Origin: China Circa: 618 AD to 906 AD Dimensions: 26" (66.0cm) high x 10.50" (26.7cm) wide Collection: Chinese Art Style: T'ang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 906 AD Dimensions: 26" (66.0cm) high x 10.50" (26.7cm) wide Collection: Chinese Art Style: T'ang Dynasty Medium: Terracotta   « Less

Origin: China Circa: 618 AD to 906 AD Dimensions: 1.25" (3.2cm) high x 2" (5.1cm) wide x 1" (2.5cm) depth Collection: Chinese Art Style: T'ang Dynasty Medium: Jade

Origin: China Circa: 618 AD to 906 AD Dimensions: 1.25" (3.2cm) high x 2" (5.1cm) wide x 1" (2.5cm) depth Collection: Chinese Art Style: T'ang Dynasty Medium: Jade   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a quasi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts 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 T’ang China, carrying both traders and their goods directly into the markets. Likewise, T’ang artists began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.During the T'ang 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, known as mingqi, have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs, and this sculpture of a camel and rider is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. The distinct physiognomy of the removable rider, featuring deep-set squinting eyes and fleshy cheeks, reveals that he is of foreign descent, most likely from Central Asia. His hair has been tied back in a ponytail. Incised lines along the top of his head indicate individual locks of hair. He wears a jacket with a broad fur lapel. The jacket is left partially open, leaving his chest and belly exposed. His nipples are clearly depicted and the rolls of fat on his belly reveal his wealth. This attire and posture is consistent with other representations of foreign riders. A flask with a red heart-shaped decoration hangs at his side on the saddle. Thick tufts of furry hair cover the camel along his head, neck, and front knees. The camel holds his mouth wide open, exposing his teeth. The undulating tail gracefully rises in the rear. This sculpture reveals the T’ang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.1087)   « Less

Origin: China Circa: 7 th Century AD to 8 th Century AD Collection: Chinese art Style: Early Tang dynasty

Origin: China Circa: 7 th Century AD to 8 th Century AD Collection: Chinese art Style: Early Tang dynasty   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a quasi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts 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 T’ang 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 in order to symbolize continued wealth and prosperity throughout the afterlife.During the T'ang 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, known as mingqi, have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs, and this sculpture of a camel is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. Thick tufts of furry hair cover the camel along his head, neck, and front knees. The camel holds his mouth wide open, exposing his teeth. The undulating tail gracefully rises in the rear. A saddle filled with exotic goods to be hauled along the Silk Road rests on the back of this beast. Long tubes sag across his back in between the humps. Could these be rolled carpets from Central Asia that are destined for China? This sculpture reveals the T’ang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of Ancient China. - (LA.508)   « Less

The Tang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands.  More »

The Tang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a quasi- religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. Tang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern Xi'an), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The Tang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts 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 continued wealth and prosperity throughout the afterlife.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, known as mingqi, have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs, and this sculpture of a camel is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. This recumbent camel has paused for a moment before returning on the arduous journey. The saddle is packed high with goods including rolled carpets possibly from Central Asia. A fur blanket with engraved tufts of hair tops the bundle. The camel’s head is held high in the air, as if getting ready to stand. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of Ancient China. This fine unglazed example would date back to the early Tang period, i.e. 7th century AD, when unglazed pottery figurines were still preferred to the later sancai glazed earthenware. Similar sculptures have been indeed unearthed throughout the Zhongyuan, prevalently in Shanxi and Shaanxi provinces, attesting to the lively and incompassed artistry of the early Tang potters. - (LA.513)   « Less

Origin: China Circa: 618 AD to 906 AD Dimensions: 14.25" (36.2cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 906 AD Dimensions: 14.25" (36.2cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta   « Less

Origin: China Circa: 618 AD to 906 AD Dimensions: 9" (22.9cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 906 AD Dimensions: 9" (22.9cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta   « Less

Two painted earthenware figurines of female dancers, white pigmented faces with red lips, upswept hair in high bun, high waisted flowing floor-length gown with frontal  More »

Two painted earthenware figurines of female dancers, white pigmented faces with red lips, upswept hair in high bun, high waisted flowing floor-length gown with frontal central pleat revealing trefoil upturned shoes, traces of original pigmentation remain. One arm folded backward behind the back, the other raised and bent at an angle, the long sleeve covering the hand to mimic a dance movement.Music, as well as dance, was highly appreciated by the Tang aristocracy who would indulge frequently in lavish displays. The atmosphere was well captured by the poet Du Fu (712-770), who in his “Song of the Beautiful Ladies” provides a poetic description of these entertainments:“Third month, third day, in the air a breath of newness: By Chang’ An riverbanks the beautiful ladies crowd, Warm-bodied, modest-minded, mild and pure, With clear sleek complexions, bone and flesh well matched, In figured-gauze robes that shine in the late spring, worked with golden peacocks, silver unicorns. On their heads what do they wear? Kingfisher glinting from hairpins that dangle by side lock borders. On their back what do I see? Pearls that weight the waistband and subtly set off the form." [Watson 1984: 222]Early Tang music and dance stemmed out of Central Asia, from Silk Road centres such as Kucha and Sogdiana. The Central Asian musical influence is well reflected in the inventory of musical instruments, which included small drums and cymbals, barbarian lutes (hu pipa) and horizontal harps (hangkou) of clear Central Asian derivation. These exotic instruments were preferred during the Tang period possibly because they would have been easy to carry around for less formal performances.According to archaeological findings, Chinese dance has a history of over five thousand years. Until the Han dynasty (206 B. C. - A. D. 220), most of the Chinese dances originated and were maintained by from the folks. Only during the Han period, a musical entertainment court was established for the imperial family, which was essentially a centre for systematically documenting and enhancing folk songs and dances.Because of the political stability and the economic prosperity of the Tang dynasty, poetry, music and dance were given opportunities to flourish. The Tang dynasty has been regarded as the golden age for dance in ancient China. Dances in the Tang dynasty inherited techniques that were developed in the past dynasties such as Zhou, Qin, Han, Wei, Jin, and Nanbei. During the early Tang period, Buddhism was introduced to China and because trade and social relationship with other countries rapidly expanded, dances was influenced by folk dances of other countries such as India, Rome, Persia (Iran), Korea, Cambodia, Burma, Vietnam, and other Central Asian countries, through the Silk Road. In addition, it also combined with other forms of fine arts such as painting, scenery, and colourful costumes as well as poetry, classical music and drama. The combination of these multi-faceted traditions brought the performing arts to a new peak of entertainment.Even the emperors of the Tang dynasty paid significant attention to the development of the Chinese dance and music, often by directly contributing to this effort. Among them, Emperor Li Shimin who personally composed the song Pozhen yuetu, which was successfully staged for a major dance festival and was later introduced to India, Turfan (Xinjiang), and Japan, and Emperor Li Lonji (also known as Tang Minhuang), who composed another brilliant piece of music called Nishang yuyi. Tang Minhuang used graceful traditional dance techniques combining with marvelous Indian dance skills and music to portray an elegant fairyland with beautiful maidens. Staged by Tang Minhuang, danced by his famous concubine and dancer Yang Guifei, and music played by Liyuan, the Nishang yuyi dance has been regarded as one of the splendid treasures in China's dance history.The cosmopolitan emphasis in music and dance during the Tang is well reflected in some of the astonishing high Tang murals in cave 178 of the Mogao complex in Dunhuang (Gansu province). Everywhere, even in specifically religious themes such as the preaching of the Buddha, images of dancers often accompany the narrative.The magnificent dance of the Tang period was the result of inheriting the traditions, enhancing the Chinese classical and folk dance techniques, as well as widely incorporating music and dance skills from other countries. Due to the broad spectrum of styles, characteristics and topics, dance was one of the favorite performing arts and was very well received by almost every social class during the Tang period. It also played a significant role in the social relationship among different countries as well as different ethnic groups. The Chinese classical dance has passed from generation to generation, and is still practiced by the Chinese classical and folk dance community.Our elegant pair of female dancers manages to crystallise in a single untouched pose, the beauty and enjoyment Tang people must have felt in such a thriving period of musical and artistic creativity.Cf: Wang Kefen, "The History of Chinese Dance," Wai Yuyan Chubanshe, Beijing, China, 1985.Smallest height 10.25 inches - (LA.558)   « Less

The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (386-534) and continued into the Tang dynasty. Also  More »

The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (386-534) and continued into the Tang dynasty. Also called earth spirits ‘dusheng', or ‘zhenmushou’ ("grave-quelling beasts"), these guardians took the form of a fantastic hybrid creature composed of various animal and sometimes human elements and were placed in the tomb in pairs to ward off any malevolent beings who threatened to intrude. This apothropaic concept was indeed already present during the Warring States period (5th-4th centuries BC) in tombs from the southern state of Chu, where often ‘zhenmushou’ with incredible antler tines and long tongues sticking out were placed at the entrance of the tomb to guard the coffin and protect it from evil. However, in the south, tomb guardians quickly disappeared after the Eastern Jin period (317-420, an abrupt change of practice that probably reflected different cultural approaches. In fact, northern and western people -being more mindful of spirits and demons- were always more inclined to protect the dead from undesirable encounters and went into a lot of effort in creating wonderful sculptures of tomb guardians; southerners instead simply chose to continue to transmit the age-old practice of providing for the daily life of the deceased in the afterlife.When looking at our human-faced earth spirit, it is clear that his face betrays distinctive Central Asian features; his twisted head gear is reminiscent of the tall pointed hats made of felt or soft material, worn by Central Asian merchants who frequently crowded the streets of the Tang capital, Chang’an. Some scholars in the past have also attempted to attribute these distinctive traits to either a group of Semitic merchants or to some ethnic groups from the Kashgar region of Central Asia, although neither possibility has been verified.Yet this figure typifies the funerary guardian creatures of the seventh and early eight centuries. It is brilliantly painted with speckles on the shoulders and colourful painted flowers on the chest, both motifs possibly deriving from wax-resist techniques long popular in textile manufacture. It does not wear an armour, an accessory commonly found in human guardians instead, and his legs terminate in hooves, similarly to those found in the Astana tombs in the Turfan basin of Xinjiang and datable to the 7th- early 8th century AD. Although very little is known to date the Astana tombs precisely, it seems likely that these beats were introduced in the area after the Tang conquest of the kingdom of Gaochang in 640. Chinese control of the area lasted until the mid 8th century and many are the stylistic parallels in tomb furnishings between central China and Turfan, although the western regions seemed to have preferred painted decoration to the more popular sancai glaze of the metropolitan pieces.Reference: J.C.Y. Watt et al, China. Dawn of a Golden Age, 200-750 AD, New York, 2004: no. 178-179, pp. 286-287. - (LA.562)   « Less