These plaques can be safely attributed to the Xiongnu people. Although the early history of the Xiongnu is still blurred, we know that by the 3rd century BC they already  More »

These plaques can be safely attributed to the Xiongnu people. Although the early history of the Xiongnu is still blurred, we know that by the 3rd century BC they already formed a vast steppe confederacy stretching throughout the Eastern Eurasian steppes. The artefacts most commonly associated with the Xiongnu are the belt buckles formed either by a pair of solid cast plaques or a pair of openwork plaques cast in mirror image, comparable to the ones here illustrated. In fact many single plaques, like this one, originally would have been produced in pairs.Each plaque depicts in mirror image the profile of a standing ox. All four legs of the ox are shown, with its head in three-quarter view, and its tail curving between its hind legs. The modelled border of each plaque forms a herringbone pattern, embedded with malachite green corrosion on the front. Together the two plaques form one complete set. The wearer’s left hand plaque has a ring that projects sideways on the right as part of the fastening system and two small vertical loops on the reverse side opposite the ring. The other plaque also has two small vertical loops. The way in which the loops are made, confirms that each plaque was cast by the lost wax process. These artefacts were often produced by Han craftsmen, as most have been indeed found in Western Han tombs, suggesting that they were made for Chinese patrons with exotic taste or for the Xiongnu as a gift or a trade item.Plaques like these are found in both northern China and Inner Mongolia and other examples appear in many collections worldwide. Yet it is very uncommon to have the complete buckle, as sets were often divided up for profit, dealers not understanding that these plaques function together. A plaque depicting a bovine image in the same kind of frame was also excavated from a tomb in Chengdu, Sichuan province, with coins dating the tomb to the late 3rd-2nd century BC. One other example was found in Tongxin xian Daodunzi, Ningxia province.Reference: E. Bunker, Ancient Bronzes of the Eastern Eurasian Steppes, A.M. Sackler Foundation, 1997: pl.218, p. 257. Tian and Guo eds. E’erduosishi qingtongqi, Beijing 1986. Hu Changyu, “Chengdu shuyang Xi Han muguomu” Kaogu yu wenwu 1983.2; pp.26-7. Duan Shu’an, Beifang Minzu, Beijing, 1995. - (LO.1052)   « Less

These impressive columns are funerary stelae, pertaining to the burial place of an elite member of society during the Qing dynasty. They are made of discrete moulded vertical  More »

These impressive columns are funerary stelae, pertaining to the burial place of an elite member of society during the Qing dynasty. They are made of discrete moulded vertical funnel blocks, stacked upon each other and a base in the shape of a Fu-dog (lion). Each bears a line in cursive script which reads as follows: "there are flowers and lights that at night (would) light themselves (...), spring would often stay with no moon or bird". They would originally have supported a lintel with an additional inscription, acting as a gateway into the tomb.The Qing Dynasty was founded in Manchuria in 1644, following the decline of the M’ing Dynasty. The rulers of the Manchu Dynasty – as it became known – were not indigenous Chinese, but were descended from the Jurchens, natives of eastern Russia and the steppe region. The formation of the Qing was preceded by a grey area known as the Later Jin period, as a minor leader named Nurhaci escalated a series of minor tribal squabbles into unification and eventually all-out war with the then rulers of the Chinese state. He moved his capital to be closer to the Mongols, with whom he formed alliances; he thus protected himself from attack on that border, exploited their superb archers, and further expanded his power base against the M’ing. His son (Hung Taiji) succeeded him as Khan, and following a rather erratic start monopolised on his father’s successes to crush Ming forces in a series of battles from 1640 to 1642 for the territories of Songshan and Jingzhou. He died in 1643, passing the new title of emperor to his 5-year-old son, Fulin. The last M’ing emperor – Chongzhen – committed suicide as Beijing fell to rebel forces, which then fought the Qing for control. Fulin – renamed emperor Shunzhi – was placed on the throne as the Son of Heaven, although it was not until the 1680’s that all of China was united under the Manchu banner.The Manchu Dynasty lasted for about 350 years, and only crumbled with the definitive end of imperial China and the hands of the Xinhai revolution in 1912. During this time, China became highly internalised, with notable stratification of social classes and suppression of ethnic diversity (including the forced wearing of a queue). The arts of this period are among the most ornate and studied of China’s long history, and artists were a major part of court life. They were particularly well known for their naturalistic painting, calligraphy, printing and reissuing of (censored) works by classical authors. The influence of western art – brought by traders – infiltrated various areas of Qing art in the 18th century, especially in painting and architecture (i.e. the Summer Palace). Ceramics for export – notably at the Jingdezhen porcelain kilns – became a major avenue of expression in the later periods, and were the main source of Europe’s 18th century mania for Chinoiserie. Imperial and court arts are perhaps the most valuable and rare, however. Art was used to configure one’s status within the court environment, and this applied in death as well as life. Pieces such as this would have been extortionately expensive at the time, and would have been made for a very prominent member of a royal court. They are an imposing reminder of China’s imperial might, and would be a superb addition to any discerning collection.- (LA.574 (LSO))   « Less

Bodhisattvas are enlightened beings who have put off entering paradise in order to help others attain enlightenment. There are many different Bodhisattvas, but the most  More »

Bodhisattvas are enlightened beings who have put off entering paradise in order to help others attain enlightenment. There are many different Bodhisattvas, but the most famous in China is Avalokitesvara, known in Chinese as Guanyin. Early depictions of Bodhisattva Avalokitesvara demonstrate male characteristics, but this tradition subsequently became less rigid. By the end of the Yuan Dynasty (AD 1367/8), the majority of these figures were depicted as young women, often bearing a vase of holy water to cleanse the souls of those she was bound to protect. According to legend, Guanyin was born on the nineteenth of the second lunar month, achieved enlightenment on the nineteenth of the sixth lunar month and achieved nirvana on the nineteenth of the ninth lunar month. It is said that s/he is the top Bodhisattva beside Shakyamuni Buddha, and an assistant Bodhisattva beside Amitabha Buddha in the Western World of Ultimate Bliss. It is believed that any sentient being who recites his/her name during a disaster would be heard and saved, which can explain why his/her importance to Chinese Buddhism. "Guanyin" literally means "observing the sounds", which refers to the belif that the Guanyin would observe all the sounds in the world, particularly listening for requests from worshippers. The M’ing dynasty was one of the most important in China’s long history. It saw the toppling of the Y’uan Mongol empire under Hong Wu, the third of only three peasants ever to become emperor in China. The leader of the peasants’ revolt that ushered in the M’ing dynasty, Hong Wu was an extremely brutal, ruthless dictator, whose creed was one of rabid Neo-Confucianism combined with a militaristic sense of China’s destiny and organisation. The one aspect of Confucius’ learning that he ignored was that declaring military institutions to be inferior to intellectual elites, and that the former should be under the latter’s thrall. A great deal was therefore spent on expanding the army, consolidating defences against attack by the Mongols and neighbouring groups, and in major defensive architecture – notably the Great Wall. The economy also came under scrutiny. Perhaps reflecting Hong Wu’s own humble origins, the economy came to emphasise agriculture over trade (which was deemed to be vulgar and parasitical by Confucianism), and provided safeguards for peasants. Negative outcomes included enormous inflation and devaluation of money and resultant social unrest. However, this period also saw enormous cultural strides, including the development of the novel, the introduction of duotone blue/white ceramics and a plethora of artistic and religious developments that is excellently embodied by the current sculpture. This sculpture of a Guanyin is unusually posed, almost lounging back on the left arm against a low seat while casually resting the right arm on the right knee, The left leg is pressed down, parallel with the floor. This contrasts with the haughty facial expression and regal mien of the upper body. The Guanyin is dressed in long, flowing robes that hang in pleats below the level of the figure’s base, as well as an additional garment (possibly a dhoti) tied off around the waist. The hands protrude rather languidly from long sleeves, and are arranged in meditative positions. The figure is also wearing an ornate necklace. The face is exquisitely carved and conveys a decidedly aristocratic expression, with half-closed eyes beneath elevated eyebrows, a small, pursed mouth and rounded cheeks. This effect is heightened by the ornate rolled hair around the top of the forehead and down to the shoulders, and the high, extravagantly decorated crown of floral and other organic motifs that almost doubles the total height of the head. This is a highly accomplished and impressive piece of ancient art. - (X.0732)   « Less

The M’ing dynasty was one of the most important in China’s long history. It saw the toppling of the Y’uan Mongol empire under Hong Wu, the third of only  More »

The M’ing dynasty was one of the most important in China’s long history. It saw the toppling of the Y’uan Mongol empire under Hong Wu, the third of only three peasants ever to become emperor in China. The leader of the peasants’ revolt that ushered in the M’ing dynasty, Hong Wu was an extremely brutal, ruthless dictator, whose creed was one of rabid Neo-Confucianism combined with a militaristic sense of China’s destiny and organisation. The one aspect of Confucius’ learning that he ignored was that declaring military institutions to be inferior to intellectual elites, and that the former should be under the latter’s thrall. A great deal was therefore spent on expanding the army, consolidating defences against attack by the Mongols and neighbouring groups, and in major defensive architecture – notably the Great Wall. The economy also came under scrutiny. Perhaps reflecting Hong Wu’s own humble origins, the economy came to emphasise agriculture over trade (which was deemed to be vulgar and parasitical by Confucianism), and provided safeguards for peasants. Negative outcomes included enormous inflation and devaluation of money and resultant social unrest. However, this period also saw enormous cultural strides, including the development of the novel, the introduction of duotone blue/white ceramics and a plethora of artistic and religious developments that is excellently embodied by the current sculpture.Standing 41” high, this Buddha is of exceptional quality and poise. Sat in a lotus position with hands resting on the lap and the right knee, the Buddha is wearing pantaloons and a loose tunic that leaves the chest and forearms bare and which runs down to a loose gather of pleats along the lower limbs and between the legs. The tunic is tied at the waist with a thong, drawn tight and tied in a bow. Each sleeve displays a pleated gathering of cloth just above the elbow, and a large, plain bracelet adorns each wrist. The face has assumed an expression of studied tranquillity, with slightly pursed lips, lowered eyes under arched brows, and smooth, rounded cheeks. This is framed by highly textured hair, which reaches its apex at the supracranial eminence that is believed to reflect Buddha’s sagacity and wisdom, and elongated earlobes. The centre of the chest is decorated with a prayer wheel design. The quality and condition of this Buddha are stunning. In terms of aesthetic and social value, this is a truly exceptional specimen that would be the star of any context into which it were placed. - (X.0729)   « Less

Upon leading a victorious rebellion against the foreign Mongol rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty  More »

Upon leading a victorious rebellion against the foreign Mongol rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty in 1368. As emperor, he founded his capital at Nanjing and adopted the name Hongwu as his reign title. Hongwu, literally meaning “vast military,” reflects the increased prestige of the army during the Ming Dynasty. Due to the very real threat still posed by the Mongols, Hongwu realised that a strong military was essential to Chinese safety and prosperity. Thus, the orthodox Confucian view that the military was an inferior class to be ruled over by an elite class of scholars was reconsidered, and effectively polarised. During the Ming Dynasty, China was reunited after centuries of foreign incursion and occupation. Ming troops controlled Manchuria, and the Korean Joseon Dynasty respected the authority of the Ming rulers, at least nominally.Like the founders of the Han Dynasty (206 B.C. -220 A.D.), Hongwu was extremely suspicious of the educated courtiers who advised him and, fearful that they might attempt to overthrow him. To prevent this, he successfully consolidated control of all aspect of government. The strict authoritarian control Hongwu wielded over the affairs of the country was due in part to the centralised system of government he inherited from the Mongols, a system that was effectively perpetuated. This was to be an all-Chinese affair, however: Hongwu replaced all the high-ranking Mongol bureaucrats with native Chinese administrators. He also reinstituted the Confucian examination system that tested would-be civic officials on their knowledge of literature and philosophy. Unlike the Song Dynasty (960-1279 A.D.) which received most of its taxes from mercantile commerce, the Ming economy was based primarily on agriculture, reflecting both the peasant roots of its founder as well as the Confucian belief that trade was ignoble and parasitic.Culturally, the greatest innovation of the Ming Dynasty was the introduction of the novel. Developed from the folk tales of traditional storytellers, these works were transcribed in the everyday vernacular language of the people. Advances in printmaking and the increasing population of urban dwellers largely contributed to the success of these books. Architecturally, the most famous monument of the Ming Dynasty is surely the complex of temples and palaces in Beijing. Known as the Forbidden City, this architectural behemoth was constructed after the third ruler of the Ming Dynasty (Emperor Yongle) moved the capital there in c.1421.The current sculpture dates from this fascinating and turbulent period. Guanyin is an ancient Boddhisattva, who was noted for her kindness. Boddhisattvas are beings who have attained enlightenment and therefore their right to enter Nirvana, but who choose to remain upon the mortal plane to assist others in their attainment of similarly elevated spiritual states. These benevolent Boddhisattvas minister eternally to relieve the sufferings of all creatures, rahter in the general mould of Christian archangels. The artist who created this sculpture captures a beautiful image of tender serenity, unmarred by the otherworldliness of her 'thousand arms'. Masterful woodworking has provided her with a superbly detailed garment and precisely- modelled arms and hands, which form a fluid yet cohesive whole. Each of her many hands contains a different cosmic symbol, or alternatively expresses a specific ritual position, or mudra. Her cupped hands often form the Yoni Mudra, symbolizing the womb as the door for entry to this world. Traces of paint still remain, serving to heighten the general impact that this exceptional sculpture possesses. This is a truly remarkable work of art, both aesthetically and spiritually. - (X.0730)   « Less

Upon leading a victorious rebellion against the foreign Mongol rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty  More »

Upon leading a victorious rebellion against the foreign Mongol rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty in 1368. As emperor, he founded his capital at Nanjing and adopted the name Hongwu as his reign title. Hongwu, literally meaning “vast military,” reflects the increased prestige of the army during the Ming Dynasty. Due to the very real threat still posed by the Mongols, Hongwu realised that a strong military was essential to Chinese safety and prosperity. Thus, the orthodox Confucian view that the military was an inferior class to be ruled over by an elite class of scholars was reconsidered, and effectively polarised. During the Ming Dynasty, China was reunited after centuries of foreign incursion and occupation. Ming troops controlled Manchuria, and the Korean Joseon Dynasty respected the authority of the Ming rulers, at least nominally.Like the founders of the Han Dynasty (206 B.C. -220 A.D.), Hongwu was extremely suspicious of the educated courtiers who advised him and, fearful that they might attempt to overthrow him. To prevent this, he successfully consolidated control of all aspect of government. The strict authoritarian control Hongwu wielded over the affairs of the country was due in part to the centralised system of government he inherited from the Mongols, a system that was effectively perpetuated. This was to be an all-Chinese affair, however: Hongwu replaced all the high-ranking Mongol bureaucrats with native Chinese administrators. He also reinstituted the Confucian examination system that tested would-be civic officials on their knowledge of literature and philosophy. Unlike the Song Dynasty (960-1279 A.D.) which received most of its taxes from mercantile commerce, the Ming economy was based primarily on agriculture, reflecting both the peasant roots of its founder as well as the Confucian belief that trade was ignoble and parasitic.Culturally, the greatest innovation of the Ming Dynasty was the introduction of the novel. Developed from the folk tales of traditional storytellers, these works were transcribed in the everyday vernacular language of the people. Advances in printmaking and the increasing population of urban dwellers largely contributed to the success of these books. Architecturally, the most famous monument of the Ming Dynasty is surely the complex of temples and palaces in Beijing. Known as the Forbidden City, this architectural behemoth was constructed after the third ruler of the Ming Dynasty (Emperor Yongle) moved the capital there in c.1421.The current sculpture dates from this fascinating and turbulent period. Bodhisattvas are enlightened beings who have put off entering paradise in order to help others attain enlightenment. There are many different Bodhisattvas, but the most famous in China is Avalokitesvara, known in Chinese as Guanyin. Early depictions of Bodhisattva Avalokitesvara displayed male characteristics, but this tradition subsequently became less rigid. By the end of the Yuan Dynasty (AD 1367/8), most Guanyin sculptures depicted the beings as young women, often bearing a vase of holy water to cleanse the souls of those they were bound to protect. According to legend, Guanyin was born on the nineteenth of the second lunar month, achieved enlightenment on the nineteenth of the sixth lunar month and achieved nirvana on the nineteenth of the ninth lunar month. It is said that s/he is the top Bodhisattva beside Shakyamuni Buddha, and an assistant Bodhisattva beside Amitabha Buddha in the Western World of Ultimate Bliss. It is believed that any sentient being who recites his/her name during a disaster would be heard and saved, which can explain why his/her importance to Chinese Buddhism. "Guanyin" literally means "observing the sounds", which refers to the belief that the Guanyin would observe all the sounds in the world, particularly listening for requests from worshippers. The current example is female, and stands 39" tall on an incorporated base. The pose is somewhat langurous, with the weight shifted onto the right leg while the left is slightly bent. The left hand hangs by the side, holding some implement or piece of drapery. The right hand is raised, and appears to be an object of contemplation by Guanyin. The head is carved in a mood of reflective serenity, and is inclined slightly to the right. The sculpture is topped with a tall, ornate crown of generally floral aspect, with plume-like eminences arranged in vertically-oriented bunches. The underlying hair has been gathered up underneath the crown, leaving a halo of hair around its perimeter. A loose tunic-like garment (dhoti) envelops the lower half of the body, and further drapery (scarves) is casually wrapped over the shoulders. The complexity of the drapery and the care with which it has been carved is stunning - the individual folds and creases are all cleanly and deftly rendered, and contrast with the smooth texture of the skin. The figure additionally wears two bracelets on the left wrist, as well as a necklace and pendant arrangement in the chest area. This is a superb and important sculpture that would grace any collection of Eastern art. - (X.0731)   « Less

The Fu Dog, or Fu Lion as it is also known, is a ubiquitous symbol that has been employed repeatedly throughout the history of China. Sometimes referred to as the “Dog  More »

The Fu Dog, or Fu Lion as it is also known, is a ubiquitous symbol that has been employed repeatedly throughout the history of China. Sometimes referred to as the “Dog of Happiness” or the “Celestial Dog,” the earliest traces of the Fu Dog in China date to the Han Dynasty (206 B.C.-220 A.D.). Then it disappeared from Chinese art until it was resurrected during the cultural revival experienced during the T’ang Dynasty (618-906 A.D.). While lions are not native to China, works of art with lion imagery from other civilizations were imported into China as gifts for the Emperor. The Fu Lion was brought into China with the arrival of Buddhism, where it became associated with the more familiar dog during assimilation. The lion is a sacred creature in the Buddhist pantheon, and the Fu Lion was believed to be a companion of the Buddha.While sculptures of Fu Dogs such as thess outstanding blue and green-glazed example soriginally stood guard outside of Buddhist temples, by the time of the Ming Dynasty, when this work was created, the Dogs had lost most of their religious significance and were placed outside the entrances to homes and palaces out of custom. Even today, many monumental public buildings are decorated with lion figures standing guard at the base of the stairway. Traditionally one Fu Dog is depicted with one of his front paws resting on a globe and its mate resting atop a demon. This gesture symbolizes the Dog’s authority and power over the evil spirits that might have tried to infiltrate the temple or palace. Today, Fu Dogs continue to be a popular symbol of luck and happiness.- (H.1054/5)   « Less

This marble stele depicts a bodhisattva carved in high relief against a leaf-shaped mandorla. It dates to a time of unprecedented artistic development that surrounded the  More »

This marble stele depicts a bodhisattva carved in high relief against a leaf-shaped mandorla. It dates to a time of unprecedented artistic development that surrounded the period of China’s unification in 439 AD, under the Northern Wei (or Tuoba Wei). The rulers of the dynasty seem to have originated from the Tuoba clan of the non-Han Xianbei tribe, and later renamed themselves the Yuans.Standing on a lotus pedestal, the figure wears a tall headdress and a flowing outer robe which runs beneath the pedestal onto the rectangular plinth. In his right hand he holds a lotus bud and in his left a heart-shaped fan. These attributes are common amongst bodhisattvas of the Northern Wei period. The fan motif first appears in a similar context in Gandharan Buddhist art of the 1st century AD and was used to honour high-ranking persons. In Chinese examples it is always shown pointing downwards. Two sets of concentric curves have been carved in low relief to frame the bodhisattva. Delicate features are one of the hallmarks of Northern Wei figurative sculpture, reflected here in the slender arms and body. The face and clothing are likewise finely carved, with a long robe and tunic surmounted by a flamboyant piece of headwear that frames the face with two “wings”.Buddhism was first introduced to China from the Indian subcontinent along the trade routes of Central Asia during the early years of the Han dynasty. However it faced two powerful competing ideologies, Confucianism and Daoism, which initially impeded its progress. When the Northern Wei, a foreign nomadic people, conquered parts of China in the late fourth century Buddhism was flourishing. Bodhisattvas were often depicted in pairs around a central image of the Buddha. These enlightened beings choose to delay their entry into Nirvana in order to help others attain enlightenment. Although Buddhist texts do not specify their gender, Chinese examples are generally depicted as male until the end of the Song Dynasty (1279), when they begin to assume a feminine appearance. Bodhisattvas can usually be differentiated from Buddha figures on the basis of their decorative appearance; Buddhas are invariably depicted in plainer raiment that reflects their ascetic lifestyle.The size of this piece suggests that it may have functioned in a domestic setting as an aid to devotional reflection. Although there is no remaining trace of colour, it was probably polychromed and gilded in its original state. At this early date bodhisattvas tended not to be venerated in isolation from images of the Buddha, so it is not inconceivable that this piece was once part of a group of free-standing sculptures. The choice of material is also worthy of mention: marble is uncommon, as the majority of Buddhist art that survives from this period is carved from limestone. The small, intimate scale of this piece and the delicacy of the carving make it a truly desirable object. (AM) - (LO.1310 (AM))   « Less

This outstanding ceramic attendant was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s  More »

This outstanding ceramic attendant 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 took control in 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).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. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies”. These wonderfully expressionistic sculptures represent the idealized beauty of T’ang Dynasty China, while also demonstrating sculptural mastery in exaggerating characteristics for effect, and for sheer elegance of execuion.The current sculpture is a perfect example of the genre. She stands, draped from neck to foot in a loose-fitting white dress and jacket (?), leaning her weight back slightly on one foot, while bringing the forefingers on her tiny hands together as if in awkward enquiry. The dress is rendered simply yet effectively, with creases incised around the hem and the waist, and a low-cut sash below the hips, and large, loose sleeves. Her skin tone is pale – a traditional measure of social elites, who did not expose themselves to the sun's rays – which contrasts strongly with her red lips, dark eyebrows and small, enquiring eyes and retrousse nose. She is undoubtedly well-nourished, another marker of social class, and her rounded jawline and cheeks run smoothly with the loose contours of her body. Her hair is gathered up into an ornate fan- like design with a tie, the bun carefully folded and manoeuvred into four distinct lozenges; this style, which is associated with aristocratic and court circles, is known from written, sculptural and painted sources. This piece offers a narrative of courtly life over a thousand years ago, in superbly delicate and carefully-rendered detail. This is a stunning piece of ancient art and a credit to any collection of Chinese masterpieces. - (LO.1413 (LSO))   « Less

Origin: China Circa: 618 AD to 907 AD Dimensions: 22.64" (57.5cm) high x 22.83" (58.0cm) wide Collection: Chinese Style: Tang Medium: Terracotta Condition: Extra Fine

Origin: China Circa: 618 AD to 907 AD Dimensions: 22.64" (57.5cm) high x 22.83" (58.0cm) wide Collection: Chinese Style: Tang Medium: Terracotta Condition: Extra Fine   « Less