新興商業城市的崛起，使其成為當時全球最大的都市。這些繁華的都城吸引了來自中亞、中東、非洲、羅馬、印度與日本等地的異邦人士。他們攜來的物產與審美品味，深刻影響了唐代匠人的創作範疇：此盤模印花卉紋樣及鈷料運用正是此種交流的例證。前者靈感源自中亞織品紋飾，後者則是自波斯引進的昂貴顏料。

唐代陶匠廣納各方靈感，常從銀器等貴重材質的器物中汲取創作元素。此盤典型的外翻三足形制，應來源於銀製供盤，例如西安大明宮遺址出土、現藏中國國家博物館的花口盤（館藏編號1101012180003610675715）。這類供盤需持握足部端捧，可見於昭陵葬於673年的房齡公主墓室壁畫，畫中仕女手持同類器盤，現存於西安陝西歷史博物館。

同類設計盤器可參考紐約蘇富比售出一件，1985年12月4日，編號176；以及香港蘇富比售出另一件帶寬平沿口的同類盤器，1971年3月2日，編號123，現藏東京國立博物館；第三例外壁掛藍釉售於香港蘇富比，1986年12月9日，編號56；第四件形制相近，惟飾黃地珍珠地，原屬養德堂舊藏，售於佳士得香港，2015年10月6日，編號90。