The Han dynasty lasted for over four hundred years and is often credited with the unification of China. Han emperors certainly developed the centralising initiatives of the  More »

The Han dynasty lasted for over four hundred years and is often credited with the unification of China. Han emperors certainly developed the centralising initiatives of the Qin, whose short but effective regime brought an end to years of civil war and unrest. The production of ceramics also under went a revolution during the Han era. This was partly due to the regulation of burial practice. It was customary, at least amongst the nobility, to bury the dead with the necessary equipment for the afterlife. During the Han dynasty, particularly during times of economic distress, restrictions were placed on the burial of precious materials such as gold, silver and jade. Funerary furnishings (known in Chinese as ‘mingqi’) made of earthenware proliferated as a result. Some were painted in bright colours after firing in the kiln, others, such as this object, were covered in a fine lead-glaze. The two main colours were green (made from copper oxide) and ochre (from iron oxide), which anticipated the Sancai-glazed wares of the Tang Dynasty. Clay figurines of people, including attendants, chefs, musicians, dancers and soldiers were buried to care for their master/mistress in the afterlife. Animals also feature prominently, especially horses, dogs and bulls.This glazed container is exceptionally rare and intriguing. The lid of the vessel is in the form of the shoulders and head of a man. The figure wears a close-fitting hat with an inverted ‘t’ shape wedge affixed to the back. The hair and the small triangular beard have been indicated by rough incisions in the surface of the wet clay. The ears, nose and bulging eyes were added in relief. The figure’s arms are evident on the lower half of the container, also moulded in relief. A long, flat rectangular objects protrudes from the figure’s clasped hands. It is impossible to identify this with certainty, though it is probably some kind of ritual or votive object. Han pottery figurines are often depicted using the tools of their trade, such as chefs with a chopping board and knife or musicians with their instruments. Beneath the arms a second set of folds appear which may represent some kind of drapery. This sculpture reveals Han artistry at its finest, combining realism, such as the careful delineation of the fingers, with an attractive simplicity and abstraction. Despite minor restoration to the body of the vessel, the piece is in excellent condition and deserves to be the centrepiece of an ambitious collection of early Chinese pottery. (AM) - (TF.038 )   « Less

This animated ceramic dog is a classic example of the Han sculptural tradition. Standing four- square on slim legs, its blocky body is in fact carefully sculpted, with  More »

This animated ceramic dog is a classic example of the Han sculptural tradition. Standing four- square on slim legs, its blocky body is in fact carefully sculpted, with detailing of the muscles, tail, paws and even claws. However it is the head and face that particularly stand out. The proportions are deliberately exaggerated, with a thick neck giving way to a deceptively graceful profile to the lower jaw and top of the head. The mouth – with sharp teeth clearly displayed – is open, the head tilted back and the ears pricked up as far as their floppy form will permit. Its alert stance suggests that it is in a position of defence, perhaps guarding someone/something from the threat of harm. The piece is covered with a creamy-ivory coloured glaze, applied over a light fineware body.The Han Dynasty was arguably the most important in Chinese history, and indeed many modern Chinese people refer to themselves as Han. It was a particularly dynamic time, its origins being found in the warring factions that caused the collapse of the Qin Dynasty in 206BC, upon which the once-unified Chinese nation was divided into 19 feudal states under the aegis of the insurgent leader Xiang Yu. The bitter fighting between these states resulted in the eventual victory of the first emperor of the Han Dynasty, Liu Bang, and the suicide of Xiang Yu in 202BC. The small principality (one of the 19) over which Liu Bang ruled was named Hanzhong, and lent a shortened version of its name to the eventual multi-state agglomeration that was to become China.The Han Dynasty consolidated its power over the two subsequent centuries, and engineered massive agricultural reform that lent economic weight to social changes. This, in turn, led to trade expansion, with new trade routes (such as the Silk Road, and the route to Parthia) and a burgeoning middle class that brought new prosperity across the social system. Military expeditions expanded across Asia as far as Ukraine and the shores of the Caspian Sea, while China also kept up cautious diplomatic contact with the Roman Empire and the Kushans. Early Han rule was based around the Taoist model, and was comparatively at the mercy of powerful neighbours such as Xiongnu, nomadic tribes and petty internal squabbles. However, by the reign of Emperor Wu, the Han Dynasty had achieved its apogee and was able to assert itself over neighbouring areas. Wu also instituted Confucianism as the official modus operandi for the Chinese state, a major departure from the preceding Qin Dynasty where followers of Confucius were frequently buried alive.This was a time of true enlightenment for China, which saw the laying of technological and artistic foundations for almost all that was to follow. Science and engineering saw major achievements, with the invention of steel, paper, mechanical gears, the rotary fan, the mechanical trip hammer, seismometers, the blast furnace, the winnowing machine, armillary spheres, the concept of the water cycle (in meteorology), the recognition of the cause of eclipses and thunder and much else besides: most of these were first recognised by Wang Chong, who has a reasonable claim to being the world’s first Renaissance man.Art also flourished, due in part to the flood of new ideas from across the continent, and also to the burgeoning middle classes who were eager to demonstrate their gentility and to patronise professional artists. Many written works – especially poetry and plays – date to this period, as well as paintings and cast bronze or ceramic sculptures. The tradition of interring mingqi (grave companions) with the deceased – which had always been present in Chinese society – reached new heights, as the nouveau-riche competed for prestigious afterlives. The sculptures of this period have a notable charm that is absent in other periods, with considerable less stylistic standardisation, with frequent recourse to expressionism. As a result, Han sculptures are among the most charming and effortlessly fluid of all Chinese artworks. This particular piece demonstrates the exuberance of this period’s artistic heritage with great efficacy; it was probably intended to accompany his owner to the afterlife and to defend him there. However, it also stands as an outstanding piece of ancient art in its own right. - (DK.161 (LSO))   « Less

This green-glazed terracotta duck would have been interred in the tomb of a wealthy member of the social elite. Known as ‘mingqi’, these grave goods were  More »

This green-glazed terracotta duck would have been interred in the tomb of a wealthy member of the social elite. Known as ‘mingqi’, these grave goods were extremely popular during the Han era. The nobility were buried with splendidly modeled replicas of all the people, animals and possessions they would require in the afterlife. These might range from wine vessels to miniature farms or elegant courtiers and musicians, intended to entertain their masters for eternity. Sculpted warriors or tomb guardians were also popular. This superbly crafted duck was probably included as a source of food. The modeling is extremely naturalistic and reflects the religious beliefs held during the Han era. The more realistic the grave goods, the more likely they would perform their functions effectively in the afterlife. The artist may well have worked from a real-life model.The pale green glaze is a distinctive feature of Han era pottery which does not appear in later ages. Over time the surface 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.Historically the Han Dynasty was one of the most illustrious in China’s past. It was divided into two distinct periods, the Western Han (c. 206 BC-9 AD) and the Eastern Han (23-220 AD). Trade flourished and the wealth and ideas that accompanied the opening of new trade routes led to the flourishing of the arts. Many written works – especially poetry and plays – date to this period, as well as paintings and cast bronze or ceramic sculptures. This piece is a wonderful example of the skill and creativity of Han artists and would make a charming addition to any serious collection of ancient art. (AM) - (SK.006 )   « Less

This green-glazed terracotta dog stands on guard with his head raised and mouth open. Terracotta grave goods, known as ‘mingqi’, were extremely popular among the  More »

This green-glazed terracotta dog stands on guard with his head raised and mouth open. Terracotta grave goods, known as ‘mingqi’, were extremely popular among the social elite during the Han Dynasty. The nobility were buried with splendidly modeled replicas of all the people, animals and possessions they would require in the afterlife. These might range from wine vessels to miniature farms or elegant courtiers and musicians, intended to entertain their masters for eternity. Sculpted warriors or tomb guardians were also popular and the stance of this dog, suggests that its function was partly to guard the soul of its master. The collar and harness indicate that it was a domesticated animal, perhaps a beloved pet. The modeling is extremely naturalistic and reflects the religious beliefs held during the Han era. The more realistic the grave goods, the more likely they would perform their functions effectively in the afterlife. The artist may well have worked from a real-life model; the face, in particular, is incredibly expressive with its alert eyes and raised ears. The tail, which forms a coil along the dog’s back, is also indicative of the animal’s readiness to defend its owner against any potential threat.The pale green glaze is a distinctive feature of Han era pottery which does not appear in later ages. Over time the surface 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.Historically the Han Dynasty was one of the most illustrious in China’s past. It was divided into two distinct periods, the Western Han (c. 206 BC-9 AD) and the Eastern Han (23-220 AD). Trade flourished and the wealth and ideas that accompanied the opening of new trade routes led to the flourishing of the arts. Many written works – especially poetry and plays – date to this period, as well as paintings and cast bronze or ceramic sculptures. This piece is a wonderful example of the skill and creativity of Han artists and would make a charming addition to any serious collection of ancient art. (AM) - (SK.048)   « Less

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China  More »

The Han era was one of the greatest artistic moments in Chinese history easily on par with the glories of Western contemporaries in Greece and Rome. Wealth poured into China from trade along the Silk Road and initiated a period of unprecedented luxury. Stunning bronze vessels were created and decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. Yet the artistic revival of the Han Dynasty is nowhere better represented than by the 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 that were buried alongside the dead for use in the next life. Such actions reflect the Chinese belief that the afterlife is an extension of our earthy existence. Thus the material goods that we require to sustain and nurture our bodies in this life are just as necessary in the next life.This sculpture was commissioned by the family of the deceased to be buried alongside their departed relative. It served both as a symbol of their wealth and familial piety. Only elite members of the social hierarchy could afford to be honoured with such elaborate burials. 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. Each one of 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 would perform songs to nourish the spirit throughout eternity.While mounted warriors were interred inside the tombs of military generals, this tall gently undulating attendant most likely accompanied a high-ranking member of the Han bureaucracy. Much of the original polychrome remains intact, including the white robe with a painted red sash. The facial features are painted in black and the hair is tied back in a bun-like arrangement. The gently undulating posture raises the possibility that the standing figure represents a court dancer. It is a gorgeous symbol of the philosophical and religious beliefs of the Han, symbolising their fundamental beliefs in the beauty of this life and the next. - (RP.002)   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 10.3" (26.2cm) high x 5.5" (14.0cm) wide x 12.75" (32.4cm) depth Collection: Chinese Art Style: Han Dynasty Medium: Painted  More »

Origin: China Circa: 206 BC to 220 AD Dimensions: 10.3" (26.2cm) high x 5.5" (14.0cm) wide x 12.75" (32.4cm) depth Collection: Chinese Art Style: Han Dynasty Medium: Painted Terracotta   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 32.25" (81.9cm) high x 21" (53.3cm) wide Collection: Chinese Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 32.25" (81.9cm) high x 21" (53.3cm) wide Collection: Chinese Style: Han Dynasty Medium: Terracotta   « Less

Originally part of a set, this individual figurine represents an infantryman in a charged position with both hands clasped as if to hold a weapon. The right hand is lifted to  More »

Originally part of a set, this individual figurine represents an infantryman in a charged position with both hands clasped as if to hold a weapon. The right hand is lifted to carry a spear that is no longer there while the left arm is clenched firmly along his side. The soldier wears a long tunic. On his upper torso he wears a short apron with an armored vest and a white v- shaped collar. Angular faces with individual traits are briefly drawn.No need was felt to replicate the specific individuals who composed the original army- only their functions since their personalities were fully subsumed by their roles within the military group. Even so, particularizing the individual soldiers enabled the artisans to differentiate within groups as well as indicate that our group is indeed composed of infantrymen. The group would have belonged to a larger terracotta army meant for burial and by stylistic comparison can be safely attributed to the late Western Han period. The piece would have been created in a mould and painted while the weapons would have been made of perishable wood.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 a funeral, as well as surrogates for objects of value placed in the tomb. Chinese tombs and burials signified the power and status of their builders and occupants. Placing a soldier such as this in a tomb would be considered a way to assert one’s political status.   « Less

Origin: China Circa: 220 BC to 206 AD Dimensions: 19.75" (50.2cm) high Collection: Chinese Art Medium: Terracotta

Origin: China Circa: 220 BC to 206 AD Dimensions: 19.75" (50.2cm) high Collection: Chinese Art Medium: Terracotta   « Less

Origin: China Circa: 206 BC to 220 AD Dimensions: 24" (61.0cm) high x 21.5" (54.6cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta

Origin: China Circa: 206 BC to 220 AD Dimensions: 24" (61.0cm) high x 21.5" (54.6cm) wide Collection: Chinese Art Style: Han Dynasty Medium: Terracotta   « Less