Seated with legs slightly apart and arms resting on lap, this female figurine depicts an aristocratic lady. Her delicate features and plump face convey the ideal image of  More »

Seated with legs slightly apart and arms resting on lap, this female figurine depicts an aristocratic lady. Her delicate features and plump face convey the ideal image of feminine beauty, as her posture on a seated throne relate to her privileged position among women of the inner chambers. She wears elaborately designed clothing consisting of several layers of intricately decorated silk robes in floral motif. The various borders, hems, cuffs and collars are delineated in colors of white, red, green and yellow, and the designs are primarily painted on, except for a few incised lines and folds on the outer robe. The woman clasps a sash in her hands which hangs between cloud toe tipped shoes. Her face is whitened, delicately modeled in the cheek, mouth, nose and eye area which is pronounced with rose and black pigment. Her hair is combed into a bun, surmounted by a small, puffy cap decorated in matching floral motif. 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 entourage, civil and military officials and other figures. - (H.047a)   « Less

The most important feature of this magnificent set of six stemmed wine cups, featuring two larger cups and four smaller ones, is a two character inscription etched into the  More »

The most important feature of this magnificent set of six stemmed wine cups, featuring two larger cups and four smaller ones, is a two character inscription etched into the inner stem of one of the larger cups. This inscription, a testament to the master artisans who crafted these vessels, can be translated as, “Imperial Warehouse.” This message confirms that this set was the treasured possession of the royal family. Furthermore, the text reveals the pride of the artists who produced works specifically for the King and his associates. Although portions of the vessels are covered by magnificent patina, remarkable for its diverse texture and coloring, other sections of the cups remain in pristine condition, revealing the “mirror black” finish of the bronze that looks similar to silver. Discovered buried inside a tomb, this set of wine cups clearly played as important a role in the afterlife as it did in this world. This set reveals as much about the sophisticated social customs of the Tang Dynasty as it does about their spiritual beliefs. Clearly, the joys of life, including the enjoyment of wine, continue on into the next world. This set was not interred with its owner as a memorial to his wealth, but as a functional tool meant for use in the afterlife. In fact, these cups were forged by a master to survive throughout eternity, as they seemingly have. While we gaze upon this set and hold the cups in our hands, raising them up to our lips, we are transported back in time. We repeat the same actions that occurred almost twelve hundred years ago. Yet, the action of drinking would have continued into the afterlife and beyond. Thus we can hold these cups and imagine saying a toast, to the original owner of this set, who continues to treasure this remarkable work of art from the next world as we do in our own. - (H.656)   « Less

This attendant exhibits a finesse and gentleness associated with the civil corp. He wears a mid-length orange tunic and armored breastplate and backplate bound by cords,  More »

This attendant exhibits a finesse and gentleness associated with the civil corp. He wears a mid-length orange tunic and armored breastplate and backplate bound by cords, while a flowing white bottom piece exposes the tips of his burgundy shoes. Standing in a proud and regal position, with his hands held together just above his stomach, this figure patiently awaits the commands of his deceased master in the afterlife. 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 Tang customs and practices as well as the contemporary upper class life. This object symbolizes both the earthly wealth of his master as well as the familial piety of the deceased’s relative who commissioned the work. With furrowed brow and dimpled cheeks, this attendant bears a pensive, compassionate expression that is both wise and comforting. Clearly, this is a man who the deceased can turn to for spiritual advice and assistance in beginning a new life in the next world. Today, this sculpture is a vivid reminder of the glories of Chinese civilization. He represents both the wealth and taste of the culture, and their appreciation of beauty, as well as the philosophical and religious beliefs of the time. - (H.630)   « Less

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

Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures are mythological composite creatures, one always an amalgamation of various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were most likely interred in order to ward off potential tomb robbers or perhaps evil spirits in the next world that might try to infiltrate the tomb. These intimidating spirit guardians both stand on pedestals, their feet covered in slithering snakes. On each base, a small turtle is present. The unusual appearance of this amphibian might allude to the ruler whose tomb these sculptures were in charge of guarding. However, their significance has been lost to us over the centuries. Perhaps the most stunning feature of this pair is their back, elegantly painted in the orange and black stripes of a tiger. Protrusions of horns and flames emerge from their body, remarkably in tact considering their fragility. Although these works are supposed to be frightful, the masterfully delicate sculpting of their flaming heads and the gorgeous colors of their Sancai glaze prove more attractive than repelling. - (H.734)   « Less

For the Chinese, camels symbolized commerce and its associated wealth, largely concentrated on profits though trading on the Silk Road. Trade across this extensive network of  More »

For the Chinese, camels symbolized commerce and its associated wealth, largely concentrated on profits though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh desert of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and maintain its own nutrients, surviving for months without fresh supplies of water. The government kept vast herds of these invaluable creatures, presided over by civil officials, for hauling their precious commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of Tang China, carrying both traders and their goods directly into the markets. Likewise, Tang artist began to create charming representations of these prized creatures as mingqi in order to symbolize wealth and prosperity in the afterlife. Mingqi were works of art specifically created in an ancient Chinese custom for interment in the tombs of elite individuals in order to provide for their afterlife. Some of the most beautiful works of Chinese art were excavated from such tombs, and this sculpture of a camel and an accompanying groom is a perfect example of the refined artistry dedicated to such works despite the fact that they were never meant to be seen by the living. The distinct physiognomy of the groom reveals that he is of foreign descent, most likely from Central Asia. We can imagine him tending to the vast herds of these invaluable beasts that were maintained by the government. He holds his arm in the air as if leading the camel; we can almost see the reigns. Both the camel and rider are elegantly glazed in brown hues that complement the natural coat of the camel. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.741)   « Less

During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual's social rank. In spite of  More »

During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual's social rank. In spite of the limitations, a striking variety of tomb furnishings have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians - were buried with the dead. This dynamic warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that have their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent beast. Although this figure is slightly different, we can assume his role in the afterlife would have been the same.This warrior is poised for battle, arms raised in the air, mouth held open as if emitting a battle cry. A small amount of the original polychrome is still visible, specifically along his arms. According to one Chinese tradition explaining their origin, the emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods. Originally, this warrior would have brandished a weapon in his hands. Most likely a sword or spear, this weapon was probably fabricated in a material such as wood that deteriorated over the centuries. Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits, this warrior does not repel us; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H.737)   « Less

During the Tang dynasty, China enjoyed a period of consolidation, achievement, and confidence. Tang art tends to reflect this assurance in its realism, energy, and dignity.  More »

During the Tang dynasty, China enjoyed a period of consolidation, achievement, and confidence. Tang art tends to reflect this assurance in its realism, energy, and dignity. Pottery of this era is often compared to that of Classical Greece for the sophisticated achievements in sculpting and modeling. This general type of Chinese burial art is known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. This statue represents a courtly attendant who is patiently awaiting the commands of his noble master in the afterlife. The original pigment that once covered this sculpture has survived the ravages of centuries remarkably intact. He wears a bright red tunic that hangs over his rich green trousers. His face has also been elegantly detailed with each whisker of his moustache and eyebrows delicately applied as well as the pupils of his eyes. The details are remarkable and he almost appears to stare back at us. He has been to the afterlife and returned to another era. What secrets might he share with us? While once intended solely to be an eternal companion and attendant to the needs of his deceased lord, now this sculpted figure functions on his own as a vibrant relic of history and as a spectacular work of art. - (H.750)   « Less

During the Tang dynasty, China enjoyed a period of consolidation, achievement, and confidence. Tang art tends to reflect this assurance in its realism, energy, and dignity.  More »

During the Tang dynasty, China enjoyed a period of consolidation, achievement, and confidence. Tang art tends to reflect this assurance in its realism, energy, and dignity. Pottery of this era is often compared to that of Classical Greece for the sophisticated achievements in sculpting and modeling. This general type of Chinese burial art is known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. This statue represents a courtly attendant who is patiently awaiting the commands of his noble master in the afterlife. The original pigment that once covered this sculpture has survived the ravages of centuries remarkably intact. He wears a bright red tunic that hangs over his rich green trousers. His face has also been elegantly detailed with each whisker of his moustache and eyebrows delicately applied as well as the pupils of his eyes. The details are remarkable and he almost appears to stare back at us. He has been to the afterlife and returned to another era. What secrets might he share with us? While once intended solely to be an eternal companion and attendant to the needs of his deceased lord, now this sculpted figure functions on his own as a vibrant relic of history and as a spectacular work of art. - (H.751)   « Less

During the Tang Dynasty, sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Created in all  More »

During the Tang Dynasty, sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. While similar examples exist, most were found harnessed to wagons and carts and were meant to function as beasts of burden. However, this sculpture was discovered buried as part of a herd, contained inside a sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Aside from function, this sculpture is also remarkable for its exquisite state of preservation. During the Tang Dynasty, the Chinese believed that the afterlife was a continuation of our earthly existence. Thus, logically, as we require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. Created to serve as food for the afterlife, this work is more than a mere sculpture; it is a gorgeous memorial to the religious and philosophical beliefs of the T’ang Dynasty. This bovine effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.762)   « Less

During the Tang Dynasty, sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Created in all  More »

During the Tang Dynasty, sculptural effigies of domesticated animals were often interred in the tombs of nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. While similar examples exist, most were found harnessed to wagons and carts and were meant to function as beasts of burden. However, this sculpture was discovered buried as part of a herd, contained inside a sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Aside from function, this sculpture is also remarkable for its exquisite state of preservation. During the Tang Dynasty, the Chinese believed that the afterlife was a continuation of our earthly existence. Thus, logically, as we require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. Created to serve as food for the afterlife, this work is more than a mere sculpture; it is a gorgeous memorial to the religious and philosophical beliefs of the T’ang Dynasty. This bovine effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.763)   « Less