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 reddened mouth and eyes and his red skirt. 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.836)   « 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. He rests his left arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a halberd, which was made of a material such as wood that deteriorated over the centuries. A striking amount of the original polychrome is still visible, specifically on his pink face and the individual scales of metal intricately painted on his armor and helmet. According to one Chinese tradition explaining their origin, 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, even despite his beady-eyed, bucktoothed demonic visage; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H.879)   « Less

During the Tang Dynasty, the status of the beloved camel ranked second only to the revered horse. Camels symbolized commerce and its associated wealth, profits made possible  More »

During the Tang Dynasty, the status of the beloved camel ranked second only to the revered horse. Camels symbolized commerce and its associated wealth, profits made possible primarily through the legendary Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreigner merchants, and exotic merchandise into China, connecting the Mediterranean world with the Far East. However, this arduous journey through the jagged mountains and rugged deserts of Central Asia could only be undertaken by the two-humped Bactrian camel, a beast able to withstand the scorching heat of the desert and to 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 silk supplies 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, T’ang artist began to create charming representations of these prized creatures as mingqi wealth and prosperity to come in the afterlife. An ancient Chinese custom, mingqi were works of art specifically created to be interred in the tombs of the elite classes in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from such tombs, and this glazed sculpture of a camel 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. Holding his head high in the air, this camel possesses an air of grace and dignity. He appears to demand the adoration that the ancient Chinese bestowed upon him. With refined modeling and defined musculature, this gorgeous sculpture reveals the Tang Dynasty’s respect and admiration for this magnificent creature. - (H.914)   « Less

Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese  More »

Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese empire. While the local Mongol Pony was native to the region, larger and faster breeds were imported from Central Asia, eventually leading to the establishment of the Silk Road. This sculpture of a groom represents one of the foreigners who imported or cared for such horses. Dressed in an elegantly painted orange tunic, this groom features an expressive and emotive face with a broad nose that reveals his foreign origins. He wears a distinctive conical hat that reinforces his foreign status. While this groom might have accompanied a prized steed on the long and arduous journey from Central Asia to its new owner inside China, it is just as likely that this expert groom lived and resided in China, tending to the needs of a royal stable of stallions. During the T’ang Dynasty, it was not uncommon for foreigners to reside in the larger cosmopolitan centers of the empire. Clearly, this groom is no meager peasant, but a refined and respected foreigner who was memorialized in this sculpture. He holds one of his arms aloft, as if pulling the reigns to lead a horse. We can easily picture him lovingly combing a horse and brushing its mane. This groom is no mere worker, but a talented and respected artist who brought out the full beauty of these revered creatures. - (H.919)   « Less

Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese  More »

Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese empire. While the local Mongol Pony was native to the region, larger and faster breeds were imported from Central Asia, eventually leading to the establishment of the Silk Road. This sculpture of a groom represents one of the foreigners who imported or cared for such horses. Dressed in an elegantly painted orange tunic, this groom features an expressive and emotive face with a pointed black beard that reveals his foreign origins. While this groom might have accompanied a prized steed on the long and arduous journey from Central Asia to its new owner inside China, it is just as likely that this expert groom lived and resided in China, tending to the needs of a royal stable of stallions. During the T’ang Dynasty, it was not uncommon for foreigners to reside in the larger cosmopolitan centers of the empire. Clearly, this groom is no meager peasant, but a refined and respected foreigner who was memorialized in this sculpture. He holds one of his arms aloft, as if pulling the reigns to lead a horse. We can easily picture him lovingly combing a horse and brushing its mane. This groom is no mere worker, but a talented and respected artist who brought out the full beauty of these revered creatures. - (H.920)   « 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. Similar examples of oxen exist, discovered buried as part of a herd, contained inside a sculpted miniature pen with other domesticated animals, suggesting that they served as nourishment. However, this ox, pulling a cart behind him, clearly functioned as a beast of burden that was to perform onerous chores throughout eternity. Besides its function, this sculpture is also remarkable for its exquisite state of preservation. Remnants of the original paint that once decorated the work are visible on the red body of the ox and orange stripes along the sides of the cart. Such delicate pigments rarely survive the ravages of time and the stresses of excavation. The cart is a masterpiece unto itself, composed of three separate pieces: the cart structure and two wheels with painted black spokes. During the T’ang Dynasty, the Chinese believed that the afterlife was a continuation of our earthly existence. Thus, this ox and cart was entombed in place of the real thing in order to provide for the transport needs of the deceased as he journeys through 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. - (H.924)   « 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. - (H.906)   « 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. - (H.907)   « 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 Tang Dynasty. This cow effigy has served its eternal purpose well. - (H.908)   « 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 Tang Dynasty. This cow effigy has served its eternal purpose well. - (H.909)   « Less