Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps  More »

Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps their most significant program was the construction of the Great Canal, a project that facilitated the movement of people and goods across great distances, leading to the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution. The rulers of the T’ang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui.Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancai-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of an attendant is a gorgeous example of Sui Dynasty sculpture. He has been covered in a bright yellow glaze, while his eyes, shoes, and a sash tied around his waist have been highlighted in painted black pigment. Red highlights also decorate details of his robe. A hole in between his hands suggests that he once held a staff or spear that has long since deteriorated over the centuries. The beauty of this sculpture inspires us as we transport back in time to another era, over a thousand years ago, where this attendant awaited our command. - (H.930)   « Less

Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps  More »

Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps their most significant program was the construction of the Great Canal, a project that facilitated the movement of people and goods across great distances, leading to the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution. The rulers of the T’ang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui.Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancia-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of a female attendant is a gorgeous example of Sui Dynasty sculpture. Such women may represent wives, princesses, or attendants. Her beauty inspires us as we transport back in time to another era, over a thousand years ago, where this woman once danced or sang for us, or awaited our beck and call. - (PF.5167)   « Less

Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians. A pair of such figures always stood guard at the tombs of  More »

Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians. A pair of such figures always stood guard at the tombs of Chinese rulers in order to ward off potential robbers or evil spirits in the next world that might try to infiltrate the tomb. This spirit guardian sculpture is a general type of Chinese art known as mingqi. Mingqi were any variety of objects specifically created for interment in the tombs of elite individuals in order to provide for their afterlife, in this case, to provide eternal protection and security. This figure is a composite creature composed of various animal traits, including a feline head and body, horse legs, a lizard-like spine, and the spiraling horn of a ram rising from the center of his head. The terracotta has been covered with a rich crème-colored glaze of a type that the Sui Dynasty has become famed for. The work was then highlighted by the application of red and black pigments, adding detail to the face and body, such as the eyes, red mouth, and the stripes that decorate the legs and breast, as if the artist was imitating the coat of a tiger. Although this sculpture was intended to repel us, its fascinating history and astounding beauty instead attracts our attention and admiration. - (H.1039)   « Less

Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians. A pair of such figures always stood guard at the tombs of  More »

Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians. A pair of such figures always stood guard at the tombs of Chinese rulers in order to ward off potential robbers or evil spirits in the next world that might try to infiltrate the tomb. This spirit guardian sculpture is a general type of Chinese art known as mingqi. Mingqi were any variety of objects specifically created for interment in the tombs of elite individuals in order to provide for their afterlife, in this case, to provide eternal protection and security. This figure is a composite creature composed of both animal and human traits, including a feline body, horse legs, a lizard-like spine, and the bearded face of a man. Both in regards to its original warding function and its appearance, this spirit guardian is comparable to the sphinx of Ancient Egypt, albeit on a much more intimate scale. The terracotta has been covered with a rich crème-colored glaze of a type that the Sui Dynasty has become famed for. The work was then highlighted by the application of red and black pigments, adding detail to the face and body, such as the eyes, red lips, black beard, and the stripes that decorate the legs and breast, as if the artist was imitating the coat of a tiger. Although this sculpture was intended to repel us, its fascinating history and astounding beauty instead attracts our attention and admiration. - (H.1040)   « Less

Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps  More »

Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps their most significant program was the construction of the Great Canal, a project that facilitated the movement of people and goods across great distances, leading to the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution. The rulers of the T’ang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui.Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancai-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of a standing man bears the physiognomy and costume of a European. His hair is curly and his eyes are wide open. He wears a robe that falls across his chest much like a toga. During the Golden Age of the T’ang Dynasty, which this Sui sculpture preceeded, China was a vibrant, multi-cultural society where foreign merchants lived and traded among the native Chinese populations. It is possible that this man represents a trader from the Byzantine west who settled in China. Considering that this sculpture was found inside it tomb, it is likely that the deceased was a trader himself who profited from dealing with his Western counterparts. In the next life, this sculpture would have awaited his resurrection, eager to continue trading in the great beyond. - (X.0363)   « Less

Origin: China Circa: 580 AD to 618 AD Dimensions: 7.5" (19.1cm) high Collection: Chinese Art Style: Sui Dynasty Medium: Terracotta

Origin: China Circa: 580 AD to 618 AD Dimensions: 7.5" (19.1cm) high Collection: Chinese Art Style: Sui Dynasty Medium: Terracotta   « Less

Origin: China Circa: 581 AD to 618 AD Collection: Chinese Style: Sui Medium: Terracotta Condition: Very Fine

Origin: China Circa: 581 AD to 618 AD Collection: Chinese Style: Sui Medium: Terracotta Condition: Very Fine   « Less

This outstanding horseman dates from the Sui period, which is stylistically intermediate between the dual paradigms of Han and T’ang styles. It therefore shows the  More »

This outstanding horseman dates from the Sui period, which is stylistically intermediate between the dual paradigms of Han and T’ang styles. It therefore shows the exuberant line of the former and the anatomical certainty of the latter, to remarkable effect. The piece depicts a warhorse, with elongated legs, an arched neck and open mouth. The rendering is exquisite, with protuberant musculature on the shoulders and limbs, careful subtractive modelling of the facial features and linear detailing of the mane and other surface anatomy. The pose of the animal suggests exhaustion – albeit with perfect poise – which is strangely at odds with the horse’s evidently relaxed pace, and the behaviour of his rider. The warrior is depicted in a decidedly un- martial pose, with an ornate hairstyle, a long coat and a trouser tunic, playing a set of pipes. He is unarmed, and scarcely seems dressed for battle. His face and hair are carefully picked out and painted with dark paint, contrasting with the orangey-red of the background clay and the paler pigment. Something can perhaps be made of this piece’s significance in light of the Sui Dynasty’s history.The Sui Dynasty was founded in a series of bloody conflicts and retributions between the Northern Qi and Zhou Dynasties towards the end of the 6th century AD. In order to gain power, Wendi – the first emperor – had 59 other aspirants to the throne put to death, reclaiming his Han surname (Yang) and reversing many of the anti-Confucian doctrines that had been put in place after the Han supremacy. He also abolished the corrupt 9-rank system, introduced land equalisation, and instituted major social change out of all proportion to the dynasty’s short duration. The Dynasty was bent upon recapturing the southern portion of China (Chen Dynasty) that had broken away during the preceding periods, and reunifying it into a single China, and to this end raised an army of over half a million and the largest fleet ever seen in 588 AD. The Chen immediately collapsed and ceded power, upon which their capital was razed to the ground and its riches plundered and taken back to the north; these proved to be the basis of most of the Sui Dynasty’s stylistic conventions.Wendi and his successors were both humanitarian and ruthless. While admired for his efforts to build infrastructure and provide economic safety nets, he also introduced savagely arduous compulsory labour and taxation to fuel a set of highly ambitious military campaigns beyond China’s borders. His son Yangdi did not have any of his father’s diplomatic skills, however, and did not seek to appease any potentially powerful enemies. Military spending was phenomenal, and it was this that spelt the end of the dynasty. His forays into Vietnam, Goguryeo and Korea proved disastrous, with about 2.1 million casualties – many of them to malaria – while a series of ambitious development plans (such as the Grand Canal) bled the treasury dry. Perhaps their most lasting architectural achievement was the rebuilding of the Great Wall. Eventually, the agricultural base of China was being damaged by the ceaseless conscription, leading to a revolt that ushered in the T’ang Empire.The monarchs of the Sui Dynasty continued to practice Buddhism as the main state religion. It has been argued that it was Buddhism, in fact, that rescued China from its previous turmoil and social disparity; it, and the monarch who wielded it, proved to be the unifying force that made the Sui Dynasty work. The iconography of the period owes much to this religious tendency. Being in many respects a highly militarised state, Sui public art is usually somewhat austere (especially the Buddhas and Bodhisattvas) yet their smaller- scale works are usually less restrained. Social ordering was everything, as today, and people were anxious to assert their rank through extravagant shows which extended to the afterlife. Mingqi remained very important, and this is an excellent example of the genre in which one might glimpse something of the martial aspirations of the period from which it comes. Yet at the same time it is a charmingly informal piece of someone who is evidently a high-ranking member of Sui society, and a far gentler representation than might be expected from a Sui piece.This is a beautiful piece of ancient Chinese art. - (DK.160 (LSO))   « Less

This civil official is dressed according to the rules that dictate official decorum of the day: a black hat, short red robe with loose fitting sleeves, a waistcoat, white  More »

This civil official is dressed according to the rules that dictate official decorum of the day: a black hat, short red robe with loose fitting sleeves, a waistcoat, white trousers and black shoes with toecaps in the shape of ruyi clouds. The effeminate form of the official is reminiscent of the aesthetic appeal of the upper class who avoided hard labor and remained indoors. They moved with a sense of dignity and grace. In this figurine as well, the features are more refined--rosy red painted lips, slit eyes and fleshy face. Over time, all that remains of the once brightly painted figurine is earthen residue and white slip with faded colors appearing on the waistcoat, robe and headdress. This figurine once resided close to the tomb, as the duty to serve one's sovereign in administrative and academic affairs continued in life and death. Considered to be the finest examples of Chinese burial objects, Tang figurines reached their apex in the first half of the eighth century The important role assigned to these models in Tang tomb arrangements and their significance as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury objects. They reflect the artistic vitality of the time and give a unique perspective into Tang customs and practices as well as the contemporary upper class life. - (H.010)   « Less

Shown standing with left fist resting on top of right fist, possibly to hold a spear or staff, these two attendants bear militaristic characteristics while exhibiting a  More »

Shown standing with left fist resting on top of right fist, possibly to hold a spear or staff, these two attendants bear militaristic characteristics while exhibiting a finesse and gentleness that is more often associated with the civil corp. They wear a mid-length tunic and armored breastplate bound by cords, with dragon's head epaulets at the shoulders and a long, flowing bottom piece exposing the tips of their shoes. A distinguishing feature of these figurines is their large head, pronounced by a receding hairline, wide facial features, and a tall, rounded headpiece tightened with a ribbon Red and black pigment and white slip adhere to the surface. It is possible that they are eunuchs whose responsibility it was to protect the inner quarters. Considered to be the finest examples of Chinese burial objects, Tang figurines reached their apex in the first half of the eighth century The important role assigned to these models in Tang tomb arrangements and their significance as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury items. They reflect the artistic vitality of the time and give a unique perspective into T'ang customs and practices as well as the contemporary upper class life. - (H.011)   « Less