The important influence of the horse throughout the history of China cannot be over-estimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to  More »

The important influence of the horse throughout the history of China cannot be over-estimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to the horse. The rapid mobility of horses allowed for enhanced communication between distant provinces. Likewise, the military role of horses facilitated the conquest and submission of other lands as well as securing the borders against barbarian invaders. The need to import stronger, faster steeds from Central Asia (as opposed to the local Mongol pony) contributed to the creation of trading routes along what became known as the Silk Road. The significance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting and literature, horses are frequently glorified and revered as distant relatives of sacred, mythological dragons.During the Tang dynasty the adoration of the horse is evident in their burial art. Horse models excavated from mausoleums of the period are among the most celebrated and splendid works of Chinese art. Naturally, owing to their rarity, horses became a status symbol for the aristocratic elite. Polo and other equestrian pastimes became popular. These sculptures depicting three ladies-in-waiting on horseback are remarkable for several reasons. Firstly, in each case, the lady and saddle detach from the body of the horse in one piece. Small traces of the original polychromy remain, most visibly on the ladies’ red lips. They each wear a long sleeved dress, a type of which was used in a popular dance where the excess of fabric was swirled around in the air. Unusually, each horse is depicted with its head raised, ears upright, and nostrils flaring. They intimidate us with their open mouths and visible teeth. Remarkably, the women seem unaffected by whatever has startled their steeds and they retain their dignified pose. - (DL.2095)   « Less

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to  More »

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to the horse. The rapid mobility of horses allowed for enhanced communication between distant provinces. Likewise, the military role of horses facilitated the conquest and submission of other lands as well as securing the borders against barbarian invaders. The need to import stronger, faster steeds from Central Asia (as opposed to the local Mongol pony) contributed to the creation of trading routes along what became known as the Silk Road. The significance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting and literature, horses are frequently glorified and revered as distant relatives of sacred, mythological dragons.During the Tang dynasty the adoration of the horse is evident in their burial art. Horse models excavated from mausoleums of the period are among the most celebrated and splendid works of Chinese art. Naturally, owing to their rarity, horses became a status symbol for the aristocratic elite. Polo and other equestrian pastimes became popular. This sculpture depicting a lady-in-waiting on horseback is remarkable for several reasons. Firstly, the lady and saddle detach from the body of the horse in one piece. Small traces of the original polychromy remain, most visibly on the lady’s red lips. She wears a long sleeved dress, a type of which was used in a popular dance where the lady swirls the excess of fabric around in the air. Unusually, the horse is depicted with its head raised, ears upright, and nostrils flaring. It intimidates us with its open mouth and visible teeth. Remarkably the lady-in-waiting seems unaffected by whatever has startled her steed and retains her dignified pose.The majority of Tang horses were produced to accompany the deceased throughout the afterlife. The striking beauty of this work is even more impressive considering that it was created specifically for internment and was not supposed to be seen by the living. Today, we marvel in the beauty of this sculpture as much as its tremendous history and intriguing legacy. - (DL.2096)   « Less

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to  More »

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to the horse. The rapid mobility of horses allowed for enhanced communication between distant provinces. Likewise, the military role of horses facilitated the conquest and submission of other lands as well as securing the borders against barbarian invaders. The need to import stronger, faster steeds from Central Asia (as opposed to the local Mongol pony) contributed to the creation of trading routes along what became known as the Silk Road. The significance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting and literature, horses are frequently glorified and revered as distant relatives of sacred, mythological dragons.During the Tang dynasty the adoration of the horse is evident in their burial art. Horse models excavated from mausoleums of the period are among the most celebrated and splendid works of Chinese art. Naturally, owing to their rarity, horses became a status symbol for the aristocratic elite. Polo and other equestrian pastimes became popular. This sculpture depicting a lady-in-waiting on horseback is remarkable for several reasons. Firstly, the lady and saddle detach from the body of the horse in one piece. Small traces of the original polychromy remain, most visibly on the lady’s red lips. She wears a long sleeved dress, a type of which was used in a popular dance where the lady swirls the excess of fabric around in the air. Unusually, the horse is depicted with its head raised, ears upright, and nostrils flaring. It intimidates us with its open mouth and visible teeth. Remarkably the lady-in-waiting seems unaffected by whatever has startled her steed and retains her dignified pose.The majority of Tang horses were produced to accompany the deceased throughout the afterlife. The striking beauty of this work is even more impressive considering that it was created specifically for internment and was not supposed to be seen by the living. Today, we marvel in the beauty of this sculpture as much as its tremendous history and intriguing legacy. - (DL.2097)   « Less

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to  More »

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to the horse. The rapid mobility of horses allowed for enhanced communication between distant provinces. Likewise, the military role of horses facilitated the conquest and submission of other lands as well as securing the borders against barbarian invaders. The need to import stronger, faster steeds from Central Asia (as opposed to the local Mongol pony) contributed to the creation of trading routes along what became known as the Silk Road. The significance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilisation. In sculpture, painting and literature, horses are frequently glorified and revered as distant relatives of sacred, mythological dragons.During the Tang dynasty the adoration of the horse is evident in their burial art. Horse models excavated from mausoleums of the period are among the most celebrated and splendid works of Chinese art. Naturally, owing to their rarity, horses became a status symbol for the aristocratic elite. Polo and other equestrian pastimes became popular. This sculpture, depicting a lady-in-waiting on horseback, is remarkable for several reasons. Firstly, the lady and saddle detach from the body of the horse in one piece. Small traces of the original polychromy remain, most visibly on the lady’s red lips. She wears a long sleeved dress, a type of which was used in a popular dance where the lady swirls the excess of fabric around in the air. Unusually, the horse is depicted with its head raised, ears upright, and nostrils flaring. It intimidates us with its open mouth and visible teeth. Remarkably the lady-in-waiting seems unaffected by whatever has startled her steed and retains her dignified pose.The majority of Tang horses were produced to accompany the deceased throughout the afterlife. The striking beauty of this work is even more impressive, considering that it was created specifically for internment and was not supposed to be seen by the living. Today, we marvel in the beauty of this sculpture as much as its tremendous history and intriguing legacy. - (DL.2098)   « Less

A pair of magnificent museum quality pottery fat nobleman from the T'ang Dynasty . Each painted with red flower pattern on their robe. - (DK.108)

A pair of magnificent museum quality pottery fat nobleman from the T'ang Dynasty . Each painted with red flower pattern on their robe. - (DK.108)   « Less

Origin: China Circa: 550 AD to 577 AD Dimensions: 47" (119.4cm) high Collection: Chinese Style: Qi Medium: Terracotta Condition: Very Fine

Origin: China Circa: 550 AD to 577 AD Dimensions: 47" (119.4cm) high Collection: Chinese Style: Qi Medium: Terracotta Condition: Very Fine   « Less

Origin: China Circa: 618 AD to 906 AD Dimensions: 10" (25.4cm) high x 17.5" (44.5cm) wide Collection: Chinese Art Style: T'ang Dynasty Medium: Terracotta

Origin: China Circa: 618 AD to 906 AD Dimensions: 10" (25.4cm) high x 17.5" (44.5cm) wide Collection: Chinese Art Style: T'ang Dynasty Medium: Terracotta   « Less

Rothenburg o.b.T. (ob der Tauber) pottery vase in a flattened ovoid shape with a speckled olive green matte glaze. This art pottery vase measures 4 inches high by 7 inches  More »

Rothenburg o.b.T. (ob der Tauber) pottery vase in a flattened ovoid shape with a speckled olive green matte glaze. This art pottery vase measures 4 inches high by 7 inches wide. Excellent condition.   « Less

Painted pottery vessel in the shape of a walking elephant, his trunk slightly curved upwards, his ears bent backwards, the small tusks projecting forward, his open-wide eyes  More »

Painted pottery vessel in the shape of a walking elephant, his trunk slightly curved upwards, his ears bent backwards, the small tusks projecting forward, his open-wide eyes incised. His knees emphasized with corrugated incised lines, the surface painted with swirling clouds in red and white against a black background. From the upper central opening on his back, where a saddle must have been envisaged, three cordoned trappings radiate to surround the belly, the hindquarters and the neck.This is an image of a domesticated elephant used for parading. During the Han Dynasty, geographic boundaries of the Han state stretched to include much of Central Asia, through the Silk Road and South-East Asia, encountering different cultures and, of course, exotic animals never seen before. Indeed in the case of elephants it is thought that during the Han period, they were quite common in Yunnan in south-western China. Yet the knowledge of this much revered and useful animal must have been transmitted further north where various pictorial renditions are available, from the most realist to the least credible.One also has to remember that during the reign of Han Wudi, parading of exotic animals was quite a common sight in Xi’an, and elephants were probably shown as tributes to the emperor from distant provinces, evoking much clamour on the streets.The presence of such an animal in a burial environment would perfectly fit into the contemporary interest (possibly obsession) in exoticism typical of the Western Han period. The abstract rendition of its skin, also, which was inspired by contemporary embroidery and textile patterns is in tune with the fashion of the time. - (LA.529)   « Less

Figurines such as these, half-naked, represented a new form for the period and only a small proportion of Han human figures. Nudity was associated in China with uncivilised  More »

Figurines such as these, half-naked, represented a new form for the period and only a small proportion of Han human figures. Nudity was associated in China with uncivilised peoples, hence very seldom seen in orthodox, official artefacts. Indeed these figurines were not intended to be seen thus. Originally after being modelled and sculpted they were fired, painted and finally dressed. The textiles and wooden arms added to the figures decayed after being buried for centuries in the tombs of the Han noblemen. An amazing discovery of 600 figures accompanied by 4000 artefacts, was made in the tomb of the Emperor Liu Qi (r.156-141 BC) in Xianyang, Shaanxi. These figures were intended to continue providing the Emperor with the same services as those he enjoyed in his lifetime.Such figures and models and other miniature or non-functional objects are collectively known as ‘mingqi’ (spirit articles) and have been traditionally interpreted as substitutes for the animals and human victims sacrificed during the funeral, as well as surrogates for objects of value placed in the tomb. Yet recent archaeological evidence have highlighted that these objects might have instead constituted an integral part of the strategy to recreate the earthly dwelling of the deceased. The replication of the living world and its constituents within the tomb might have been induced by various ideological factors, including a new religious trend emphasising the separation of the dead from the living and other material manifestations of different philosophical ideas, but also possibly by the effort to reproduce a self-sustaining version of the world- a fictive and efficacious comprehensive replica, made up of both real sacrificed humans and animals (the 'presented') and elements such as the terracotta army (the 're-presented').In ancient China, burials constituted the preferred platform for social aggrandizement and strongly signified the power and status of their builders and occupants; soldiers, concubines or animals, or precious articles in the tomb constituted a symbol of power and reflected the wealth of its occupant. By the Qin period and throughout the Han period, the ability to have them reproduced – hence possessing the aesthetics, cognitive, technological and economic resources to reproduce the world- became a more efficient way of asserting power and status.References:Yang Shaoneng ed. The Golden Age of Chinese Archaeology, 1999, and Kesner, L.”Real and Substitute in the Early Chinese Mortuary Context, Mysteries of Ancient China, 1996. As a principal burial component reserved for the members of the ruling class, such models have been found around the Han capital of Xi’an, in Shaanxi province: see the archaeological reports published in Kaogu 1984.10: 887-94, and Kaogu yu Wenwu 1990.4: 45, 53. - (LA.530)   « Less