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 now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. 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 subject, 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. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.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 utensil, 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. While mounted warriors would be interred inside the tombs of military generals, this tall attendant probably accompanied a high-ranking member of Han bureaucracy. The attendant is tall and composed, wearing a long tunic that covers his columnar body. The spherical head juxtaposed to the straight body is a hallmark of the Western Han style. 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. - (H.1017)   « 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 now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. 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 subject, 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. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.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 utensil, 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. While mounted warriors would be interred inside the tombs of military generals, this attendant probably accompanied a high-ranking member of Han bureaucracy. Much of the original polychrome remains intact, including his white robe with red highlights and pink face. His detailed facial features have been painted in black; his wispy goatee is especially charming. 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. - (H.1021)   « 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 now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. 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 subject, 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. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.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 utensil, 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.While mounted warriors would be interred inside the tombs of military generals, this tall, gently undulating attendant probably accompanied a high-ranking member of Han bureaucracy. Much of the original polychrome remains intact, including his white robe highlighted with a red floral pattern. His detailed facial features have been painted in black, allowing the artist to individualize each molded effigy to match its real life counterpart. A hole in his hand suggest that he once presented his master with a gift or some such offering likely made of wood that has long since deteriorated over the centuries. 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. - (H.1019)   « 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 now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. 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 subject, 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. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.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 utensil, 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.While mounted warriors would be interred inside the tombs of military generals, this tall, gently undulating attendant probably accompanied a high-ranking member of Han bureaucracy. Considering the undulating profile of this attendant, it is likely that she represents a dancer who would entertain the court with her rhythmic swaying. Perhaps musicians once accompanied her and played a gentle tune. Much of the original polychrome remains intact, including his white robe highlighted with a pattern of red dots. Her detailed facial features have been painted in black, including her long hair wrapped in a bun, allowing the artist to individualize each molded effigy to match its real life counterpart. 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. - (H.1018)   « 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 now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. 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 subject, 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. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.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 utensil, 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.While mounted warriors would be interred inside the tombs of military generals, this tall, gently undulating attendant probably accompanied a high-ranking member of Han bureaucracy. Considering the undulating profile of this attendant, it is likely that she represents a dancer who would entertain the court with her rhythmic swaying. Perhaps musicians once accompanied her and played a gentle tune. Much of the original polychrome remains intact, including his white robe highlighted with a pattern of red dots. Her detailed facial features have been painted in black, including her long hair wrapped in a bun, allowing the artist to individualize each molded effigy to match its real life counterpart. 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. - (H.1020)   « Less

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23- 220 A.D.) with a brief interlude.  More »

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23- 220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”During the Han Dynasty, sculptural effigies of animals were often interred in the tombs of elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. This glazed sculpture of an ox is exceptional for two reasons. While similar examples exist, many were found harnessed to wagons and carts and were meant to function as beasts of burden. However, this sculpture was discovered buried as part of a herd, contained inside a pen with other domesticated animals, suggesting that this animal served as food. Besides it function, this sculpture is also remarkable for its gorgeous green glaze that has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. During the Han era, the Chinese believed that the afterlife was a continuation of our earthly existence. Thus, logically, as we require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. Created to serve as food for 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. This cow effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.1006)   « Less

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23- 220 A.D.) with a brief interlude.  More »

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23- 220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”Sculptures of pigs are frequently buried alongside noble members of society during the Han Dynasty. Sculpted in all media, the pig was a symbol of wealth as well as a staple of the menu for the afterlife. As was the custom, sculpted effigies of animals were interred as food sources in the next world. While some animals were meant to labor in the next world, others, such as this boar, were clearly meant for consumption. The Han viewed the afterlife as an extension of our earthly lives. Thus, the things that we enjoyed in this world were continual enjoyed in the next. Likewise, as humans require food to nourish and sustain us while on earth, sculpted animals were buried to provide energy in the afterlife. This sculpture of a standing pig is covered in a gorgeous green glaze that has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. Originally, this pig was created to provide sustenance in the next world. However, today, it nourishes our eyes with its tremendous beauty and fills our minds with its tremendous cultural and historical value. - (H.1007)   « Less

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23 -220 A.D.) with a brief interlude.  More »

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23 -220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the centre of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”This green-glazed terracotta dog is a splendid example of mingqi, literally translated as: “items for the next world.” During the Han Dynasty, the Chinese believed that the afterlife was an extension of our earthly existence. Thus high- ranking members of the social hierarchy were buried in splendid tombs replete with replicas of their daily lives rendered in all media. It is not uncommon to find ornate dinner sets with elegantly painted utensils, wine vessels, and food storage containers. Sculpted replicas of warriors and guardians provided protection while musicians and entertainers provided company. Likewise, herds of domesticated animals were interred alongside the deceased to serve as food sources in the afterlife. Although it is possible that this dog was entombed for consumption in the next world, the studded collar and harness he wears, as well as his rather emaciated appearance with protruding ribcage, suggests otherwise. More likely, this dog was a beloved companion who served his owner well both on earth and beyond. His ears stand upwards in attention, as if carefully guarding his master throughout eternity. The gorgeous green glaze that has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl. Although similar works were meant to serve as food for the afterlife, the love and attention dedicated to the creation of this stunning work of art suggests that this dog is much more than food. Instead, this beloved pet stands faithfully by his master’s side throughout eternity. - (H.1008)   « Less

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude.  More »

The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”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 utensil, 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. He wears an elaborate pleated robe and a fantastic headdress featuring three flowers. The elegant posture of his legs, seemingly hovering over 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. - (H.650)   « Less

Origin: China Circa: 206 BC to 220 AD Collection: Chinese Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Collection: Chinese Style: Han Dynasty Medium: Terracotta   « Less