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

During the Tang Dynasty the beloved status of the camel ranked second only to the revered horse. Camels symbolized commerce and its associated wealth, largely concentrated on profits through trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants and exotic merchandize into China. However, this arduous journey through the jagged mountains and rugged deserts of Central Asia could only be undertaken by the two-humped Bactrian camel. The animal was 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, Tang artists began to create charming representations of these prized creatures as mingqi in order to symbolize wealth and prosperity in the afterlife. Mingqi were works of art specifically created in an ancient Chinese custom for interment in the tombs of elite individuals in order to provide for their afterlife. Some of the most beautiful works of Chinese art were excavated from such tombs, and this Sancai glazed sculpture of a camel is a perfect example of the refined artistry dedicated to such works even though they were never meant to be seen by the living. Featuring a splendid saddle in the form of a stylized mask of a snarling creature, this gorgeous sculpture reveals the Tang Dynasty’s respect and admiration for this magnificent creature. - (DL.999)   « Less

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed  More »

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed of peasants and some lower nobility to victory and established his own dynasty in place, the Han. However, unlike the Qin, the Han would unify China and rule virtually uncontested for over four hundred years. It is during this time that much of what is now considered to be Chinese culture was first actualized. The Han era can also be characterized as one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth, pouring into China from trade along the Silk Road, initiated a period of unprecedented luxury. Stunning bronze vessels were created, decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. But perhaps the artistic revival of the Han Dynasty is nowhere better represented than in their sculptures and vessels that were interred with deceased nobles. Called mingqi, literally meaning “spirit articles,” these works depicted a vast array of subjects, from warriors and horses to ovens and livestock, which were buried alongside the dead for use in the next world, reflecting the Chinese belief that the afterlife was an extension of our earthy existence.This fabulous pair of sitting dogs was excavated in Sichuan Province. Although it is possible they were meant to serve as a source of food, their elaborate collars and harnesses suggest otherwise. Most probably their function was to stand guard over the tomb of their master for eternity. Traces of light blue pigment can be found on both animals who seem to be taking their duties seriously. One can almost see their ever-alert ears twitching and hear their deep gnarl, as they attentively stand ready for their master's every command. These sculpted canines express most ardently an ancient peoples’ extreme regard for, and intimate relationship with the natural world that surrounded them. Today, the spirit of these dogs endures ever so proudly, one need only to gaze at their faces to experience their age-old guardian powers. - (DL.1000)   « Less

The Fu Lion, or Fu Dog 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 Lion, or Fu Dog 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 Tang 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 Lions originally stood guard outside Buddhist temples, by the time of the Ming Dynasty, when this work was created, the lions 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. This female lion uses her front paw to trample a demon. This traditional gesture symbolizes the lion’s authority over evil spirits that might have tried to infiltrate the temple or palace. The delicate colouring, in tones of red, blue and yellow is particularly fine. The lion’s wide open mouth and protruding tongue have been expertly sculpted. The care lavished on this magnificent creation is also apparent in the swirling motifs, achieved through the use of incised lines, that decorate the plinth. - (DL.1001)   « Less

Origin: Sichuan Province China Circa: 206 BC to 220 AD Dimensions: 24.8" (63.0cm) high x 10.63" (27.0cm) wide Collection: Chinese Style: Han Dynasty Medium: Terracotta  More »

Origin: Sichuan Province China Circa: 206 BC to 220 AD Dimensions: 24.8" (63.0cm) high x 10.63" (27.0cm) wide Collection: Chinese Style: Han Dynasty Medium: Terracotta Condition: Extra Fine   « Less

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to  More »

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to be buried alongside their departed relative, both as a symbol of their wealth and familial piety. However, only elite members of the social hierarchy could afford to be honored with such elaborate burials. During the Han era, the ancient Chinese believed that the afterlife was an extension of our earthly existences. Thus, the tombs of nobles and high- ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. All these mingqi were expected to perform their functions continually throughout the afterlife. The guards would watch over the soul of the deceased, while the chef prepared meals, utilizing the meats of the livestock, and the musicians performed songs to nourish the spirit throughout eternity.The smile that graces the face of this wonderful dancer is typical of the happy entertainers from the Sichuan Province. She wears an elaborate robe and a fantastic headdress featuring three flowers. The elegant posture of her legs, placed either side of a stool or pot, reflects the movement and action of the dance. A reflection of the wealth and sophistication of ancient China, this sculpture intrigues us with its vast historical and cultural insights. Furthermore, this work is a gorgeous symbol of the philosophical and religious belief of the Han. The eternal warmth and joy embodied by this ancient dancer brings a smile to our own faces. - (DL.1004)   « Less

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to  More »

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to be buried alongside their departed relative, both as a symbol of their wealth and familial piety. However, only elite members of the social hierarchy could afford to be honored with such elaborate burials. During the Han era, the ancient Chinese believed that the afterlife was an extension of our earthly existence. Thus, the tombs of nobles and high- ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. All these mingqi were expected to perform their functions continually throughout the afterlife.The smile that graces the face of this wonderful musician is typical of the happy entertainers from the Sichuan Province. Dressed in a long robe and a short cap, he kneels with his hands lightly placed around the instrument. The artist, perhaps because he was portraying someone it was not appropriate to idealize or deify, captured the intimacy, vibrancy, and intensity of an actual man. Locked in this bit of clay, a smile, a laugh, and a will to entertain are still apparent to a modern audience centuries after its creation. - (DL.1005)   « Less

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to  More »

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to be buried alongside their departed relative, both as a symbol of their wealth and familial piety. However, only elite members of the social hierarchy could afford to be honored with such elaborate burials. During the Han era, the ancient Chinese believed that the afterlife was an extension of our earthly existence. Thus, the tombs of nobles and high- ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. All these mingqi were expected to perform their functions continually throughout the afterlife.The smile that graces the face of this delightful female attendant is typical of this genre of clay figurines produced in the Sichuan Province. The woman holds a mirror in her left hand, whilst her right hand rests upon her knee. She is seated on the ground with her legs tucked beneath her. Her hair has been arranged in an elaborate coiffure and is further adorned with three large medallions or stylized flowers. The artist, perhaps because he was portraying someone it was not appropriate to idealize or deify, captured the intimacy, vibrancy, and intensity of an actual woman. Locked in this bit of clay, a smile, a laugh, and a will to entertain are still apparent to a modern audience centuries after its creation. - (DL.1006)   « Less

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to  More »

A type of work known as mingqi, literally translated as, “items for the next world,” this sculpture was specifically commissioned by the family of the deceased to be buried alongside their departed relative, both as a symbol of their wealth and familial piety. However, only elite members of the social hierarchy could afford to be honored with such elaborate burials. During the Han era, the ancient Chinese believed that the afterlife was an extension of our earthly existences. Thus, the tombs of nobles and high- ranking officials were filled with sculpted renditions of their earthly entourage. Musicians, chefs, attendants, and guardians were placed alongside pots, vessels, cooking utensils, and herds of livestock. All these mingqi were expected to perform their functions continually throughout the afterlife.The smile that graces the face of this wonderful flute player is typical of the happy entertainers from the Sichuan Province. Dressed in a long robe and a short cap, he kneels with his hands lightly placed around the instrument. The artist, perhaps because he was portraying someone it was not appropriate to idealize or deify, captured the intimacy, vibrancy, and intensity of an actual man. Locked in this bit of clay, a smile, a laugh, and a will to entertain are still apparent to a modern audience centuries after its creation. - (DL.1007)   « Less

During the Han 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 Han 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 bull, 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 sides of the cart and the animal’s face. 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 spokes. During the Han Dynasty, the Chinese believed that the afterlife was a continuation of our earthly existence. Thus, this bull 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 Han Dynasty. - (DL.2064)   « Less

his brilliantly modelled pair of terracotta warriors belong to a class of objects known as mingqi, literally meaning ‘spirit goods’, made specifically for burial  More »

his brilliantly modelled pair of terracotta warriors belong to a class of objects known as mingqi, literally meaning ‘spirit goods’, made specifically for burial with the dead. During this period the nobility were buried with clay replicas of people and goods that would be required in the afterlife. These heavily armoured figures were intended to guard the deceased for eternity. Standing on plinths, each warrior holds an elaborate shield in his left hand, embellished with an animal mask and leaping beasts. Each figure would also have carried a lance or spear in their right hand. These were probably fashioned from a more perishable material, such as wood, explaining their loss over time. Considerable traces of the original polychromy survive, particularly on the main body of the armour. The facial features are also striking, especially the thick eyebrows and wide mouths.Although never intended to be viewed above ground, considerable energy has been spent on the intricacies of the armour. Thus, these pieces are not only visually stunning, they are also a manifestation of social and religious practice during this period. The more accurate the modelling the more effective the protection afforded to the deceased who must have been of considerable status. - (DL.2065)   « Less