TWO SILVER BOXES AND COVERS

Tang Dynasty

Footnotes

唐 銀素面粉盒 一組兩件

This pair of boxes, characterized by their simple and elegant style, exemplifies the Tang dynasty aesthetic philosophy of 'great skill appears clumsy'. These boxes were often used as practical utensils, usually found in ladies' boudoirs or carried on their person. Round in shape with a sleek design, the lid seamlessly integrates with the box, allowing for smooth opening and closing. The surface is smooth and unadorned, with a soft silver sheen.

The plain silver boxes eschew elaborate decoration, emphasizing the natural, luminous quality of the material, echoing the literati aesthetic of 'waterlilies emerging from clear water'. These objects are associated with Tang Buddhist Zen philosophy, embracing the austere aesthetic of 'less is more'. While not as luxurious as gilded vessels, sterling silver was still reserved for middle- and upper-class ladies, while the common people often used ceramic or copper boxes.

Exemplifying the artistic conception of 'no pattern is better than any', these boxes showcase the confidence and restrained spirit of Tang artisans through their simplicity. A handful of plain silver carries a thousand years of time. It is not only a container for boudoir cosmetics, but also a material testimony to the Tang's aesthetic spirit of 'extreme splendor, returning to simplicity.'

這對銀素面粉盒以簡約素雅的風格為顯著特徵，生動詮釋了唐代審美中「大巧若拙」的哲學理念。此類粉盒多屬日常實用器皿，常見於仕女閨閣之中或隨身攜用。其形制為圓形，採用子母口設計：盒蓋與盒身契合無間，開合流暢自如，通體光素無紋，表面泛著柔和的銀光。

素面銀盒摒棄繁複紋飾，著力凸顯材質本身的溫潤光澤，與文人雅士「清水出芙蓉」的審美取向相契合。該器物與唐代佛教禪意理念相關聯，追求「少即是多」的樸素美學境界。雖不及鎏金器皿般奢華，但純銀材質仍屬中上層仕女所用，平民階層多使用陶瓷或銅質盒具。

唐代銀質素面粉盒以「無紋勝有紋」之藝術表現，在簡約中彰顯出大唐工匠的自信與內斂氣質。一握素銀，千年流光，其不僅是盛裝閨閣脂粉的容器，更是唐代「絢爛至極，歸於平淡」美學精神的物質見證。