網上展覽 Digital Exhibition | 捏出個大唐：長沙窯捏塑展 Shaping the Tang Dynasty The Figurative Clay Art of Changsha Kiln

我們屬於什麽範疇?
What category do we belong?

長沙窯出產的瓷塑涵蓋多種範疇。你們能猜到都有哪些嗎？

Changsha Kiln ceramic figurines covered many different categories. Can you guess what they were?

我們是用來做甚麼的?
What were we made for?

瓷塑往往造型各異。你猜猜，我們是為了甚麼而製作的呢？

Ceramic figurines are often designed in different shapes. Guess what we are made for.

如何分辨我們？
How to tell us apart?

有些瓷塑造型相同，它們之間有甚麼分別？

Some ceramic figurines were designed in the same shape. What are the differences between them?

我們是如何被製造出來的？
How were we made?

它的生產過程是如何的？又運用了怎樣的製作技巧呢？

What is its production process like? What kind of crafting techniques are used?

我們為甚麼深受大家喜歡？
Why were we so popular?

為甚麼古人喜歡製作當時被視為外來動物的獅子呢？

Why did ancient people prefer making lions?

我們屬於什麽範疇?
What category do we belong?

長沙窯瓷塑造型大多形體小巧，高度多在 3 厘米左右，較大者頗為罕見。儘管體積不大，塑造手法卻生動而概括。從造型來看，瓷塑大致可分為人物類與動物類；其中動物類又可細分為走獸、禽鳥、魚龜及神話傳說四類。以下就讓我們逐一介紹不同類型的瓷塑吧！

Changsha Kiln figurines are mostly small in scale, usually around 3 cm in height, with larger examples being relatively rare. Despite their small size, they are vividly and concisely modelled. In terms of form, these figurines can be broadly divided into two categories: figures and animals. The animal category can be further divided into four types: beasts, birds, fish and turtles, and mythological creatures. Let us now introduce the different types of figurines one by one.

人物類
Figures

長沙窯人物類瓷塑涵蓋孩童、仕女、樂俑、胡人、僧侶等多種形象，直接反映唐代社會各階層人物的面貌、活動與精神世界，成為今人理解當時社會生活、風俗信仰與文化交融的直觀載體。本次展覽將介紹館藏中的四件展品。

Figurative ceramic sculptures from Changsha ware encompass a variety of images, including children, court ladies, musician figurines, Hu people, and monks. They directly reflect the appearance, activities, and inner world of people from various social strata in the Tang Dynasty, serving as an intuitive medium through which people today can understand the social life, customs and beliefs, and cultural exchange of that era. This exhibition will introduce four objects from the museum's collection.

馴象鎮紙
Paperweight with Figure and Tamed Elephant

UMAG.1683.10a

馴象鎮紙 Paperweight with Figure and Tamed Elephant

UMAG.1683.10b

馴象鎮紙 Paperweight with Figure and Tamed Elephant

UMAG.1683.10a

馴象鎮紙 Paperweight with Figure and Tamed Elephant

1/2

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1683.10

你看，這件瓷塑上有一個人，正摸著一隻躺下來的大象。大象躺在地上，好像很舒服。

咦，大象不是住在森林裡嗎？牠為什麼會來到唐朝呢？原來，大象是別的國家送給唐朝的禮物。送大象來的國家，多在今天的東南亞一帶。

唐朝的皇宮裡養過大象，主要在國家重大典禮上展示，用來顯示國家的威儀。那麼，瓷塑上這位坐著的人是誰？他很可能是跟著大象一起來的馴象師，也就是負責照顧大象的人。

一件小小的瓷塑，不只描繪了一個人和一隻象，更讓我們看到唐朝和外國之間的來往。

Look at this ceramic figurine. A person is gently touching an elephant that is lying down. The elephant rests on the ground, looking quite comfortable.

Wait — don't elephants live in the forest? So why would one appear in the Tang Dynasty? It turns out that the elephant was a gift from another country to the Tang court. Most of the countries that sent elephants were in what is now Southeast Asia.

The Tang palace kept elephants, mainly to display them at major state ceremonies to show the nation's dignity. So who is the seated figure on the figurine? He was most likely an elephant handler who came along with the elephant — that is, someone responsible for looking after it.

This small ceramic piece does more than show one person and one elephant. It gives us a glimpse of the exchanges between the Tang Dynasty and foreign countries.

胡人騎馬鎮紙
Paperweight of a Hu Horseman

UMAG.1683.18a

胡人騎馬鎮紙 Paperweight of a Hu Horseman

UMAG.1683.18b

胡人騎馬鎮紙 Paperweight of a Hu Horseman

UMAG.1683.18a

胡人騎馬鎮紙 Paperweight of a Hu Horseman

1/2

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1683.18

你看，這件騎士俑鼻子高高的，頭上戴着尖尖的帽子，一看就不是中原人，而是從很遠的西方來的胡人。

為甚麼唐朝有這麼多胡人騎馬的雕像呢？因為那個時候，很多外國人沿着絲綢之路來到中國。他們很會騎馬，也帶來了騎馬、打獵、打馬球這些活動。唐朝人覺得很時髦，也跟着學，所以騎馬就變成一種流行。

Look at this horseman figurine. He has a high nose and wears a pointed cap — you can tell at a glance that he is not from central China, but a Hu person from the far West.

Why were there so many statues of Hu people riding horses in the Tang Dynasty? Because at that time, many foreigners travelled to China along the Silk Road. They were very good at riding horses, and they also brought activities such as horse riding, hunting, and polo. The Tang people found this very fashionable and followed suit, so horse riding became a trend.

擊鼓樂師鎮紙
Paperweight of a Drumming Musician

UMAG.1683.25a

擊鼓樂師鎮紙 Paperweight of a Drumming Musician

UMAG.1683.25b

擊鼓樂師鎮紙 Paperweight of a Drumming Musician

UMAG.1683.25a

擊鼓樂師鎮紙 Paperweight of a Drumming Musician

1/2

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1683.25

你看，這件小小的瓷塑上，有一個人正拿著鼓，敲打著。他的表情樸實自然，看起來就像一個過著日常生活的普通人——不是大官，也不是傳說中的英雄，而是一位普通的樂師。

長沙窯的人物瓷塑，大多取材於日常生活，著重表現平民百姓的生活狀態與情感意趣。這件擊鼓樂師鎮紙便是其中一例，形象樸實自然，充滿生活氣息。

唐朝時，樂工是一份受到尊重的職業。通曉音律，更是當時文人雅士修養中非常重要的組成部分。也就是說，音樂不只是娛樂，它還是文化與修養的一部分。

這件瓷塑所展示的手鼓，其實是一件來自西域的樂器。它的出現，讓我們看到唐代音樂藝術的繁榮，也看到當時胡樂流行的風貌。

Look at this small ceramic figurine. A person is holding a drum and playing it. His expression is simple and natural. He looks like someone going about his everyday life — not a grand official, not a legendary hero, but an ordinary musician.

Most figurines from the Changsha Kiln are drawn from everyday life. They focus on the lives, feelings, and interests of ordinary people. This drummer paperweight is one example. Its style is plain and natural, full of the feeling of daily life.

In the Tang Dynasty, musicians were a respected profession. Knowing music was also an important part of a scholar's or refined person's accomplishments. In other words, music was not just entertainment — it was part of culture and education.

The hand drum shown in this figurine actually came from the Western Regions. Its appearance lets us see the flourishing music scene of the Tang Dynasty, and also the popularity of Hu music at that time.

馴獸鎮紙
Paperweight with Figure and Tamed Beast

UMAG.1683.24a

馴獸鎮紙 Paperweight with Figure and Tamed Beast

UMAG.1683.24b

馴獸鎮紙 Paperweight with Figure and Tamed Beast

UMAG.1683.24a

馴獸鎮紙 Paperweight with Figure and Tamed Beast

1/2

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1683.24

你看，這件瓷塑上有一隻躺臥著的瑞獸，旁邊坐著一個人，前面還有一個碗。這隻像獅子的瑞獸，好像被圈養著一樣，看起來像一隻寵物。

中國本土並不產獅子。唐代文獻中的獅子，主要來自西域和中亞，是外國送給唐朝宮廷的禮物。獅子被養在唐朝的皇家禁苑之中。

由於漢人缺乏馴養獅子的經驗，這些獅子日常的飼養和訓練，大多由隨行的胡人負責。由此我們可以推知，瓷塑中坐著的這個人並非漢族人，而大概率就是當時負責飼養和訓練這隻瑞獸的胡人。

長沙窯是唐代最重要的商業外銷瓷窯之一，產品遠銷東亞、東南亞、西亞和北非等地。一件小小的瓷塑，不只描繪了一個人和一隻瑞獸，更讓我們看到唐代中外交流的頻繁。

Look at this figurine. There is a mythical beast lying down, a person sitting beside it, and a bowl in front. The lion-like mythical beast looks as if it is being kept — like a pet.

China is not home to lions. In Tang Dynasty records, lions mainly came from the Western Regions and Central Asia. They were gifts from foreign countries to the Tang court, and the lions were kept in the imperial gardens.

Because the Han Chinese lacked experience in raising lions, the daily feeding and training of these lions was mostly handled by the Hu people who came with them. From this, we can infer that the seated figure in the figurine was not Han Chinese, but most likely a Hu person responsible for feeding and training this mythical beast.

The Changsha Kiln was one of the most important commercial export kilns of the Tang Dynasty. Its products were exported as far as East Asia, Southeast Asia, West Asia, and North Africa. A small figurine like this does more than show a person and a mythical beast. It gives us a glimpse of the frequent exchanges between China and foreign lands in the Tang Dynasty.

動物類
Animals

動物類瓷塑的立體造型幾乎均兼具實用功能，多為文房用品，如硯滴、鎮紙等，體現了民間對書寫與教育的重視，部分亦用作兒童玩具。其形象多為微型動物，且在造型上有所選擇與區分。品類數以百計，但一般可分為四大類：走獸類、禽鳥類、魚龜類以及神話傳說類。

The three-dimensional animal figures in ceramic figurines almost all served a practical function as well, mostly as scholar's desk items such as ink droppers and paperweights, reflecting the popular emphasis on writing and education; some were also used as children's toys. Their forms are mostly miniature animals, with deliberate selection and differentiation in their modelling. There are hundreds of types, but can generally be divided into four major categories: quadrupeds, bird figures, fish and turtle figures, and mythical auspicious animals.

神話傳説類
Mythical Auspicious Animals

UMAG.1683.16a

鳳凰形鎮紙 Phoenix Shaped Paperweight

UMAG.1683.16b

鳳凰形鎮紙 Phoenix Shaped Paperweight

UMAG.1683.16a

鳳凰形鎮紙 Phoenix Shaped Paperweight

1/2

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1683.16

這些來自唐代長沙窯的瓷塑，有些是麒麟、龍、鳳、摩羯等神話傳說中的動物。牠們雖然來自神話或民間故事，但造型還是以真實動物為基礎，再加以變化，所以也可以放在動物題材裡一起看。

為什麼唐代人會做鳳凰造型的瓷塑呢？因為鳳凰在中國古代傳說中是百鳥之王，地位和龍一樣高。《說文解字》說牠集合了很多鳥的特徵，既神聖又美麗。鳳鳥不只是神鳥，也是楚文化的重要圖騰。長沙窯所在的地方，歷史上屬於楚文化影響的範圍，所以鳳鳥出現在長沙窯瓷塑中，可以看作是楚文化傳統在唐代陶瓷裡的延續。

鳳凰在古代王朝中也有象徵意義。《山海經·南山經》對牠的描述，表現了鳳凰代表的宇宙秩序和道德理念。民間故事像「吹簫引鳳」「鳳求凰」，則表達人們對美滿婚姻的嚮往和讚美。

這些神話傳說題材的瓷塑，不只反映唐代民間的信仰和想法，也展現長沙窯在造型上的文化融合與象徵轉化。

Some figurines from the Changsha Kiln of the Tang Dynasty depict mythical creatures such as the qilin, dragon, phoenix, and makara. Although they come from myths or folk tales, their forms are still based on real animals and then artistically transformed, so they can also be discussed together with animal subjects.

Why did Tang people make phoenix figurines? Because in ancient Chinese legend, the phoenix is the king of all birds, with a status as high as the dragon. The Shuowen Jiezi says its form combines the features of many birds, making it both divine and beautiful. The phoenix is not only a sacred bird, but also an important totem of Chu culture. The region where the Changsha Kiln was located historically fell within the sphere of Chu cultural influence, so the appearance of phoenix subjects in Changsha Kiln ceramics can be seen as a continuation of Chu cultural traditions in Tang Dynasty ceramics.

The phoenix also had symbolic meaning in ancient dynasties. The Nanshan Jing chapter of the Classic of Mountains and Seas describes it in a way that expresses the cosmic order and moral ideals the phoenix represents. Folk stories such as "Playing the Flute to Summon the Phoenix" and "The Phoenix Seeks the Phoenix" express people's longing for and praise of a happy marriage.

These mythological and legendary figurines not only reflect the beliefs and ideas of Tang folk society, but also show how the Changsha Kiln achieved cultural fusion and transformed symbolic imagery in its forms.

禽鳥類
Birds

UMAG.1806.16a

鴿形玩具 Pigeon Shaped Toy

UMAG.1806.16b

鴿形玩具 Pigeon Shaped Toy

UMAG.1683.21a

鷹形瓷塑 Eagle Shaped Ceramic Figurine

UMAG.1806.16a

鴿形玩具 Pigeon Shaped Toy

1/8

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1806.16, 21, 42

UMAG.1683.3, 21

這些小小的瓷塑，有鳥（UMAG.1806.21）、有鸚鵡（UMAG.1806.42）、有雞（UMAG.1683.3）、有鴿子（UMAG.1806.16），還有鷹（UMAG.1683.21），它們都來自唐代的長沙窯，造型簡潔傳神。

長沙窯瓷塑中的禽鳥題材小巧生動，多見於玩具、鎮紙及器物裝飾。雀鳥類多作斂翅立姿，機警靈動；鸚鵡形鎮紙雙眼圓睜，身形緊縮，羽翅以數道線刻表現，栩栩如生；帶紐雞體態圓渾，尖嘴小冠；鴿子形似麻雀；鷹常立於樹幹，既似休息，亦如蓄勢待發。

為什麼唐代人這麼喜歡做鳥呢？原來，鷹在傳統文化中象徵勇猛、勝利與英雄，也是家宅的守護神。而鸚鵡在唐代尤其受貴族喜愛，宮中盛行馴養，民間也以鸚鵡為寵物。唐人喜愛鸚鵡，因為牠們美麗能言，而且寓意富貴吉祥。

這些小小的瓷塑，不只造型可愛，更讓我們看到唐朝人對鳥的喜愛，以及鳥在當時文化中的特殊意義。

There are birds (UMAG.1806.21), a parrot (UMAG.1806.42), a chicken (UMAG.1683.3), a pigeon (UMAG.1806.16), and an eagle (UMAG.1683.21) in these small ceramic figures — and they all come from the Changsha Kiln of the Tang Dynasty, with simple and vivid forms.

Bird subjects in Changsha Kiln ceramics are small and lively, often found as toys, paperweights, and vessel decorations. Sparrow-like birds mostly stand with folded wings, alert and nimble. The parrot-shaped paperweight has round, wide-open eyes and a compact body, with its wings rendered in a few incised lines, true to life. The loop-handled chicken has a rounded body, a pointed beak, and a small comb. The pigeon resembles a sparrow. The eagle often stands on a tree trunk, as if resting, yet also as if ready to strike.

Why did Tang people love making birds so much? It turns out that in traditional culture, the eagle symbolises bravery, victory, and heroism, and also serves as a guardian of the home. Parrots, meanwhile, were especially favoured by the aristocracy in the Tang Dynasty, and were commonly kept in the palace; common people also kept parrots as pets. Tang people loved parrots for their beauty, their ability to speak, and because they symbolised wealth and good fortune.

These small ceramic figures are not just charming in form. They also give us a glimpse of how much Tang people loved birds, and the special meaning birds held in the culture of that time.

魚龜類
Fish and Turtles

UMAG.1806.27a

雙魚形鎮紙 Paired Fish Shaped Paperweight

UMAG.1806.27b

雙魚形鎮紙 Paired Fish Shaped Paperweight

UMAG.1806.29b

龜形鎮紙 Turtle Shaped Paperweight

UMAG.1806.27a

雙魚形鎮紙 Paired Fish Shaped Paperweight

1/6

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1806.27,29

UMAG.1815

長沙窯瓷塑中的魚、龜題材，多見於玩具、鎮紙及器物裝飾。魚的造型多樣，有的寫實，有的誇張，常象徵富裕、吉慶與幸福；龜的造型立體，常做成鎮紙，代表長壽與祥瑞。

為什麼唐代人這麼喜歡做魚和龜呢？魚紋裝飾在中國歷史悠久，早在新石器時代半坡文化彩陶上就已出現，至漢代，雙魚圖案逐漸被賦予吉慶寓意。因爲魚的繁衍力強，早被先民視為生命繁衍與豐產的象徵；「魚」和「余」聲音很像，有「年年有餘」的意思；唐代皇帝姓「李」，「李」和「鯉」同音，所以鯉魚也和皇室有關。龜則因為壽命長、耐寒耐饑，自古被視為長壽、吉祥的象徵，是中國傳統文化中的「四靈」之一。

這些小小的瓷塑，不只造型可愛，更讓我們看到唐朝人對魚和龜的喜愛，以及牠們在當時文化中的特殊意義。

Among the fish and turtle subjects in Changsha Kiln ceramics, they are often found as toys, paperweights, and vessel decorations. Fish forms are varied — some realistic, some exaggerated — and often symbolise wealth, celebration, and happiness. Turtles are made in three-dimensional forms, often as paperweights, representing longevity and good fortune.

Why did Tang people love making fish and turtles so much? Fish decoration has a long history in China, appearing as early as the painted pottery of the Banpo culture in the Neolithic period. By the Han Dynasty, the double-fish motif had gradually acquired auspicious connotations. Because fish are highly fertile, they were seen by early peoples as a symbol of life, reproduction, and abundance; "fish" (yu) sounds very much like "surplus" (yu), carrying the meaning of "may there be surplus every year"; and since the Tang emperor's surname was "Li," which is homophonous with "carp" (li), carp were also connected to the imperial family. As for the turtle, because it lives long and withstands cold and hunger, it has been regarded since ancient times as a symbol of longevity and good fortune, and is one of the "Four Auspicious Creatures" in traditional Chinese culture.

These small figurines are not just cute. They also show us how much Tang people loved fish and turtles, and what these animals meant in their culture at the time.

走獸類
Quadrupeds

UMAG.1806.24b

獅形瓷塑 Lion Shaped Ceramic Figurine

UMAG.1806.24a

獅形瓷塑 Lion Shaped Ceramic Figurine

UMAG.1683.7b

羊形瓷塑 Sheep Shaped Ceramic Figurine

UMAG.1806.24b

獅形瓷塑 Lion Shaped Ceramic Figurine

1/12

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩; 青釉

UMAG.1806.7, 24, 30

UMAG.1683.1, 2, 14

在長沙窯瓷塑中，走獸類題材佔有重要地位，不僅造型豐富、形態生動，更兼具實用功能與玩賞趣味。此類題材以獅子造型最為常見，另有馬（UMAG.1683.1）、豬（UMAG.1683.14）、狗（UMAG.1683.2）、象（UMAG.1806.30）、羊（UMAG.1806.7）等多種動物形象，反映出唐代社會對自然界生靈的細緻觀察與藝術再現。

Among the figurines from the Changsha Kiln, animal subjects hold an important place. They are not only rich in form and lively in appearance, but also combine practical function with playful enjoyment. The lion is the most common subject among them, alongside many other animal images such as the horse (UMAG.1683.1), pig (UMAG.1683.14), dog (UMAG.1683.2), elephant (UMAG.1806.30), and sheep (UMAG.1806.7). Together they reflect the careful observation of living creatures in the natural world, and the artistic recreation of them, in Tang society.

我們是用來做甚麼的?
What are we made for?

瓷塑往往造型各異：有的帶孔，有的附底座，有的帶環，有的似動物，有的又甚麼都不像。你猜猜，它們都有哪些用途？又為何會有這樣的設計？

Ceramic figurines often come in widely varied forms: some have holes, some have bases, some have rings, some resemble animals, and some look like nothing recognizable at all. Can you guess what they were used for? And why were they designed in such ways?

硯滴
Water Dropper

UMAG.1683.3a

鷄形硯滴 Chicken Shaped Water Dropper

UMAG.1683.3b

鷄形硯滴 Chicken Shaped Water Dropper

UMAG.1683.23b

硯滴 Water Dropper

UMAG.1683.3a

鷄形硯滴 Chicken Shaped Water Dropper

1/8

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩；青釉

UMAG.1683.3, 4, 23, 27

你看，這些小小的瓷塑上，有獅子、有牛、有羊、有鳥、有鴨、有龜，還有魚。它們的嘴巴都是張開的，看起來就像正在喝水或鳴叫的小動物——不是普通的擺設，而是用來裝水的小器具。

你有沒有發現，它們的嘴巴都是張開的？為什麼要張開嘴巴呢？原來，它們不是普通的擺設，而是用來裝水的小器具，叫做「硯滴」。硯滴是做什麼的呢？寫毛筆字的時候，要用硯台磨墨，墨太乾了，就要加一點水，這時候硯滴就派上用場了。你可以先把水裝進硯滴的肚子裡，要用的時候，只要輕輕把硯滴歪一歪，水就會從嘴巴流出來。它的嘴巴為什麼小小的呢？因為嘴巴小，水才不會一下子倒太多，可以一滴一滴慢慢來。有嘴巴的硯滴叫「水注」，沒有嘴巴的叫「水丞」。古人把酒壺叫做「注子」，「水注」這個名字就是這樣來的。

長沙窯的硯滴，題材以動物形象為主，可以分成兩大類型：整體仿生型和複合功能型。整體仿生型就是整個硯滴都做成動物的樣子，動物的嘴巴是唯一的孔洞，進水和出水都用同一個嘴巴，利用空氣壓力來控制水流。複合功能型則是在實用器物的基礎上，再加上動物裝飾，先做好壺或罐的基本形狀，再在出水口附近貼上動物造型，讓器物既有功能，又有意象。

這些小小的硯滴，不只造型可愛，更讓我們看到唐朝人寫字時的生活智慧，以及他們把動物形象融入日常用具的巧思。

Look — on these small ceramic figures, there are lions, oxen, sheep, birds, ducks, turtles, and fish. Their mouths are all open, looking like small animals drinking water or calling out — not just decorations, but small vessels for holding water.

Have you noticed that their mouths are all open? Why are their mouths open? It turns out that they are not just decorations. They are small vessels for holding water, called "water droppers." What is a water dropper for? When you write with a brush, you need to grind ink on an inkstone. If the ink gets too dry, you add a little water — that is when the water dropper comes in handy. You can first pour water into the water dropper's belly. When you need it, just gently tilt the dropper, and water will flow out from its mouth. Why is its mouth so small? Because a small mouth means the water will not pour out all at once — it can come out drop by drop, slowly and carefully. A water dropper with a spout is called a "water pourer" (shuizhu); one without a spout is called a "water container" (shuicheng). In ancient times, a wine pot was called a "zhuzi," and the name "shuizhu" comes from this.

The water droppers from the Changsha Kiln are mainly in animal forms. They fall into two main types: fully biomimetic and composite-functional. The fully biomimetic type is made entirely in the shape of an animal. The animal's mouth is the only opening, used both to take in and pour out water, using air pressure to control the flow. The composite-functional type builds on a practical vessel and adds animal decoration. First, the basic shape of a ewer or jar is made, and then an animal figure is applied near the spout, giving the object both function and imagery.

These small water droppers are not just cute. They also show us the everyday wisdom of Tang people when writing, and their cleverness in integrating animal forms into daily tools.

鎮紙
Paperweight

UMAG.1806.28a

臥獅鎮紙 Crouching Lion-Shaped Paperweight

UMAG.1806.28b

臥獅鎮紙 Crouching Lion-Shaped Paperweight

UMAG.1806.26b

系紐獅形鎮紙 Looped Lion-Shaped Paperweight

UMAG.1806.28a

臥獅鎮紙 Crouching Lion-Shaped Paperweight

1/10

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩；青釉

UMAG.1806.21, 23, 26, 28, 29

如果大家細心留意一下這寫瓷塑，會發現它們不是有底座，就是有系紐設於背上。它們的功能是什麽呢？其實這些都是鎮紙。鎮紙是做什麼的呢？寫字或看書的時候，紙張或書冊容易被風吹動、捲起來，這時候只要用鎮紙壓住，就能把紙張壓平。鎮紙最早出現於戰國，盛行於漢代，最初用以壓席角，後隨家具更迭，逐漸演變為文房鎮紙。

長沙窯瓷塑中出現大量鎮紙，題材以動物為主，尤以獅形最常見，亦有狗、鳥、魚、龜等。它們的底部平整、重心穩定，多作圓形或方形底座，方形底座隨造型倒角，避免磕碰劃傷紙張，尺寸與重量合於人體工學，便於單手拿放。

鎮紙的造型設計分坐立型、伏臥型與系紐型三種，其中系紐型頗具代表性：在動物頂部或背部捏出圓紐以供穿繩。為什麼要這樣設計呢？因為唐代文人往返書齋、官署或旅途時，可以將鎮紙懸於行囊、筆架等處，隨取隨用，不易丟失，亦節省案頭空間。

這些小小的鎮紙，不只造型可愛，更讓我們看到唐朝人讀書寫字的生活智慧，以及他們把動物形象融入日常用具的巧思。

If you look closely at these ceramic figurines, you will notice that they either have a base or a loop set on their backs. What are they for? In fact, they are all paperweights. What is a paperweight for? When writing or reading, paper or books can easily be blown by the wind or roll up. A paperweight is used to hold them down and keep them flat. Paperweights first appeared in the Warring States period and became widespread in the Han Dynasty. They were originally used to weigh down the corners of mats, and later, as furniture changed, gradually evolved into scholar's desk paperweights.

Large numbers of paperweights appear among Changsha Kiln ceramics, mostly with animal subjects. The lion form is the most common, alongside dogs, birds, fish, and turtles. They have flat bases and a stable centre of gravity, mostly with round or square bases. Square bases have their corners chamfered to match the form, avoiding bumps and scratches to the paper. Their size and weight follow ergonomic principles, making them easy to pick up and put down with one hand.

Their designs fall into three types: seated/upright, crouching/lying, and loop-handled. The loop-handled type is especially representative: a round loop is pinched on the animal's head or back for threading a cord. Why was it designed this way? Because when scholars travelled between their study, government office, or on journeys, they could hang the paperweight on their bag or brush stand, ready to use at any time, not easily lost, and saving space on the desk.

These small paperweights are not just cute. They also show us the everyday wisdom of Tang people when reading and writing, and their cleverness in integrating animal forms into daily tools.

哨子/塤
Whistle/Xun (Flute)

UMAG.1806.35a

象形哨子 Elephant Shaped Whistle

UMAG.1806.35b

象形哨子 Elephant Shaped Whistle

UMAG.1806.40b

獸形哨子 Animal Shaped Whistle

UMAG.1806.35a

象形哨子 Elephant Shaped Whistle

1/12

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩；青釉

UMAG.1806.33, 35, 39, 40

UMAG.1807b.5

UMAG.1807a

說到哨子，你會想到什麼呢？是不是用於警示的？還是用來狩獵的呢？可是，長沙窯做的這些可愛哨子，都不是這些用途。它們是小朋友的專屬玩具和樂器。

你看，這些小小的瓷塑，有鳥（UMAG.1806.33）、有羊、有牛、有豬、有狗（UMAG.1806.39）、有象（UMAG.1806.35），它們可充當塤或口哨之用。器身中空，腹部通常開有三孔，吹奏時能發出簡單的音節。造型多以動物為原型，整體圓潤豐碩、飽滿厚重，成為其顯著特徵之一。

為什麼要把哨子或塤做成動物的樣子呢？從功能設計看，這類瓷塑巧妙融合動物形象與發聲機制，既增強互動趣味，又因造型圓潤、無尖銳稜角而符合兒童玩具的基本安全要求。兒童吹奏這些瓷哨或塤，不僅可以作娛樂，更可在角色扮演中初步認識自然、感知聲音的節奏與變化。

這些小小的瓷哨或塤，不只造型可愛，更讓我們看到唐朝人對兒童的關愛，以及他們把動物形象與聲音遊戲融入日常玩具的巧思。

Speaking of whistles, what comes to mind? Do you think of them as warning devices? Or as tools for hunting? But these lovely whistles made at the Changsha kiln were used for neither. They were toys and musical instruments made especially for children.

Look at these small ceramic figures—there are birds (UMAG.1806.33), sheep, oxen, pigs, dogs (UMAG.1806.39), and elephants (UMAG.1806.35). They could serve as xun (ocarina-like instruments) or whistles. The body is hollow, and the belly usually has three holes; when blown, they produce simple notes. Most are modeled on animals, and their rounded, plump, full and substantial forms are one of their most distinctive features.

Why make whistles or xun in the shape of animals? From the perspective of functional design, these ceramic figures cleverly combine animal forms with sound-producing mechanisms. This not only enhances the fun of interaction, but also, because the shapes are rounded and free of sharp edges, meets the basic safety requirements for children's toys. When children blow these ceramic whistles or xun, they not only enjoy themselves but also, through role play, begin to learn about nature and perceive the rhythm and variation of sound.

These small ceramic whistles or xun are not only charming in appearance, but also reveal the Tang dynasty people's care for children and their ingenuity in integrating animal forms and sound play into everyday toys.

玩具
Toy

UMAG.1806.25b

獅形瓷塑 Lion Shaped Ceramic Figurine

UMAG.1806.25a

獅形瓷塑 Lion Shaped Ceramic Figurine

UMAG.1806.43a

象形瓷塑 Elephant Shaped Ceramic Figurine

UMAG.1806.25b

獅形瓷塑 Lion Shaped Ceramic Figurine

1/8

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩；青釉

UMAG.1806.22, 25, 31, 43

你覺得古代的小朋友有玩具嗎？有的！原來早至新石器時期已經有玩具的出現了。古代的小朋友把玩具叫做「耍貨」或「雜貨」。

先秦時代，皇宮裡的小朋友玩青銅玩具，民間的小朋友就玩陶、石和泥做的玩具。到了東漢，泥做的玩具已經很常見，考古學家挖出過陶豬、陶狗和陶雞，都可以印證。後來有了瓷器，陶瓷玩具也慢慢出現，但數量還不多。到了唐朝，隨著大家的生活水平上升，經濟文化繁榮，大力推動玩具藝術發展，唐三彩技藝更使陶、泥玩具在質地與色彩上愈趨精美，長沙窯的玩具瓷塑就是在這個時候出現的。

為什麼唐代人會做這些小玩具呢？它們把日常生活的趣味融入藝術創作，營造安寧平和的生活氛圍與柔和溫暖的人情味。主題大量取自自然及日常生活，包括各種動物形象與人物造型，體量輕巧，顯然專為兒童觀賞與玩耍而設計，體現樸素的設計思想。

這些小小的玩具瓷塑，不只造型可愛，更讓我們看到唐朝人對兒童的關愛，以及他們把生活趣味融入日常器物的巧思。

Do you think children in ancient times had toys? Yes, they did! It turns out that toys existed as early as the Neolithic period. Children in ancient China called their toys "playthings" (shuahuo) or "sundries" (zahuo).

In the pre-Qin era, children in the palace played with bronze toys, while children among the ordinary people played with toys made of pottery, stone, and clay. By the Eastern Han Dynasty, clay toys had become very common — archaeologists have dug up pottery pigs, dogs, and chickens to prove it. Later, when porcelain appeared, ceramic toys gradually came along too, though there were still not many of them. By the Tang Dynasty, as people's living standards rose and the economy and culture flourished, the art of toy-making developed greatly. Tang Sancai techniques made pottery and clay toys even finer in texture and colour, and it was around this time that the toy figurines of the Changsha Kiln appeared.

Why did Tang people make these little toys? They blended the joy of daily life into artistic creation, creating a peaceful, gentle atmosphere and a warm human touch. Their subjects are largely drawn from nature and everyday life, including various animals and human figures. Light and compact, they were clearly designed for children to look at and play with — embodying a simple design philosophy.

These small toy figurines are not just cute. They also show us the love Tang people had for children, and their cleverness in integrating the joy of life into everyday objects.

如何分辨我們?
How to tell us apart?

有些帶有系紐的瓷塑即使造型相同，卻被定義為不同功能：有些被認為是鎮紙，另一些則被視為玩具。它們之間的區別是什麼？又是如何區分的？以下讓我們以小狗瓷塑為例，與大家一起探討。

Some ring-handled ceramic figurines, even when identical in form, have been defined as having different functions: some are considered paperweights, while others are regarded as toys. What is the difference between them, and how are they distinguished? Let us take dog and lion figurines as examples to explore this question together.

系紐鎮紙與玩具的區別
The difference between loop-handled paperweights and toys

UMAG.1806.14b

狗形鎮紙 Dog Shaped Paperweight

UMAG.1806.14a

狗形鎮紙 Dog Shaped Paperweight

UMAG.1683.13b

狗形玩具 Dog Shaped Toy

UMAG.1806.14b

狗形鎮紙 Dog Shaped Paperweight

1/4

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩；青釉

UMAG.1806.14

UMAG.1683.13

鎮紙的底部是平的，重心很穩，所以放在桌上不會倒。它的底座通常是圓形或方形。方形的底座會把角修圓，這樣才不會撞到或刮傷紙張。鎮紙的大小和重量也剛剛好，一隻手就能拿起來。

牽引旋轉式玩具大多是鳥或狗的樣子，背上中間有一個小紐，可以用來穿繩子。玩的時候，把彩色的繩子綁在小紐上，再轉動繩子，瓷塑就會跟著轉動或搖擺，看起來就像鳥在飛，或是動物在繞圈跑。這種玩具把不會動的瓷塑，變成有故事的小遊戲，不但能讓小朋友發揮想像力，也能看出唐代長沙窯的工匠很了解小朋友喜歡怎麼玩。

A paperweight has a flat bottom and a very steady centre, so it will not fall over on the desk. Its base is usually round or square. A square base has its corners rounded off, so it will not bump into or scratch the paper. The size and weight of the paperweight are just right — you can pick it up with one hand.

Pull-and-spin toys are mostly shaped like birds or dogs, with a small loop in the middle of the back for threading a string. To play, you tie a coloured string to the loop and spin the string. The ceramic figure then turns or swings, looking just like a bird flying or an animal running in a circle. This kind of toy turns a still ceramic figure into a little game with a story. It not only lets children use their imagination, but also shows that the craftsmen of the Changsha Kiln in the Tang Dynasty understood how children like to play.

我們是怎麽被製造出來的?
How were we made?

從名字上我們可以得知他是一件瓷器。但是它的生產過程是如何的？又運用了怎樣的製作技巧呢？以下就讓我們為大家逐一解答吧！

From the name, we can tell that it is a piece of porcelain. But what was its production process like? And what kind of crafting techniques were used? Let us explain them one by one for you below!

在我們的博物館藏品中，長沙窯瓷塑的造型工藝主要有捏塑成型與綜合成型。其關鍵在於多種技法的共存互補：捏塑成型賦予作品較高的藝術表現力與特色，綜合成型則兼顧實用性與審美性的平衡。這種工藝體系體現了唐代長沙窯作為民間窯場，在藝術追求與商業現實、手工傳統與技術革新之間的不断探索與調整。它既保留了手工製作的溫度與個性，又逐步發展出適應商品經濟的規模化、標準化生產方式，在中國陶瓷史上留下獨具特色的一頁。以下就從捏塑成型與綜合成型分別探討其區別。

Among the pieces in our museum's collection, the shaping techniques of Changsha Kiln porcelain figurines mainly fall into two categories: pinch-forming and composite forming. The key lies in the coexistence and complementarity of multiple techniques: pinch-forming gives the works a high degree of artistic expressiveness and distinct character, while composite forming strikes a balance between practicality and aesthetics. This craft system reflects how, as a folk kiln in the Tang Dynasty, Changsha Kiln constantly explored and adjusted between artistic pursuit and commercial reality, and between handicraft tradition and technological innovation. While preserving the warmth and individuality of handmade production, it gradually developed large-scale, standardized methods suited to the commodity economy, leaving a distinctive page in the history of Chinese ceramics. Below, we will discuss the differences between pinch-forming and composite forming.

捏塑成型工藝
Pinch Forming Technique

UMAG.1683.22b

狗形瓷塑 Dog Shaped Ceramic Figurine

UMAG.1683.22a

狗形瓷塑 Dog Shaped Ceramic Figurine

UMAG.1683.22b

狗形瓷塑 Dog Shaped Ceramic Figurine

1/2

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1683.22

長沙窯是唐代很重要的民間窯場。工匠們在做瓷塑時，最常用的是「捏塑成型」的方法。捏塑就是用雙手直接把瓷泥捏成想要的形狀，做法很自由，所以每件作品都不太一樣。

做一件瓷塑時，工匠通常會按照「先做下面，再做上面；先做主要部分，再做細節」的順序。以狗形瓷塑（UMAG.1683.22）為例，工匠會先拿一團瓷泥，把裡面的氣泡揉掉，再搓出身體的大致形狀。身體做好後，才慢慢捏出頭和四肢，最後用竹籤之類的工具，刻出眼睛、鼻子、毛髮等小細節。

The Changsha Kiln was a very important folk kiln in the Tang Dynasty. When craftsmen made ceramic figurines, they most often used a method called "pinch-forming." Pinch-forming means using your hands to shape the clay directly into the form you want. It is very free, so every piece comes out a little different.

When making a figurine, craftsmen usually follow the order of "first the bottom, then the top; first the main part, then the details." Take this dog figurine (UMAG.1683.22) as an example. The craftsman first takes a ball of clay and kneads it to remove air bubbles, then rolls it into the rough shape of the body. Once the body is done, the head and legs are gradually pinched out, and finally tools like bamboo sticks are used to carve small details such as the eyes, nose, and hair.

綜合成型工藝
Composite Forming Technique

UMAG.1806.44a

獅形紙鎮 Lion Shaped Paperweight

UMAG.1806.44b

獅形紙鎮 Lion Shaped Paperweight

UMAG.1806.34a

鳥形哨子 Bird Shaped Whistle

UMAG.1806.44a

獅形紙鎮 Lion Shaped Paperweight

1/4

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green; Celadon

釉下褐綠彩；青釉

UMAG.1806.44,34

長沙窯的工匠在做瓷塑時，會根據不同的用途，選擇不同的做法。有時候，他們會把好幾種方法一起用，讓作品又實用又好看。

比如說，做文房用的瓷塑，像是獅形鎮紙、鳥形硯滴，工匠會先用手捏或模具壓出身體，再把眼睛、耳朵、四肢等小細節貼上去，最後用工具刻出毛髮等紋路。以這件獅形鎮紙（UMAG.1806.44）為例，身體用模具壓得光滑飽滿，四肢、眼睛、耳朵用捏塑貼上去，鬃毛用工具刻出細密的線條，最後再上褐綠色的釉下彩，看起來就像畫上去的一樣。

做瓷哨玩具時，工匠要同時考慮動物的形狀和哨子的聲音。他們會把泥片擀薄，再團成中空的球形，並事先留好吹孔的位置。然後貼上翅膀、尾巴，再用工具刻出細節。以這件青釉鳥形哨（UMAG.1806.34）為例，肚子是中空的，上面有吹孔，整體圓潤飽滿，小朋友好拿好吹，也不容易磨損。

When craftsmen at the Changsha Kiln made ceramic figurines, they chose different methods depending on what the object was for. Sometimes they used several methods together to make the piece both useful and beautiful.

For example, when making scholar's desk items like lion-shaped paperweights and bird-shaped water droppers, craftsmen would first pinch the body by hand or press it in a mould, then stick on small details like eyes, ears, and legs, and finally carve patterns such as hair with tools. Take this lion-shaped paperweight (UMAG.1806.44) as an example. The body was mould-pressed to be smooth and full, the legs, eyes, and ears were pinched and stuck on, and the mane was carved with fine lines. Finally, brown and green underglaze colours were applied, making it look almost like a painting.

When making whistle toys, craftsmen had to think about both the animal's shape and the whistle's sound. They rolled clay into thin sheets, shaped them into a hollow ball, and left a blowing hole in advance. Then they stuck on wings and tails, and carved details with tools. Take this celadon-glazed bird-shaped whistle (UMAG.1806.34) as an example. Its belly is hollow with a blowing hole on top, and its overall shape is round and full. It is easy for children to hold and blow, and the delicate parts do not wear out easily.

我們爲什麽深受大家喜歡?
What were we so popular?

古人為何喜歡塑造當時被視為外來動物的獅子？獅子源自何處？唐代佛教盛行，獅子的傳入是否與佛教有關？獅子又具有哪些象徵寓意？

Why did the ancients choose to depict lions, animals regarded as foreign in their time? Where did lions originate? Did the introduction of lions to China relate to Buddhism, which flourished during the Tang dynasty? What symbolic meanings did lions hold?

UMAG.1806.45a

太獅少獅形鎮紙Paperweight in the Shape of a Lion and Cubs

UMAG.1806.45b

太獅少獅形鎮紙Paperweight in the Shape of a Lion and Cubs

UMAG.1806.41b

獅形鎮紙 Lion Shaped Paperweight

UMAG.1806.45a

太獅少獅形鎮紙Paperweight in the Shape of a Lion and Cubs

1/4

Tang Dynasty 唐

Chang Sha Kiln 長沙窯

Underglaze brown-and-green 釉下褐綠彩

UMAG.1806.41,45

獅子不是中國原本就有的動物。牠們原本住在西亞和中亞一帶，後來經過絲綢之路，在西漢時期傳入中國。

獅子傳入中國後，地位很快變得越來越高，這和佛教的發展很有關係，在佛教藝術中，獅子常被當作吉祥、保護的動物。後來，獅子的吉祥意思越來越豐富。在傳統民俗和建築中，獅子常被用來驅邪避害。獅子有時也會做成一大一小的樣子，叫做「太獅少獅」，意思是希望做官順利、升官發財。

到了唐代，西域各國會送活獅子給唐朝，馴獅表演也變得很流行。獅子慢慢融入中國的裝飾藝術，也成為長沙窯瓷塑喜歡做的題材之一。

Lions are not native to China. They originally lived in West and Central Asia, and later entered China via the Silk Road during the Western Han Dynasty.

After lions were introduced to China, their status rose quickly, and this was closely tied to the spread of Buddhism. In Buddhist art, the lion is often regarded as an auspicious and protective animal. Later, the lion's auspicious meanings grew richer. In traditional folklore and architecture, lions are often used to ward off evil. Lions are sometimes made in pairs, one large and one small, called "grand lion and young lion," meaning wishes for a smooth career and high office.

By the Tang Dynasty, Western regions sent live lions as tribute to China, and lion-taming performances became very popular. The lion gradually merged into Chinese decorative art and became one of the favourite subjects of Changsha Kiln ceramic figurines.