Ash green glaze covers this vessel with appealing speckles throughout, stopping at the base. The ovoid body expands protrusively at the belly, narrowing sharply at the neck  More »

Ash green glaze covers this vessel with appealing speckles throughout, stopping at the base. The ovoid body expands protrusively at the belly, narrowing sharply at the neck rising to an everted lip decorated with a band of incised lines. Small circular handles rest on the shoulder of the vessel. Given the form of the vessel, it is likely it was designed to contain precious liquids. China's long history of preeminence in ceramic production was based upon the ability of the potters to innovate. Constant experimentation with various techniques brought about significant development in earthenware, stoneware and porcelain. This vessel exemplifies the potter's expertise with glazing and moulding. - (H.034)   « Less

Powerfully modeled as fearsome creatures crouched on muscular legs with hooves, this earth spirit evokes tremendous awe from its intimidating appearance. This figure bears  More »

Powerfully modeled as fearsome creatures crouched on muscular legs with hooves, this earth spirit evokes tremendous awe from its intimidating appearance. This figure bears the face of a mythical beast with two curved horns, distended ears, bulging eyes and snarling mouth exposing fangs. The creature is equipped with wings, the torso of a feline, and extraordinary sight and sound. Facing forward, it rests on its hind legs, as its staunch forelegs hold the force of its body in the position of attention. Placed inside the underground burial quarters of upper class men, these objects were designed to protect the physical site, as they were to resume life form in times of danger, and accompany the soul of the deceased along the perilous journey into the other world. These burial objects served an important role in the ancestral belief system of ancient Chinese society, as well as in the illustrious practices of the elite society. - (H.035)   « Less

Typically among the largest of burial figurines, military men are often depicted in exquisite detail. They comprise of the various guardian figures whose main purpose was to  More »

Typically among the largest of burial figurines, military men are often depicted in exquisite detail. They comprise of the various guardian figures whose main purpose was to watch over the burial site and protect the deceased. The figures wear matching battle attire consisting of sectioned chest plates with red circular designs, elbow-length shoulder plates protruded by red sleeves, and a draping headdress topped with a bulbous crown. Beneath the chest armor, they wear three-quarter length robes tied at the waist and baggy pantalones. Both figures assume the ready position gesturing with their hands that they once held weapons. As with many fine pottery figurines, the distinguishing characteristic of a piece is the personal rendering of facial features and expressions. One figure's face is painted red with distinctively menacing traits while the other figure appears attentive and reserved. In order to achieve a life-like presence, the artisan strove to imbue each figurine with a unique quality, so that despite mass produced methods, no two pieces were identical. The subject of tomb figures is closely linked with Chinese religion and philosophy. The tomb signified a gate to the afterlife or a meeting place of the two worlds. Pottery figurines replaced the Eastern Zhou tradition of interring live persons, animals and actual objects. - (H.046a)   « Less

Outside of figures, animals also became popular subjects in Chinese burial art. In this depiction of two long horned rams, the craftsman's fondness for the subject is  More »

Outside of figures, animals also became popular subjects in Chinese burial art. In this depiction of two long horned rams, the craftsman's fondness for the subject is revealed through the stylistic choices made in sculpting the animal. Standing on all fours, its hooves surmounted by a base, the full-bodied animals are modeled to detail, with spiral horns curving around the large jaws and plump haunches slightly hanging over its joints. The animal appears smiling; its painted red mouth emerging from under its snout and its flushed ears and twinkling eyes enhancing its contented temperament. In China, the ram is one of the Twelve Terrestrial Branches of the Chinese calendar and is the emblem of retired life. A recumbent ram or sheep symbolizes the Confucian virtue of filial piety. Burial art of the T'ang period is characterized by a penchant toward figural objects rather than architectural models that prevailed during the Han. Princes and officials often commissioned large, brilliantly glazed sets of ceramic figures which ushered in the mass production of burial objects. However, the desire to imbue figurines with a life-like quality kept artisans busy creating Buddhist guardians, court entourages, animals, civil and military officials and other figures. - (H.047c)   « Less

This pottery figurine depicts an individual who possesses supernatural ability, perhaps a shamanic priest or spiritual guardian. The orangish-brown tunic decorated with dark  More »

This pottery figurine depicts an individual who possesses supernatural ability, perhaps a shamanic priest or spiritual guardian. The orangish-brown tunic decorated with dark circular designs and matching hood resemble distinctive Tibetan Lama attire, though also similar in appearance to ceremonial mourning wear. The figure is positioned facing forward gesturing his right fist over his left hand which is hidden beneath oversized, draping sleeves. The figure once boasted an emblem, which may have provided insight to his meaning and function. His expressive features--bulging eyes, tense brow line, pursed lips, pear-shaped face and neck lines-- resemble the physiognomy of the Heavenly Guardians. In this case, the "disguise" is merely one of his many manifestations. Tang Dynasty figurine art is characterized by a desire to give the deceased status rather than to merely recreate daily life. As the Han emphasized agricultural and domestic pursuits, the Tang explored the sophisticated world of the aristocracy, reflected in figurine subjects that signified wealth and mobility. Through increased contact with central Asia and India, Buddhism spread which thus stimulated an interest in representation of Buddhist inspired subjects. - (H.047e)   « Less

Among the larger figurine pieces, this figure is depicted with his hands in front as if holding a long weapon. He stands attentive with his chin slightly lowered and eyes  More »

Among the larger figurine pieces, this figure is depicted with his hands in front as if holding a long weapon. He stands attentive with his chin slightly lowered and eyes staring upward, signaling the gesture of humility. It is possible that this soldier represents not one who is about to engage in battle, but an escort who accompanies traveling foreign missions. Given the figure's dark skin, facial hair and pronounced features, it is likely that he is of foreign stock. The soldier is dressed in a three-quarter length white robe with black borders and belt, with flowing trousers, rounded boots and a tight cap that rises into a crest at the back. The folds of his garment are stylistically rendered in his bent arms. Painted with natural pigment, the figure is in good shape with heavy incrustation on the lower body. Tang Dynasty figurine art is characterized by a desire to give the deceased status rather than to merely recreate daily life. As the Han emphasized agricultural and domestic pursuits, the Tang explored the sophisticated world of the aristocracy, reflected in figurine subjects that signified wealth and mobility. Interest in the outside world grew within Tang's cosmopolitan setting. Scenes of foreign entertainers, merchants and missions stimulated a fascination for things foreign, which was reflected in many areas of the arts. - (H.047d)   « Less

As new philosophical and religious strands penetrated the thought system of early China, the subject matter of tomb objects and tomb patterns changed. The past practice of  More »

As new philosophical and religious strands penetrated the thought system of early China, the subject matter of tomb objects and tomb patterns changed. The past practice of entombing elite members of society with earthenware objects continued throughout the early and middle Tang period, but the earlier emphasis placed on recreating daily life shifted to flaunting status and excess. Tombs were no longer "underground houses," but became a landscape with murals depicting the palaces, gardens, and open countryside in which the nobles passed their lives. Buddhist Guardian beings, including both supernatural humans and animals, reflected this trend toward elaborateness as they functioned to provide protection, links with the spirit world, and status. It is no doubt this guardian figure served that purpose for its master. Its ferociousness is felt through the sight and sound of its growl, triggered by the approach of danger; it was believed that this beast took life during the depths of night or at moments of threat. Equipped with wings, cloven hooves, a long spiny tail that continued up its back, and a snout, the guardian animal was a coming together of the best features of different animals: lion, horse, and dragon. This guardian beast crouches in a lion-like stance, thrusting its chest forward and drawing back its head. Although once painted in bright colors, the hardship of years of underground burial have caused the red, blue, and white coatings to fade. This guardian figure surely captures the vitality and spirit of supernatural beings in its awesome form. Created during one of the greatest periods in Chinese history, it reflects the artistic vitality of the time and provides us with a unique glimpse into the luxurious and sophisticated world of contemporary upper class life. - (H.516)   « Less

The second flowering of tomb figurines occurred during the reunification of the empire under the Sui (581-618) through the first half of the Tang (618-907). Tang figurines  More »

The second flowering of tomb figurines occurred during the reunification of the empire under the Sui (581-618) through the first half of the Tang (618-907). Tang figurines reflect the wealth, vitality, and openness of a great empire. A gradual evolution occurred in the choice of tomb objects emphasizing more ceremonial aspects of daily life and the supernatural quality of guardian beings. Buddhist Guardian Kings and animal guardians rose to become some of the most prized subjects, valued for the importance they served in protecting the tombs and the dead. This figurine of an animal guardian is characteristic of the human-animal hybrid creatures chosen to guard the entrances of tomb quarters. Spiky wings on the forequarters adorn the body of a crouching lion with cloven hooves and a curled tail. A horn of twisted hair rising from the head and a menacing expression--snouted nose, flared nostrils, tensed forehead, glaring eyes--capture the bestiality of this supernatural being intended to ward off evil and wrongdoing. The colors have worn over time, but patches of red, blue, and white paint adhere to the surface. The Tang period is the high point in the history of Chinese tomb figurines. The important role assigned to these models in Tang tomb arrangements and their significances as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury objects. Created during one of the greatest periods in Chinese history, they reflect the artistic vitality of the time and give a unique glimpse into the luxurious and sophisticated world of contemporary upper class life. This figurine of a guardian beast is a great addition to collection of tomb objects, representing the changes in subject material that occurred in the mingqi industry of the Tang Dynasty. - (H.517)   « Less

These unglazed figures were covered with white slip and then painted with mineral pigments. Over time, the original bright reds, greens and black faded though traces remain  More »

These unglazed figures were covered with white slip and then painted with mineral pigments. Over time, the original bright reds, greens and black faded though traces remain throughout on the pointed caps, clad armor, layers of robe, and flowing pantalones. In this set, each figure bestows distinguishable characteristics, unique among burial objects that were mass produced. The central figure wears a distinctive cap with three triangular sections pointed upward covering the center top knot. The two side figures sport similar red caps that are bordered with a white flap, tight-fitting and expose the top knot. They differ in posture--one figure assimilates holding a weapon with the right hand lowered and the other vice versa. Though they resemble Deva Kings, they are most likely supernatural representations of fearsome military officers. Without uncertainty, their role was to protect the underground tomb and its inhabitant, and as retainer, to serve their sovereign in the realm of other-worldly existence. Considered to be the finest examples of Chinese burial objects, Tang figurines reached their peak 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.009)   « Less

This unique set of painted pottery figures possibly represents individuals wearing ancestral ceremonial garb or divine figures associated with local religious cults. The  More »

This unique set of painted pottery figures possibly represents individuals wearing ancestral ceremonial garb or divine figures associated with local religious cults. The figure dressed in a collar-less, long sleeved white tunic decorated with orange donut-shaped circles and matching hood shares iconographic features similar to that of the Heavenly Guardians--bulging eyes, tensed forehead, snub nose, grimace, and plump which give it a ferocious expression. The other figure wears a similar outfit of white circles on a black background, but instead of a tunic, she wears a three-quarter robe with voluminous sleeves that is tied beneath the breasts over a white pleated flowing undergarment. The rise of the hood is much higher and impressive, and her look is not one of dread, but of serenity and complacency. Both figures hold hands out in front with holes drilled in areas indicating that they once held objects. - (H.033)   « Less