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  More »

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 - were buried with the dead in order to provide for the afterlife. Of the various types of mingqi, there is perhaps none more charming than the beautiful sculptures of elegant female courtiers, sometimes known as “Fat Ladies” for their fleshy faces. These gorgeous women reflect the appreciation of the female form during the Tang Dynasty.This sophisticated woman provided eternal companionship for her lord throughout the afterlife. We can imagine her gracefully dancing or singing a poetical song, two popular customs for ladies during the Tang Dynasty. Such courtiers are described in the numerous love poems written during this era, considered a golden age of Chinese culture. She has her hair styled in a sophisticated coiffure that crown her heads while she wears an elegant long- sleeved robe typical of the time period. A remarkable amount of the original pigment that once decorated the work remains intact, most noticeable on the floral motifs that decorate the dress as well as her rosy cheeks and lips. Such women may represent wives, princesses, or attendants. Her beauty inspires us as we are transported back to another time. This gorgeous sculpture has been to the next world and returned to our modern era to tell us her tale. They speak of the enormous wealth and sophisticated culture of the Tang Dynasty, one of the greatest periods of artistic creation in human history. - (DL.2075)   « Less

This spectacular terracotta figure of a standing warrior belongs to a class of objects known as ‘mingqi,’ literally ‘spirit goods.’ These were items  More »

This spectacular terracotta figure of a standing warrior belongs to a class of objects known as ‘mingqi,’ literally ‘spirit goods.’ These were items buried with the dead to ensure that all their social and material needs would be met in the afterlife. Originally mingqi were fashioned from expensive materials such as bronze or jade but from the third century BC burial sculptures of fired ceramic became more common. This was a trend that lasted until the demise of the Tang Dynasty when burial customs changed and offerings were burnt in the belief that the smoke would carry the essence of the goods to the next world. The production of ceramic grave goods created new opportunities for sculptors to produce increasingly naturalistic and detailed works of art.This heavily armoured warrior was produced to guard the deceased for eternity. Standing on a plinth, he wears pointed boots and a helmet with protective neck and ear flaps. A shield, embellished with an animal mask and dancing creatures, is supported in his left hand. His right is positioned to hold a lance or spear that would have been fashioned from a perishable material such as wood. The facial features are striking, especially the thick eyebrows and upturned moustache. Modeled in the round, the detail of the armour is equally impressive on both sides.Considerable traces of the original red pigment survive. Decorated with a technique known as ‘cold painting’, the warrior would have been embellished with mineral pigments after firing. These were applied over a white ground which is now partly visible. In contrast to glazing, this technique produced a more delicate and naturalistic effect and the range of colours available was more varied. The head of the warrior was made separately and is removable. Although never intended to be viewed by the living, this piece is a supreme example of the potter’s skill during the Eastern Wei period. (AM)For a comparable example see, V. L. Bower, ‘From Court to Caravan: Chinese Tomb Sculptures from the Collection of Anthony M. Solomon,’ (New Haven and London, 2002), p. 93, no. 20. - (DL.2076)   « Less

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  More »

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 - were buried with the dead in order to provide for the afterlife. Of the various types of mingqi, there is perhaps none more charming than the beautiful sculptures of elegant female courtiers, sometimes known as “Fat Ladies” for their fleshy faces. These gorgeous women reflect the appreciation of the female form during the Tang Dynasty.This sophisticated woman provided eternal companionship for her lord throughout the afterlife. We can imagine her gracefully dancing or singing a poetical song, two popular customs for ladies during the Tang Dynasty. Such courtiers are described in the numerous love poems written during this era, considered a golden age of Chinese culture. This stunning lady wears her hair in an elegant coiffure arranged into a large fan-shaped bun that crowns her head. Her sumptuous long sleeved dress matches the beauty of her sophisticated hairstyle. Remnants of the original pigment that once decorated this work remain intact, most noticeably on her rosy cheeks and red lips. Such women may represent wives, princesses, or attendants. Their beauty inspires us as we are transported back to another time. This gorgeous sculpture has been to the next world and returned to our modern era to tell us her tale. She speaks of the enormous wealth and sophisticated culture of the Tang Dynasty, one of the greatest periods of artistic creation in human history. - (DL.2077)   « Less

Origin: China Circa: 15 th Century AD to 16 th Century AD Collection: Chinese Style: Ming Medium: sandstone

Origin: China Circa: 15 th Century AD to 16 th Century AD Collection: Chinese Style: Ming Medium: sandstone   « Less

As implied by its short duration, the Northern Qi Dynasty was a turbulent time in the vast history of China. Locusts plagued the lands, ruining the crops. Hunger and ethnic  More »

As implied by its short duration, the Northern Qi Dynasty was a turbulent time in the vast history of China. Locusts plagued the lands, ruining the crops. Hunger and ethnic feuding ravaged the population. Despite this unrest the arts continued to flourish, as witnessed by this extraordinary powerful representation of a bull. The animal’s stance is assertive, with its four legs positioned firmly on the corners of the integral rectangular plinth. The head is raised, with the mouth slightly ajar, as if warning off a potential aggressor. The figurine is in excellent condition with considerable traces of the original red polychromy. The expertly modeled horns create a striking silhouette, contrasting with the sheer bulk of the bull’s body. There is considerable attention to detail in the modelling. Particularly striking is the elaborate harness with medallions, used to shackle this powerful animal.During this period sculptural effigies of domesticated animals were often interred in the tombs of the nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. This bull effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (DL.2079)   « Less

This fabulous pair of pottery seated horses retain much of their original polychromy. The harnesses are carefully outlined in black and orange hues against their white  More »

This fabulous pair of pottery seated horses retain much of their original polychromy. The harnesses are carefully outlined in black and orange hues against their white bodies. The saddles are boldly depicted, but the most charming detail is the elaborate purple scrollwork that ripples over the figurines. The mouths of these magnificent creatures are slightly ajar and it is clear from their finery that the represent the prized possessions of a member of the elite of Han society.Valued for their speed, strength and beauty, horses were one of the most admired animals in China. The horse has enabled man to swiftly transport massive armies into distant and neighboring territories in order to secure vast wealth and land. According to Chinese tradition, there existed a horse so powerful and beautiful that it was believed to be bequeathed from heaven. In early China, owning a horse required wealth and status, eventually becoming a sign of one's social standing. Equestrian activities only encouraged the indulgence of the wealthy few who owned horses. Naturally in Chinese art, the horse became a favorite subject of artists who tried to create visual representations of the animal that captured both its vitality and presence. During the Han Dynasty, the horse was rendered in miniature sculptural form to be interred with the dead. It was believed that the animal could assume its earthly powers and assist the deceased in the dangerous journey to the other world. This custom answered to the needs of a particular belief system regarding life after death and the spiritual world. - (DL.2081)   « 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 bureaucracy started under the Qin was firmly established. The vast lands of China came under the firm grip of a central authority. Confucianism became the state ideology. Ancient histories and texts were analyzed and rewritten to be more objective while new legendary myths and cultural epics were transcribed.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 earthly existence.The term “Fang” is a prefix used to describe a squared-off or faceted variation of a normally rounded form, in this case the Hu wine storage vessel. The extensive polychrome painting that decorates the sides and the lid of this vessel, depicting scrolls and geometric motifs, is quite rare. Seldom do more than traces of pigments survive intact and in this example they retain much of their original brilliance. The patterns may have been inspired by contemporary embroidery and textile patterns, in tune with the fashion of the time. The beautiful Tao Tieh masks, depicting stylized dragons holding handles in their mouths, are noteworthy for their fine relief details and painted highlights. This wine vessel was found interred alongside an elite member of the Han social hierarchy. During the Han Dynasty, it was believed that the afterlife was an extension of our earthly existence. Thus, logically, if we require food and drink to nourish our bodies on earth, we require the same to nourish our souls in the next world. The wine once contained within this Fang Hu has vanished, perhaps consumed during the celestial feasts of the afterlife. While this vessel represents the sophisticated artistic and culinary traditions of the Han, it also symbolizes their religious and philosophical beliefs. - (DL.2082)   « Less

The Han era witnessed one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth,  More »

The Han era witnessed 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 earthly existence.This stunning set of two seated horses and a ‘Fang-Hu’ encapsulate many of the best qualities of Han Dynasty ceramics. The term “Fang” is a prefix used to describe a squared-off or faceted variation of a normally rounded form, in this case the Hu wine storage vessel. The extensive polychrome painting that decorates the sides and the lid of this vessel, depicting scrolls and geometric motifs, is quite rare. Seldom do more than traces of pigments survive in tact and in this example they retain much of their original brilliance. The patterns may have been inspired by contemporary embroidery and textile patterns, in tune with the fashion of the time. The beautiful Tao Tieh masks, depicting stylized dragons holding handles in their mouths, are noteworthy for their fine relief details and painted highlights. The fabulous pair of pottery seated horses also retain much of their original polychromy. The harnesses are carefully outlined in black and orange hues against their white bodies. The saddles are boldly depicted, but the most charming detail is the elaborate purple scrollwork that ripples over the figurines. The mouths of these magnificent creatures are slightly ajar and it is clear from their finery that the represent the prized possessions of a member of the elite of Han society. - (DL.2083)   « Less

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

The great influence of the horse throughout the history of China cannot be over-estimated. In fact, the ancient unification of the Chinese Empire was due in large part to the horse. Their rapid mobility allowed for quick communication between far away provinces. Likewise, the military role of horses aided in the conquest and submission of distant lands. The need to import stronger, faster steeds from Central Asia (as opposed to the native Mongol pony) led to the creation of the Silk Road. The importance 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 were glorified and revered, believed to be relatives of dragons, a theory reflecting their sacred status within society. During the Tang Dynasty, the adoration of the horse can be seen through their burial art. Horse models excavated from mausoleums of the period are among the most splendid and easily recognizable works of Chinese art.This gorgeous pair of horses still retain much of their original polychromy. The colours complement each other beautifully. The red horse has a white saddle, and it is likely that the white horse once had a red saddle which has since been lost. Both of these majestic creatures raise one leg on the air as they turn their heads to the side. Both of these features are eagerly sought after by collectors. These elegant sculptures are a testament to the admiration and adoration the Chinese had for these marvelous creatures. Although they were an integral part in the expansion and defense of the empire, they were equally regarded for their beauty and grace as revealed by these sculptures. - (DL.2084)   « Less

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

The great influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient unification of the Chinese Empire was due in large part to the horse. Their rapid mobility allowed for quick communication between far away provinces. Likewise, the military role of horses aided in the conquest and submission of distant lands. The need to import stronger, faster steeds from Central Asia (as opposed to the native Mongol pony) led to the creation of the Silk Road. The importance 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 were glorified and revered, believed to be relatives of dragons, a theory reflecting their sacred status within society. During the Tang Dynasty, the adoration of the horse can be seen through their burial art. Horse models excavated from mausoleums of the period are among the most splendid and easily recognizable works of Chinese art.This gorgeous example still retains much of its original white paint. It may once have had a detachable saddle which is now lost to us. The horse raises one leg in the air as he turns his head to the side. Both these features are sought after by collectors. This elegant sculpture is a testament to the admiration and adoration the Chinese had for these marvelous creatures. Although they were an integral part in the expansion and defense of the empire, they were equally regarded for their beauty and grace as revealed by this sculpture. - (DL.2085)   « Less