A RARE AND LARGE SANCAI-GLAZED POTTERY FIGURE OF A MALE ATTENDANT
Tang Dynasty The figure gracefully modelled standing on a low trapezoidal base, his hands joined at the chest holding a pair of green and amber-glazed slippers with upturned pointed toes, wearing a long and voluminous pale-green-glazed robe enriched with a central amber streak and secured by a loose belt over wide trousers, the unglazed round face with well-articulated features picked out in black and red pigments over white slip, the hair gathered in a double-bun topknot secured with a black kerchief. 45cm (17 6/8in) high.
注脚
唐 三彩侍俑Provenance: Sakamoto Goro (1923-2016), TokyoSotheby's New York, 13 September 2016, lot 9 An important European private collectionExhibited: Kaikan Tokubetsu Shuppin Seihin Senshu (Special Opening Exhibition - Anthology of Selected Masterpieces), Kyushu National Museum, Fukuoka, 2005, no.41.來源:日本東京,坂本五郎(1923-2016)舊藏紐約蘇富比,2016年9月13日,拍品編號9歐洲重要私人收藏展覽:「開館特展 —— 精品選集」,九州國立博物館,福岡,2005年,編號41Pottery figures of attendants such as the present example complemented a large array of accessories manufactured for internment in burials belonging to high-ranking members of Tang society. A miniature universe was thus created for the afterlife of the occupant through depictions of the earthly and heavenly realms. Receiving halls, garden settings and private quarters were painted on the walls and complemented with images of official gatherings, attendants, entertainers, horses, camels and daily utensils. On the vaulted ceiling, a heavenly environment was suggested by multiple floral combinations, scrolling clouds, star maps and mythical animals symbolising the Four Directions.Images in China were believed to 'become alive'; in other words, to function just like their physical counterpart, so they could perpetuate their benign effects to their viewers. For this reason, the overall arrangements presented for the afterlife illuminate the social and ideological context of the society which constructed it. See J.Rawson,'The power of images: the model universe of the First Emperor and its legacy', in Historical Research, no.75, 2002, pp.123-154. See also ibid., 'Changes in the representation of life and the afterlife as illustrated by the content of tombs of the T'ang and Song period', Arts of the Sung and Yuan, New York, 1996, pp.23-43.A related blue-glazed pottery figure of an attendant, Tang dynasty, displaying physical features and in a posture similar to the present example, is illustrated by N.Wood, Chinese Glazes: Their Origin, Chemistry and Recreation, London, 1999, p.237. Another example is illustrated in Ausstellung Chinesischer Kunst, Berlin, 1929, no.333.A related glazed pottery figure of a male attendant, Tang dynasty, was sold at Christie's New York, 16 March 2015, lot 3227.俑頭戴樸頭,面容飽滿,無須無釉。身著圓領袍,捧鞋端立,頸下施黃綠釉。形如本例的陶侍俑,應為陪葬高級貴族之用。古人認為祖先雖死猶在,只要恭謹對待,先祖便能福蔭後代。因此,墓葬常常是生者世界的微型投射,其中可見現實生活中的各類必需品和生活場景。古人相信陶俑等像生之物有復生之靈,各類物品也能夠像在現實生活中一樣運作。參見J.Rawson著,〈The power of images: the model universe of the First Emperor and its legacy〉,收錄於《Historical Research》,第75期,2002年,頁123-154;以及《Changes in the representation of life and the afterlife as illustrated by the content of tombs of the T'ang and Song period》,收錄於《Arts of the Sung and Yuan》,紐約,1996年,頁23-43。參考一例唐代藍釉陶俑,收錄於N.Wood著,《Chinese Glazes: Their Origin, Chemistry and Recreation》,倫敦,1999年,頁237。另可參見《Ausstellung Chinesischer Kunst》,柏林,1929年,編號333。另有一例唐三彩男俑,售於紐約佳士得,2015年3月16日,拍品編號3227,可為參考。
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