在十四至十五世紀越南陶瓷出口的黃金時期中，可以發現一些形式或母題相當特別的陶器，例如施釉的雕像和牆磚。由於這些陶器的風格明顯偏離越南或中國陶瓷的傳統，並且越南本地幾乎沒有類似器物的報導，但若將其與在印尼爪哇的發現進行比較，這些陶器很可能是應爪哇的特別訂單製作的。作為一個典型的例子，本文將基於在爪哇東部特羅烏蘭（Trowulan）考古遺址發現的陶片及巴納塔蘭（Panataran）寺廟的雕像與浮雕進行分析，以追溯「哈奴曼」（Hanuman）加彩像的起源。此外，我還試圖重建這些由滿者伯夷（Majapahit）王國首都特羅烏蘭的上層社會所訂製的雕像用途。

Among Vietnamese ware by the 14th-15th century, the golden age of their export, one finds a very unusual ware in particular forms or motifs such as glazed figurines and wall tiles. These kinds of wares diverged greatly from the Vietnamese or Chinese ceramic traditions. One can actually compare them with findings from Java in Indonesia, whereas almost no finds have been reported from Vietnam itself. Hence, it seems very probable that these unusual wares were manufactured by special order for the market in Java. As a typical example, in this article the author discusses the origin of the image of “Hanuman” polychrome figurines based on an analysis of sherds found at the Trowulan archaeological site and sculptures/reliefs at the Panataran Temple in East Java. Moreover, the author attempts to reconstruct the purpose of these figurines ordered by the high society in Trowulan, the capital of the influencial power Majapahit Kingdom.

越南雕像;滿者伯夷;守門天;巴納塔蘭;特羅烏蘭

Vietnamese figurine; Majapahit; Dvarapala; Panataran; Trowulan