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’ ("tomb-guarding 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. Such idea 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. This was probably due to the fact that northern 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.The painted animal guardian is here depicted with quite a ferocious feline head with fangs out and upturned ears, his red-painted mane on the side and the back made of protruding spikes stretching upwards, his powerful paws firmly placed on top of rocks. This type of ‘zhenmushou’ probably evolved from the dorsal-spiked beasts of the Han and Western Jin period (see X.0351) and was later refined during the Six Dynasties period. His menacing look would seem to indicate a northern workshop, during the early to mid Tang period.Reference: J. Watt et al, China. Dawn of a Golden Age, 200-750 AD, New York, 2004: no. 178-179, pp. 286-287. - (LA.566)   « Less

Origin: China Circa: 618 AD to 927 AD Dimensions: 4" (10.2cm) high Collection: Chinese Art Style: Tang dynasty Medium: Bronze

Origin: China Circa: 618 AD to 927 AD Dimensions: 4" (10.2cm) high Collection: Chinese Art Style: Tang dynasty Medium: Bronze   « Less

Origin: China Circa: 618 AD to 906 AD Dimensions: 9.5" (24.1cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 906 AD Dimensions: 9.5" (24.1cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta   « Less

Origin: China Circa: 618 AD to 906 AD Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Condition: Very Fine

Origin: China Circa: 618 AD to 906 AD Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Condition: Very Fine   « Less

Origin: China Circa: 600 AD to 900 AD Dimensions: 9.50" (24.1cm) high x 4.0" (10.2cm) wide Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta

Origin: China Circa: 600 AD to 900 AD Dimensions: 9.50" (24.1cm) high x 4.0" (10.2cm) wide Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta   « Less

This charismatic ceramic figure of a groom was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was designed to be interred with a  More »

This charismatic ceramic figure of a groom was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was designed to be interred with a deceased member of the aristocracy or burgeoning Middle Classes, to attend to his/her needs in the afterlife. Grave furnishings (mingqi) came in many different forms; well-known variants include “fat ladies”, demons, administrators and animals (especially camels and horses). Grooms are rather less common; the high status of horse owners in China (even owning a horse was, to an extent, an indicator of one’s social position) might seem to suggest that this piece was interred with someone of considerably exalted rank.This particular piece is remarkable for its facial morphology, which may be designed to imply that he is not Chinese, and is instead a native of Central Asia towards the fringes of the Tang imperial territories. It must be remembered that Chinese physiognomy – rather high cheekbones, narrow eyes with epicanthic folds, dark hair and delicate features – is usually exaggerated in their funerary arts. There is no possibility that this figure depicts someone of Chinese origin. The face is very pale, with an extremely broad chin, a broad nose with widely-spaced nostrils. The eyes are very large and round, with pale irises, and a similarly broad and down-turned mouth. The brows are marked, the ears protuberant and the cheekbones lower than might be expected for the depiction of a Chinese character. The hair is gathered up into an ornate coiffure pointing forward and upward (or is perhaps intended to be a fur hat); the figure is dressed in a simple shift-like tunic that reaches to the knee, with a slash up to the mid-thigh, with a tie around the waist and hems on the leading edges that cross on the chest. Incised lines have been used to denote minor creasing and folds in the cloth. The figure also wears matching leggings and plain leather shoes with pointed toes. The pose is puzzling until the role of the groom in life is considered; both hands, which are poised in readiness, were designed to hold something. It is probable that the higher left hand was designed to hold the reins of a recalcitrant horse or camel, while the other held either the other hand of the reins, or perhaps a riding crop or whip.It was during the Tang Dynasty that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The Tang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists. The Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless.The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover.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 – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/camels were provided for transport, and officials to run his estate in the hereafter. Domestic servants and attendants were also included, however, and it is to this category that the current piece belongs.This sculpture is a remarkable reminder of China’s outstanding heritage, and a beautiful addition to any serious collection of the genre. - (DK.115 (LSO))   « Less

Origin: Shaanxi Province - 'Xi'an' Circa: 618 AD to 907 AD Dimensions: 59" (149.9cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Condition: Very Fine

Origin: Shaanxi Province - 'Xi'an' Circa: 618 AD to 907 AD Dimensions: 59" (149.9cm) high Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Condition: Very Fine   « Less

This monumental stone door originally sealed the entrance to the tomb chamber of a member of the T’ang Dynasty’s elite classes. Hand-carved from solid  More »

This monumental stone door originally sealed the entrance to the tomb chamber of a member of the T’ang Dynasty’s elite classes. Hand-carved from solid limestone, it is of sectorial construction, with a wide central decorated panel flanked by a pair of narrower columnar panels, each decorated with a single figure. The low-relief carving is exquisite. The central panel depicts five figures, at least three of which are female (as indicated by their hair and bound feet) and two (or perhaps one) male figures. All are standing in postures indicating respect and perhaps mourning, with their hands folded inside their sleeves; one is facing the viewer, one facing the left, and three facing to the right. Their hair is highly ornate, and marks them out as members of courtly society. The single figures on the flanking columns are rendered in slightly higher relief than the central figures, and are similar in that they face centrally and have their heads slightly (the male) or notably (the female) bowed. The figure to the left – a man – is dressed in a similar courtly style, and bears a ewer and a glass/goblet. The other figure is female, and is simply but elegantly dressed and is unencumbered by any paraphernalia.This piece was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists.The T’ang Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early T’ang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The T’ang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well-established that they continued to operate regardless.The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover.During the Tang Dynasty, considerable investment was put into the creation of a suitable afterlife, especially for the social elites. A striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/camels were provided for transport, and officials to run his estate in the hereafter. Decorated superstructures are rare, however, especially of this delicacy of execution.It is probable that these refined figures represent mourners, wives and distinguished associates of the deceased; it is also possible that the couple on the flanking pillars represent the deceased person (statistically likely to have been a man) and his wife or concubine. This is a stunning piece of ancient art and a credit to any collection of Chinese masterpieces. - (DK.118 (LSO))   « Less

This charismatic ceramic figure of a camel was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was designed to be interred with a  More »

This charismatic ceramic figure of a camel was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was designed to be interred with a deceased member of the aristocracy or burgeoning Middle Classes, to attend to his/her needs in the afterlife. Grave furnishings (mingqi) came in many different forms; well-known variants include “fat ladies”, demons, administrators and grooms. Perhaps the most charming, however, are the representations of animals, especially camels and horses. These were important creatures at the time, and only owned by those of considerable wealth and exalted rankThis engaging sculpture represents a standing camel, unsaddled, and in what is evidently a playful mood, tossing his head and swishing his tail from side to side. The twin humps, the shape of the limbs and the body, and the plentiful hair, identify him as a Bactrian camel, which still roan across parts of Central Asia. The mouth and the eyes are open, the hairy poll atop the head and the “mane” on the back of the neck picked out in careful detail. The forelimb is clad with hair to the knee, and appears to have been trimmed to shape, implying that he is a domestic animal. This is confirmed by a close inspection of the back, which shows a strikingly rectilinear space between the humps (which are themselves unusually slim), which implies that a saddle was once fitted. This is further confirmed by the paint colouration on the right flank, which shows a vertical line where the posterior aspect of the saddle would have rested. The tail is also docked, which facilitated the attachment of harnesses. The ground is between yellow and orange in tone, with a well-developed irregular patina of age. The piece is in good condition, and stands upon an integral oblong base.It was during the Tang Dynasty that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists. The Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless.The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover.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 – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, with domestic servants and attendants, and officials to run his estate in the hereafter. Charming examples of animals such as the current piece are perhaps the most amusing and aesthetically-pleasing of the mingqi, however. This attractive sculpture is an eloquent reminder of China’s outstanding heritage, and a beautiful addition to any serious Chinese collection. - (DK.120 (LSO))   « Less

Origin: China Circa: 618 AD to 907 AD Dimensions: 21.75" (55.2cm) high x 7.50 " (19.1cm) wide Collection: chinese Art Style: Tang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 907 AD Dimensions: 21.75" (55.2cm) high x 7.50 " (19.1cm) wide Collection: chinese Art Style: Tang Dynasty Medium: Terracotta   « Less