唐代三彩骆驼：拍品尺寸：高 62cm，长度：65cm; 厚度：23cm。 说明：此器四条腿残缺。拍品来源：此件三彩骆驼拍卖品，由北美地区著名古董商提供，年久的收藏品。此件拍卖品为双峰骆驼，它的两峰之间的驮囊上搭挂丝绸、水壶等物。驮囊上所饰脸谱图案，过去通常称作虎面纹。唐段成式《酉阳杂俎》卷四云：“突厥事祆神，无寺庙，刻氈为形，盛于皮袋，行动之处，以脂苏涂之。”姜伯勤先生认为“盛于皮袋”当与驮囊上的图案有关，故此图案不应称作虎面纹而应当称为火祆神。 唐三彩，即唐代多彩陶器,陶俑，以造型生动逼真、色泽艳丽和富有生活气息而著称，闻名中外。唐三彩属低温釉陶器，以白色粘土作胎，铅为助溶剂，经过800℃烧成。釉层随意扩散流动，釉色丰富多样，雕刻写实生动，具有极强的艺术感染力。存世的唐三彩器，还见有骆驼与胡人的组合形象，胡人或骑于骆驼之上，或站于骆驼一旁牵绳。单独的骆驼塑像中除了此类双峰驼，也有单峰驼，姿势也有站有跪，有的还在驼峰间塑些货物。 由长安通向西域的丝绸之路是中国对外贸易的重要交通纽带，具有“沙漠之舟”美誉的骆驼既是往来商客的坐骑，又是商品物资的运载工具。三彩骆驼引颈张口，四肢作行走状，生动地再现了丝绸之路上驼队不畏艰险、长途跋涉的真实景况。这种类型的三彩骆驼形体高大，神情刻画准确，釉色明亮，堪称唐代大型动物雕塑的佳品。 诸多数据显示，骆驼、胡人等西域题材是唐三彩偏爱的塑造对象。唐代文化受西域影响极大，开放的政治环境和丝绸之路的畅通，造就了唐代与西域地区交流的繁荣。在东西文化的相互碰撞中，西域文化影响并丰富了唐代本土文化的内容和样式。这种造型的唐三彩骆驼，无疑是这段辉煌交流史的见证。 唐代的骆驼以写实手法塑造而成，站立于长方形座板上，四肢健硕，正仰天长嘶。背部为双峰，有毛毯披身。头顶、峰顶、颈部内侧、大腿大部及尾部等处不施釉，余部主色调为黄色，更有名贵者，在身体的大部分部位，主色调为深蓝色，这种釉色，在当时就是极为名贵和稀缺的蓝釉。毛毯则以绿色调为主，间杂黄褐色。釉层流动自然，色彩变幻，呈现出唐三彩特有的色调风格。这种骆驼形象高大，颈部和腿部，鬃毛清晰可见，腿部肌腱更栩栩若生，毛发、骨骼结构隐现于立体的线条中，仿佛下一秒就可奔跑起来，逼真的艺术效果和独特的视觉效果令人惊艳。 唐三彩是唐文明的瑰宝，它不仅保持了秦汉以来传统彩塑写实传统的同时，还创造性地运用了低温铅釉绚丽斑斓的色彩，成为唐代艺术的杰出代表。同时，唐三彩也为陶瓷工艺作出了重大贡献。宋以后各种各样的低温色釉和釉上彩瓷，大部分都是在唐三彩陶工艺基础上发展起来的。透过这些存世的珍贵唐三彩塑像，我们可欣赏千年前的艺术风情，亦可一窥祖先们的社会风景，其艺术价值与历史价值当不言而喻。 根据资料记载，北京故宫博物院有一件非常著名的唐代三彩骆驼，它是由郑振铎先生捐赠给故宫博物院的，这件著名的唐代三彩骆驼的真实图片，请参阅 本拍品的图片# 5。 据悉，在当年，郑先生对它爱不释手，然而卖家12两黄金的要价令只有10两黄金的郑先生只能欠债购买。1952年经周恩来总理批准，由国家代还欠债，才使得这件国宝真正回到人民的手中。 我们本次进行拍卖的这件唐三彩骆驼，经过与故宫博物院的上述唐三彩骆驼的图片（图片5）进行认真的对比和分析，得知：这两件三彩骆驼造型基本相同，头部和颈部，以及身体的部位，非常相似。尤其是在双驼峰部位，此件拍卖品骆驼，亦为双峰骆驼，它的两峰之间的驮囊上搭挂丝绸、水壶等物。驮囊上所饰脸谱图案，过去通常称作虎面纹。这个造型与故宫博物院的三彩骆驼（图片5）极为相像，应为同时代，同一批工匠所创造之精品。另外，特别说明，本次的拍卖品三彩骆驼，它的全身色彩是由极为名贵和稀缺的蓝釉来绘制，可以说此件拍卖品的等级，名贵和珍罕程度，比之于故宫博物院的那一件黄釉色彩的骆驼，更胜一筹。可以预见，这件制作水平，工艺高超的三彩骆驼，尽管腿部全部残缺，但是骆驼的整体部位，任然完好地保存至今，非常珍贵，它具有极高的历史，文化和艺术品的观赏价值和研究价值，而且极具收藏价值，属于当之无愧的著名博物馆级别的收藏品。--------------------------------------------------- Three-color camel in the Tang Dynasty: Lot size: height 62cm, length: 65cm; thickness: 23cm. Explanation: Four legs of this device are missing. Lot source: This three-color camel auction was provided by a well-known antique dealer in North America, a long-standing collection. This auction item is a two-humped camel, with silk, a water bottle and other things hanging on the bag between its two peaks. The facial makeup pattern on the pannier was usually called tiger face pattern in the past. Tang Duancheng-style "Youyang Miscellaneous Cu" scrolls four words: "Turkish gods, no temples, carved in the form of felt, filled in leather bags, where they act, they are coated with fat su." "When it is related to the pattern on the pannier, this pattern should not be called the tiger face pattern but should be called the fire god. Tang Sancai, namely colorful pottery and pottery figurines of the Tang Dynasty, is famous for its vivid and lifelike shapes, gorgeous colors and full of vitality, and is well-known at home and abroad. Tang Sancai is a low-temperature glazed pottery, using white clay as a base, lead as a solvent, and firing at 800°C. The glaze layer diffuses and flows at will, the glaze color is rich and varied, the sculpture is realistic and has a strong artistic appeal. The three color artifacts of the Tang Dynasty that survived the world also saw the combined image of a camel and a Huren. The Huren either rode on the camel, or stood beside the camel and led the rope. In addition to this kind of bactrian camel, there are also dromedaries in the individual camel statues, standing or kneeling in postures, and some are still modeling goods between the humps. The Silk Road from Chang'an to the Western Regions is an important transportation link for China's foreign trade. The camel, known as the "Ship of the Desert", is not only a mount for merchants, but also a vehicle for goods and materials. The three-color camels opened their necks and opened their mouths and walked with their limbs, vividly reproducing the true situation of the camel team on the Silk Road, fearing hardships and traveling long distances. This type of three-color camel is tall, accurately portrayed, and has a bright glaze. It can be called a good product of large animal sculptures in the Tang Dynasty. A lot of data show that the Western Region subjects such as camels and Huren are the favorite objects of Tang Sancai. The culture of the Tang Dynasty was greatly influenced by the Western Regions. The open political environment and the smooth flow of the Silk Road contributed to the prosperity of exchanges between the Tang Dynasty and the Western Regions. In the collision of Eastern and Western cultures, the Western Region culture influenced and enriched the content and style of the local culture in the Tang Dynasty. This kind of Tang Sancai camel is undoubtedly a testimony to this glorious history of exchanges. The camel of the Tang Dynasty was shaped with realistic techniques, standing on a rectangular seat, with strong limbs and long hissing. The back is double-peaked and covered with a blanket. No glaze is applied to the top of the head, peaks, inner neck, thighs, and tails. The main color of the rest is yellow, and more expensive ones. On most parts of the body, the main color is dark blue. This glaze color was An extremely precious and scarce blue glaze. The blankets are mainly green, with interspersed tan. The glaze layer flows naturally and the colors change, showing the unique tonal style of Tang Sancai. The image of this camel is tall, the neck and legs, the mane are clearly visible, the leg tendons are more lifelike, the hair and bone structure are hidden in the three-dimensional lines, as if they can run in the next second, with realistic artistic effects and The unique visual effects are stunning. According to data records, there is a very famous Tang Dynasty three-color camel in the Palace Museum in Beijing. It was donated by Zheng Zhenduo to the Palace Museum. For the real picture of this famous Tang Dynasty three-color camel, please refer to Imgs #5. It is reported that Zheng Zheng My husband loved it, but the seller's asking price of 12 taels of gold made Mr. Zheng, who had only 10 taels of gold, only owed it to buy. In 1952, with the approval of Premier Zhou Enlai, the state paid off debts on behalf of the country, which made this national treasure truly return to the hands of the people. The Tang Sancai camel we are auctioning this time, after careful comparison and analysis with the above-mentioned Tang Sancai camel picture (picture 5) in the Palace Museum, we learned that the two three-color camels are basically the same in shape, with the head and neck , And the parts of the body are very similar. Especially at the double-humped humps, the auctioned camel is also a double-humped camel. Silk, a water bottle, etc. are hung on the bag between the two humps. The facial makeup pattern on the pannier was usually called tiger face pattern in the past. This shape is very similar to the three-color camel in the Palace Museum (picture 5), and it should be a fine product created by the same group of craftsmen in the same period. In addition, in particular, the three-color camel in this auction is painted with extremely precious and scarce blue glaze. It can be said that the level of this auction item, the level of preciousness and rarity, are comparable to those of the Palace Museum. The yellow-glazed camel is even better. It is foreseeable that this three-color camel with superb production level and craftsmanship, although the legs are all mutilated, but the whole part of the camel is still well preserved to this day. It is very precious. It has a very high history, culture and art appreciation. Value and research value, and extremely collection value, belong to a well-deserved collection of famous museum level.