2026年3月11日（三）至2026年6月20日（六）
註：4月4日（六）、5月23日（六）休館
每週三、週六 10:00-16:00（免費參觀）
逢國定假日閉館
主辦單位 國立臺灣大學藝術史研究所
指導單位 國立臺灣大學文學院
協辦單位 國立臺灣大學校史館
請勿攜帶食物、飲料或寵物（導盲犬除外），館內禁止攝影、奔跑嬉戲。A4以上背包請勿攜入展場，展場外備有長桌可供置放，但不負保管責任，貴重物品請隨身攜帶。
施大邵、孫愛珏伉儷慷慨捐贈的漢代（206 B.C.E.–220 C.E.）陶器種類豐富，大致涵蓋了漢代陶器主要品類，可區分為：一、燒造溫度一般不超過攝氏1000度的陶器（含加彩）；二、以鉛為助熔劑在攝氏800度左右燒成的鉛釉陶；三、以攝氏1200度以上燒成的高溫灰釉炻器；四、人物、家禽畜象生俑等四類。
第一類，無釉陶器。除了平行弦紋或局部印劃花、貼花之外，很多都是光素無紋的。在成形方面，圓器多以轆轤拉坯，方形器如陶鈁則是用四片泥板接合另封底。當然也有在器表施加彩繪的製品，由於是燒成後賦彩，所以很容易剝落，不敷實用，屬於專門用來陪葬的明器，也就是《禮記‧檀弓》等文獻所載徒具外形，不堪實用的葬器。
第二類，鉛釉陶器。中國鉛釉陶始見於戰國時期（475–221 B.C.E.），流行於漢代北方地區，其中又以銅發色的綠釉居絕大多數，鐵發色的褐釉次之，也可見到在褐釉上飾綠彩、白彩或褐綠複色釉陶。漢代的人相信，人死後仍然在另一世界繼續存活，因此常會以模倣陽世生活的器皿類，或井、倉、灶、廁、屋或高樓等不能實用，只具象徵意義的陶製微型模型入墓陪葬。漢陶模型提供我們理解現已不存的漢代木造高樓建築、池塘水榭、倉囷樣式結構的有益資料，而豬、羊、鴨各式圈舍或灶、井、廁等模型也可反映漢代人的生活情景。
第三類，高溫灰釉炻器。中國在西元前十八至西元前十六世紀的夏商時期已經出現施罩灰釉以攝氏1200度以上高溫所燒成的炻器，西漢時期（206 B.C.E.–8 C.E.）浙江地區窯場也可見到許多高溫灰釉製品。不過從壺、罍等器類著釉部位多限於近口沿部位、肩部至腹部最大徑處以及內底，可知西漢炻器灰釉層應是在燒造過程中因燃料產生的氧化鉀落下所形成，也就是因落灰所形成的自然釉，而非人工刷釉，這和東漢時期（25–220 C.E.）浙江上虞小仙壇等窯場燒製的人工施釉，近於「瓷器」的製品有所不同。
第四類，陶俑。展出的陶俑有披甲軍士、僕役或呈坐、立姿的女子，以及表現古代賭博的六博人物等。區域特色明顯，如四川地區的陶俑自成一格，題材多元，既見西王母及其眷屬或鎮墓武士陶塑，也有詼諧逗趣的說唱、庖廚、樂舞、撫琴等富有民間生活氣息的陶俑。人俑之外，配備喉帶和肚帶的陶狗表情生動，無足的陶馬身軀下方及尻部留孔，是為插裝竹木或陶質肢腿的設置。另外，展出的綠釉神獸座器，神獸額頭帶角，肢上飾翼，是漢陶受到外來圖像影響的一例。至於兩件成組的羊形座器則有可能是鐘磬架座的模擬。
The generous gift of Han-dynasty (206 BCE–220 CE) ceramics from Mr. and Mrs. Tashao Shih is exceptionally diverse and encompasses four major categories from this period: 1) pottery fired at temperatures generally not exceeding 1000°C, including painted wares; 2) lead-glazed pottery fired at around 800°C, using lead as flux; 3) high-fired ash-glazed stoneware, produced at temperatures above 1200°C; and 4) figurines depicting humans, domestic animals, and livestock.
The first category of unglazed pottery is generally plain, apart from parallel linear patterns or limited areas of impressed, incised, or appliqué decorations. Round vessels were mostly wheel-thrown, while square vessels, such as fang, were formed by joining four clay slabs with a base. Some examples feature painted decorations on the surface; however, as the paint was applied after firing, it often flaked off, rendering these vessels impractical for everyday use. They were expressly made as mingqi burial goods, like those described in texts including the “Tangong” chapters in Liji (The Book of Rites).
The second category, lead-glazed pottery, first emerged in China during the Warring States Period (475–221 BCE) and became widespread in the northern regions during the Han dynasty. Green glazes colored by copper were the most prevalent, followed by brown glazes colored by iron, as well as brown-glazed vessels embellished with green and white, and brown-and-green polychrome-glazed pottery. People in the Han dynasty believed that after bodily death, life continued in another realm. Thus, mortuary wares included vessels resembling those used in real life, along with miniature ceramic structures ranging from wells, granaries, stoves, latrines, and houses to towers that served symbolic rather than practical functions. These pottery models thus provide valuable insights into understanding the architectural forms of wooden towers, waterside pavilions, and granaries of the Han dynasty, for which no extant examples survive. Models of pigsties, sheepfolds, duck pens, as well as stoves, wells, and latrines, shed light on aspects of life during that period.
The third category of high-fired ash-glazed stoneware, produced at temperatures above 1200°C, appeared as early as the Xia and Shang dynasties (18th–16th centuries BCE). During the Western Han (206 BCE–8 CE), high-fired ash-glazed wares were widely produced at kiln sites in the Zhejiang region. The glazes on hu, lei, and other types of vessels from this period are usually limited to areas near the rim, the widest part between the shoulder and belly of the body, and the interior base. These details suggest that the ash glaze on Western Han stoneware was likely formed during firing as potassium oxides from fuel ash settled onto the surface—therefore, an ash glaze that was naturally formed rather than intentionally applied. This distinguishes them from productions by kilns such as Xiaoxiantan in Shangyu, Zhejiang Province, during the Eastern Han (25–220 CE), where glaze was applied to vessels that were more akin to porcelain.
The fourth category of pottery figurines includes armored soldiers, servants, seated or standing women, and depictions of individuals engaged in liubo, an ancient board game associated with gambling. Regional characteristics are evident: for example, pottery figurines from the Sichuan region are distinct from those produced elsewhere and display remarkable diversity in subject matter. They range from representations of the Queen Mother of the West and her retinue to tomb guardian warriors, as well as whimsical depictions of performers of stories and songs, cooks, musicians, dancers, and zither players, all conveying a vivid sense of folk life. In addition to human figures, there are dogs with lively expressions wearing collars and belly straps, along with legless ceramic horses that feature sockets beneath the body and at the rump for the attachment of bamboo, wooden, or ceramic legs.
Also on view is a green-glazed base support featuring a mythical animal with horns on its forehead and limbs adorned with wings, revealing foreign iconographic influence on Han pottery. The pair of ram-shaped base supports is likely modeled after stands used for bells and chimes.
