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 Tang Dynasty. This bovine effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.764)   « 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. Besides it function, this sculpture is also remarkable for its massive size and exquisite state of preservation. Removable horns can be attached, completing the astounding illusion of the animal. Such delicate attachments rarely survive the ravages of time and the stresses of excavation. Some of the original red pigment that once decorated the animal is also visible on its nose. 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. - (H.765)   « 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. Besides it function, this sculpture is also remarkable for its massive size and exquisite state of preservation. Removable horns can be attached, completing the astounding illusion of the animal. Such delicate attachments rarely survive the ravages of time and the stresses of excavation. Some of the original red pigment that once decorated the animal is also visible on its mouth. 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.766)   « Less

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the  More »

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, usually one an amalgamation 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 interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures.This pair is unusual in the fact that both figures are composite beasts without human characteristics. Both spirit guardians are quite similar in appearance, with clawed feet, long thin legs, broad shoulders, and snarling faces with recessed eyes and upturned noses. One of the figures features the bumps of his spine prominently along his back. Their fangs are clearly delineated, appearing as if dogs warding off an intruder. Both beasts have a tuft of hair that rises from the center of their heads as if a dancing flame. Very little of the polychrome paint that once covered these figures remains; extraordinary in itself considering the many centuries these works were entombed. Despite their intimidating appearance and fierce features, these beasts do not repel us as they would have frightened away tomb robbers during the T’ang Dynasty; instead, we are attracted to their aesthetic beauty and rich cultural history. - (H.755)   « Less

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the  More »

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation 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 interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures.This mythological beast combines the body and face of a feline with the legs and hooves of a horse. An undulating orange form similar to a blade rises out of the back of a head, serving as a backdrop to the pointed central antler that emerges from in between his upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted orange and his legs and face are adorned with the black stripes of a tiger. A gorgeous floral pattern rendered in orange, green, and black decorates his chest. His snarling face, complete with outlined fangs, has been expertly rendered, conveying a determined expression that is fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.761)   « Less

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the  More »

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation 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 interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. This mythological beast combines the body and face of a feline with the legs and hooves of a horse. An undulating form similar to a blade rises out of the back of a head, serving as a backdrop to the large central antler that emerges from in between his upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted in the red and black stripes of a tiger while his chest is decorated with a gorgeous floral pattern rendered in red, orange, and green. His face has been expertly rendered, conveying a determined expression that is both fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.770)   « Less

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the  More »

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation 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 interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. This mythological beast combines the body and face of a feline with the legs and hooves of a horse. An undulating form similar to a blade rises out of the back of his head, in between the large pair of antlers that emerges from the top of his head, next to its upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted orange with black spots of a Bengal leopard while his chest is decorated with a delicately detailed floral pattern rendered in red, orange, and green. Most remarkable, his kneecaps have been gilt. His face has been expertly rendered, conveying a determined expression that is both fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.771)   « Less

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the  More »

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation 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 interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. mythological beast combines the body and face of a feline with the thin legs and two-toed feet of a camel. An undulating form similar to a blade rises out of the back of a head, serving as a backdrop to the large central antler that emerges from in between his upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted in the orange and black stripes of a tiger while his chest is decorated with a gorgeous floral pattern rendered in red, blue, and green. His face has been expertly rendered, conveying a determined expression that is both fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.772)   « 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 warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that had 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 ox. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This armored warrior is poised for battle. He rests his right arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a spear, which was made of a material such as wood that deteriorated over the centuries. A small amount of the original polychrome is still visible, specifically on his pink face and forearm. 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. Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits. - (H.835)   « 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 warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that had 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 ox. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This armored warrior is poised for battle. He rests his right arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a spear, which was made of a material such as wood that deteriorated over the centuries. A small amount of the original polychrome is still visible, specifically on his pink face and forearm. 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. 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.837)   « Less