The sturdy composite horse-like figure with three red-painted spikes and four flattened grey roundels allined on the spinal cord, the tail curved upwards to form a loop  More »

The sturdy composite horse-like figure with three red-painted spikes and four flattened grey roundels allined on the spinal cord, the tail curved upwards to form a loop attached on the back. The head slightly bent downwards, his equine traits carefully incised and partly in relief.The menacing expression was in theory meant to serve an apotropaic purpose, perhaps reflecting the northerners's greater awareness of the dark world of spirits. Yet in this small figurine the fearful expression is absent, instead reflecting perhaps the craftsman's indulgence in a little creative liberty. The sweetness of this animal might betray a southern origin, where tomb guardians dating to the Western Jin onward developed a much more human connotation,when compared with their northern prototypes.Such a composite animal first emerged during the Western Jin period (265-316) and later evolved in the phantasmagorical human-headed tomb guardians known as earth-spirits (Chin: du sheng), so popular during the Tang dynasty in northern and central China. Instead, in the south, tomb guardians quickly disappeared after the Eastern Jin period (317-420): an abrupt change of practice that probably reflected different cultural approaches. In fact, northern people -being more mindful of spirits and demons- were always more inclined to protect the dead from undesirable encounters and went into a lot of effort in creating wonderful sculptures of tomb guardians; southerners instead simply chose to continue to transmit the age-old practice of providing for the daily life of the deceased in the afterlife.Clearly, this is a mythological beast. With its head lowered, he appears to charge forward like a pull, thrusting his horns forward into whatever obstacle might block his path. Remnants of the original polychrome pigment are visible throughout the work, including the white slip that covers the majority of the beast’s body. Rarely do such delicate details survive the ravages of time and the stresses of excavation. A similar example, though lacking the paint details, was unearthed in Yanshi, Henan province in a tomb dated to the western Jin period.This magnificent sculpture is an insightful glimpse into the fantastic mythology of ancient China.For a in-depth description of horned tomb guardians see: Fong Mary H., "Tomb Guardians Figurines: Their Evolution and Iconography" in Kuwayama ed, Ancient Mortuary Traditions of China: Papers on Chinese Ceramic Funerary Sculptures, Los angeles, 1991: 84-115. - (X.0351)   « Less

Even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was actually unable to recreate the glories of the Western Period. In fact,  More »

Even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was actually 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. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”It was during this period that the art of the state of Shu in the province of modern Sichuan thrived. Here, as in other parts of China in the same period, a great effort was laid in the preparation of afterlife accomodations. Tombs were lavishly furnished with all sort of mundane and less mundane commodities, most of them made in painted earthenware and reproducing a vivid mirror image of everyday life.A type of work known as mingqi, literally translated as, “items for the next world,” moulded ceramics such as this one were 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 and the dissolution period of the Three Kingdoms, the Chinese believed that the afterlife was an extension of our earthly existence and that our spiritual soul would linger indeterminately in the tomb. 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 standing attendant is typical of the happy entertainers from the Sichuan Province. He carries a crescent-shaped sickle in his left hand, held against his chest. Long stringed sandals,a high beret and a small pouch would indicate the farming origin of this man, his presence in the tomb indicating the importance of agriculture in the economy of ancient Sichuan. The detachable head is also characteristic of such works, whose body was usually moulded separately from the head and then joint together.A reflection of the wealth and sophistication of ancient China, this sculpture intrigues us with its vast historical and cultural insights. His detailed depiction provides us with an intimate image of everyday life during the dissolution period of the Three Kingdoms in the Shu state. - (X.0414)   « Less

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

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

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

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

Individual figurines representing infantrymen in charging position, both hands clasped as to hold a weapon, with their right arms lifted as to carry a spear no longer there,  More »

Individual figurines representing infantrymen in charging position, both hands clasped as to hold a weapon, with their right arms lifted as to carry a spear no longer there, and their left hands along the side; the long tunics pigmented in different colours, the upper torsos with a short red apron, a concised armoured vest and a white v-shaped collar. The angular faces with individual traits briefly drawn.No need was felt to replicate the specific individuals who composed the original army (if available) -only their functions, since their personalities were fully subsumed by their roles within the military group. Nonetheless, particularising the individual soldiers enabled the artisans to differentiate within groups, and indicate that our set is indeed composed by infantrymen. The group would have belonged to a larger terracotta army meant for interment and by stylistic comparison can be safely attributed to the late Western Han period. They would have all been created in moulds and individually painted, while their weapons would have been carved out of perishable wood.The first instance of massive deployment of tomb figures in early China, is represented by Qin Shihuangdi's terracotta army (c. 210 BC). Yet the use of figurines and models in the mortuary context developed during the middle and late Eastern Zhou periods, particularly in the state of Qin. Small anthropomorphic clay figurines have been unearthed from several pre-dynastic Qin tombs; pottery models of granaries have also been found in 6th century BC Qin graves. A separate tradition of wooden tomb figures developed during the end of the Eastern Zhou period (5th-4th c. BC) in another area with distinct cultural traits – the state of Chu.Such figures and models and other miniature or non-functional objects are collectively known as mingqi ('spirit articles') and have been traditionally interpreted as substitutes for the animal and human victims sacrificed during the funeral, as well as surrogates for objects of value placed in the tomb. Yet recent archaeological evidence have highlighted that these objects might have instead constituted an integral part of the strategy to recreate the earthly dwelling of the deceased.The replication of the living world and its constituents within the tomb might have been induced by various ideological factors, including a new religious trend emphasising the separation of the dead from the living and other material manifestations of different philosophical ideas, but also possibly by the effort to reproduce a self-sustaining version of the world- a fictive and efficacious comprehensive replica, made up of both real sacrificed humans and animals (the 'presented') and elements such as the terracotta army (the 're-presented'). Chinese tombs and burials signified the power and status of their builders and occupants; soldiers, concubines or animals, or to put precious articles in the tomb constituted a sign of power.As clearly reflected by our powerful soldiers, by the Qin period and throughout the Han period, the ability to have them depicted -possessing the aesthetics, cognitive, technological and economic resources to reproduce the world- became a more efficient way of asserting power and status.References: Yang Shaoneng ed. The Golden Age of Chinese Archaeology, 1999, and Kesner, L.”Real and Substitute in the Early Chinese Mortuary Context, Mysteries of Ancient China, 1996. - (LA.531)   « Less

These highly unusual vessels are funerary containers, that were interred with a deceased person of considerable social standing in order to aid their passage into the  More »

These highly unusual vessels are funerary containers, that were interred with a deceased person of considerable social standing in order to aid their passage into the hereafter. The Han period is known for extensive sociopolitical change followed by stability, leading to the foundations of what is now recognised to be "Chinese Culture". The Han era also saw one of the greatest artistic outpourings in Chinese history, easily on a 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 more apparent 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 earthly existence. These vessels are sinuously and elegantly designed, incorporating the neck and head of ducks into the spouts and handles, running into globular, rounded vessel bodies. While their function is equivocal, their form suggests that they might have been used as serving vessels for liquids, although it is more probable that they were made specifically for burial with the deceased. This would also explain their extremely good colour preservation. The floral and geometric designs are painted directly onto the body and neck/spout, and are arranged in bands that highlight the vessel's shape. The ducks' anatomical feaures are highlighted with contrasting dark and light paint - providing feathers and facial features - in addition to some further incised decoration around the head area. A highly unusual and desirable pair of vessels, which would be a credit to any collection. - (LSO.51)   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 3" (7.6cm) high Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 3" (7.6cm) high Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less

As did the Egyptians, noblemen from the Han Dynasty would inter with their bodies mingqi, or “spirit articles” that were believed to hold the essential energy of  More »

As did the Egyptians, noblemen from the Han Dynasty would inter with their bodies mingqi, or “spirit articles” that were believed to hold the essential energy of the depicted person, animal, or object. This attendant, so jovial in his expression seems so above his station in dress, manner, and execution that he must’ve served one of the highest elite among Chinese society. If not for his servant’s cap and subservient posture, we might mistake this humble groom for the nobleman he waited upon. His full cheeks, stout neck, and the blissful curve of his smile all suggest a life full of food, wine, and song. The epicure is garbed in a sumptuous robe that curves around the smooth of his belly and the rounded nubs of his knees. His left hand, now empty- might’ve clasped a parasol or fan with which to keep is Lord cool, or a flag or banner representing the bloodline of the nobleman. We see, in this attendant the true respect and intimacy afforded between social classes within Chinese society. He is no cold and faceless servant; but a real person who enjoyed the chance to smile and joke with the upper crust. While we in the modern world may not expect him to shade us or offer us material comfort, the presence- the arresting and utterly irresistible friendliness of our attendant offers us a much more permanent and integral comfort. Too often art finds itself lost in canon and flattery- portraying kings and warriors in such a way as will ensure that the ego of the subject, and head of the sculptor, remains intact. 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 friendly, humble gesture has survived in all of its detail and movement for over a thousand years. - (DC.2001)   « Less

Origin: China Circa: 200 BC to 100 BC Dimensions: 12" (30.5cm) high x 6.5" (16.5cm) wide Collection: Chinese Art Style: Han Medium: Ceramic

Origin: China Circa: 200 BC to 100 BC Dimensions: 12" (30.5cm) high x 6.5" (16.5cm) wide Collection: Chinese Art Style: Han Medium: Ceramic   « Less

This exceptionally rare green-glazed money tree stand was excavated in the Henan Province. It is very unusual to find representations of a chimera and small figures on such  More »

This exceptionally rare green-glazed money tree stand was excavated in the Henan Province. It is very unusual to find representations of a chimera and small figures on such pieces. According to Chinese tradition, the chimera was associated with peace and prosperity and is often found in tombs as a means to glorify the deceased and guard against evil spirits. This mythical creature is depicted with horns, the head of a dragon, the body of a lion and the wings of a bird. The face has been expertly modelled, with its tongue visible in its wide open mouth. Despite this, there is nothing sinister about this legendary creature; its expression is friendly and endearing. Recent studies suggest that sources for the chimera can be found in Mesopotamian art. The image first appears in China on bronze vessels from the 5th and 6th centuries B.C. By the Han period it was represented in a whole variety of media, including gold, silver, stone and jade.The charm of this terracotta sculpture is increased by the four small figures seated on the chimera’s back and on a ledge which runs around the stand. It is possible to identify at least two musicians amongst them, including a kneeling flute player on the far left. No area of this impressive work has been left unadorned; the stand itself is embellished with stylised leaves and flowers. The surface of the clay is enhanced by a gorgeous green glaze, a hallmark of pottery sculptures produced during the Han Dynasty. Over time this glaze has acquired a beautiful, soft iridescent patina. 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. This imaginative piece allows us to enter the world of fantasy and provides a unique window into the artistic culture of the Han period. (AM) - (DL.997)   « Less