Chinese Art - Tang Dynasty

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B A R A K A T

G A L L E R Y

Chinese Art Tang Dynasty 618 AD - 907 AD

Tang Dynasty The Tang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a quasi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers.

The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. Tang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Changan (modern Xian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The Tang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.

It was during the Tang Dynasty that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists. The Dynasty was created on the 18th of June, 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early Tang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The Tang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well- established that they continued to operate regardless.

As new philosophical and religious strands penetrated the thought system of early China, the subject matter of tomb objects and tomb patterns changed. The past practice of entombing elite members of society with earthenware objects continued throughout the early and middle Tang period, but the earlier emphasis placed on recreating daily life shifted to flaunting status and excess. Tombs were no longer "underground houses," but became a landscape with murals depicting the palaces, gardens, and open countryside in which the nobles passed their lives. 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 have been excavated. Entire retinues of ceramic figures animals, entertainers, musicians, guardians - were buried with the dead.

The artworks created during this era are among China’s greatest cultural achievements.

It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover.

Ta n g Te r r aco tta P o ly ch ro me C i vil O fficial

H.010 Origin: China Circa: 618 AD to 907 AD Dimensions: 26.5" (67.3cm) high x 7" (17.8cm) wide

Collection: Chinese Medium: Terracotta Location: United States

This civil official is dressed according to the rules that dictate official decorum of the day: a black hat, short red robe with loose fitting sleeves, a waistcoat, white trousers and black shoes with toecaps in the shape of ruyi clouds. The effeminate form of the official is reminiscent of the aesthetic appeal of the upper class who avoided hard labor and remained indoors. They moved with a sense of dignity and grace. In this figurine as well, the features are more refined--rosy red painted lips, slit eyes and fleshy face.

Over time, all that remains of the once brightly painted figurine is earthen residue and white slip with faded colors appearing on the waistcoat, robe and headdress. This figurine once resided close to the tomb, as the duty to serve one's sovereign in administrative and academic affairs continued in life and death. Considered to be the finest examples of Chinese burial objects, Tang figurines reached their apex in the first half of the eighth century The important role assigned to these models in Tang tomb arrangements and their significance as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury objects. They reflect the artistic vitality of the time and give a unique perspective into Tang customs and practices as well as the contemporary upper class life. - (H.010)

P a i r o f Ta n g S c u l p t u r e s o f A t t e n d a n t s

H.011 Origin: China Circa: 618 AD to 907 AD Dimensions: 16.75" (42.5cm) high x 5.375" (13.7cm) wide

Collection: Chinese Style: Tang Dynasty Medium: Terracotta Location: United States

Shown standing with left fist resting on top of right fist, possibly to hold a spear or staff, these two attendants bear militaristic characteristics while exhibiting a finesse and gentleness that is more often associated with the civil corp. They wear a mid-length tunic and armored breastplate bound by cords, with dragon's head epaulets at the shoulders and a long, flowing bottom piece exposing the tips of their shoes. A distinguishing feature of these figurines is their large head, pronounced by a receding hairline, wide facial features, and a tall, rounded headpiece tightened with a ribbon Red and black pigment and white slip adhere to the surface. It is possible that they are eunuchs whose responsibility it was to protect the inner quarters. Considered to be the finest examples of Chinese burial objects, Tang figurines reached their apex in the first half of the eighth century The important role assigned to these models in Tang tomb arrangements and their significance as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury items. They reflect the artistic vitality of the time and give a unique perspective into T'ang customs and practices as well as the contemporary upper class life. - (H.011)

H a n / Ta n g G l a z e d Te r r a c o t t a H u

H.034 Origin: China Circa: 100 AD to 700 AD Dimensions: 13" (33.0cm) high x 7.25" (18.4cm) wide

Collection: Chinese Medium: Glazed Terracotta Location: United States

Ash green glaze covers this vessel with appealing speckles throughout, stopping at the base. The ovoid body expands protrusively at the belly, narrowing sharply at the neck rising to an everted lip decorated with a band of incised lines. Small circular handles rest on the shoulder of the vessel. Given the form of the vessel, it is likely it was designed to contain precious liquids. China's long history of preeminence in ceramic production was based upon the ability of the potters to innovate. Constant experimentation with various techniques brought about significant development in earthenware, stoneware and porcelain. This vessel exemplifies the potter's expertise with glazing and moulding. - (H.034)

Ta n g S cu lptu re o f an E arth S pir it

H.035 Origin: China Circa: 618 AD to 907 AD

Collection: Chinese Medium: Terracotta Location: United States

Powerfully modeled as fearsome creatures crouched on muscular legs with hooves, this earth spirit evokes tremendous awe from its intimidating appearance. This figure bears the face of a mythical beast with two curved horns, distended ears, bulging eyes and snarling mouth exposing fangs. The creature is equipped with wings, the torso of a feline, and extraordinary sight and sound. Facing forward, it rests on its hind legs, as its staunch forelegs hold the force of its body in the position of attention. Placed inside the underground burial quarters of upper class men, these objects were designed to protect the physical site, as they were to resume life form in times of danger, and accompany the soul of the deceased along the perilous journey into the other world. These burial objects served an important role in the ancestral belief system of ancient Chinese society, as well as in the illustrious practices of the elite society. - (H.035)

P a i r o f Ta n g P o l y c h r o m e M i l i t a r y O ff i c i a l s

H.046a Origin: China Circa: 618 AD to 906 AD Dimensions: 14.25" (36.2cm) high x 4.25" (10.8cm) wide

Collection: Chinese Medium: Terracotta Location: United States

Typically among the largest of burial figurines, military men are often depicted in exquisite detail. They comprise of the various guardian figures whose main purpose was to watch over the burial site and protect the deceased. The figures wear matching battle attire consisting of sectioned chest plates with red circular designs, elbow-length shoulder plates protruded by red sleeves, and a draping headdress topped with a bulbous crown. Beneath the chest armor, they wear three-quarter length robes tied at the waist and baggy pantalones. Both figures assume the ready position gesturing with their hands that they once held weapons. As with many fine pottery figurines, the distinguishing characteristic of a piece is the personal rendering of facial features and expressions. One figure's face is painted red with distinctively menacing traits while the other figure appears attentive and reserved. In order to achieve a life-like presence, the artisan strove to imbue each figurine with a unique quality, so that despite mass produced methods, no two pieces were identical. The subject of tomb figures is closely linked with Chinese religion and philosophy. The tomb signified a gate to the afterlife or a meeting place of the two worlds. Pottery figurines replaced the Eastern Zhou tradition of interring live persons, animals and actual objects. - (H.046a)

P a i r o f Ta n g S t a n d i n g R a m s

H.047c Origin: China Circa: 618 AD to 906 AD

Collection: Chinese Medium: Terracotta Location: United States

Outside of figures, animals also became popular subjects in Chinese burial art. In this depiction of two long horned rams, the craftsman's fondness for the subject is revealed through the stylistic choices made in sculpting the animal. Standing on all fours, its hooves surmounted by a base, the full-bodied animals are modeled to detail, with spiral horns curving around the large jaws and plump haunches slightly hanging over its joints. The animal appears smiling; its painted red mouth emerging from under its snout and its flushed ears and twinkling eyes enhancing its contented temperament. In China, the ram is one of the Twelve Terrestrial Branches of the Chinese calendar and is the emblem of retired life. A recumbent ram or sheep symbolizes the Confucian virtue of filial piety. Burial art of the T'ang period is characterized by a penchant toward figural objects rather than architectural models that prevailed during the Han. Princes and officials often commissioned large, brilliantly glazed sets of ceramic figures which ushered in the mass production of burial objects. However, the desire to imbue figurines with a life-like quality kept artisans busy creating Buddhist guardians, court entourages, animals, civil and military officials and other figures. - (H.047c)

Tan g Te rr aco tta S cu lp tu re o f a So ldier

H.047e Origin: China Circa: 618 AD to 906 AD Dimensions: 11" (27.9cm) high x 3.25" (8.3cm) wide

Collection: Chinese Medium: Terracotta Location: United States

This pottery figurine depicts an individual who possesses supernatural ability, perhaps a shamanic priest or spiritual guardian. The orangish-brown tunic decorated with dark circular designs and matching hood resemble distinctive Tibetan Lama attire, though also similar in appearance to ceremonial mourning wear. The figure is positioned facing forward gesturing his right fist over his left hand which is hidden beneath oversized, draping sleeves. The figure once boasted an emblem, which may have provided insight to his meaning and function. His expressive features--bulging eyes, tense brow line, pursed lips, pear-shaped face and neck lines-- resemble the physiognomy of the Heavenly Guardians. In this case, the "disguise" is merely one of his many manifestations. Tang Dynasty figurine art is characterized by a desire to give the deceased status rather than to merely recreate daily life. As the Han emphasized agricultural and domestic pursuits, the Tang explored the sophisticated world of the aristocracy, reflected in figurine subjects that signified wealth and mobility. Through increased contact with central Asia and India, Buddhism spread which thus stimulated an interest in representation of Buddhist inspired subjects. - (H.047e)

Ta n g Sc ulp tu re o f a S tan d ing Mal e

H.047d Origin: China Circa: 618 AD to 906 AD Dimensions: 8.75" (22.2cm) high x 3" (7.6cm) wide

Collection: Chinese Medium: Terracotta Location: United States

Among the larger figurine pieces, this figure is depicted with his hands in front as if holding a long weapon. He stands attentive with his chin slightly lowered and eyes staring upward, signaling the gesture of humility. It is possible that this soldier represents not one who is about to engage in battle, but an escort who accompanies traveling foreign missions. Given the figure's dark skin, facial hair and pronounced features, it is likely that he is of foreign stock. The soldier is dressed in a three-quarter length white robe with black borders and belt, with flowing trousers, rounded boots and a tight cap that rises into a crest at the back. The folds of his garment are stylistically rendered in his bent arms. Painted with natural pigment, the figure is in good shape with heavy incrustation on the lower body. Tang Dynasty figurine art is characterized by a desire to give the deceased status rather than to merely recreate daily life. As the Han emphasized agricultural and domestic pursuits, the Tang explored the sophisticated world of the aristocracy, reflected in figurine subjects that signified wealth and mobility. Interest in the outside world grew within Tang's cosmopolitan setting. Scenes of foreign entertainers, merchants and missions stimulated a fascination for things foreign, which was reflected in many areas of the arts. - (H.047d)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

H.516 Origin: China Circa: 618 AD to 907 AD Dimensions: 14" (35.6cm) high x 6" (15.2cm) wide

Catalogue: V17 Collection: Chinese Medium: Terracotta Location: Great Britain

As new philosophical and religious strands penetrated the thought system of early China, the subject matter of tomb objects and tomb patterns changed. The past practice of entombing elite members of society with earthenware objects continued throughout the early and middle Tang period, but the earlier emphasis placed on recreating daily life shifted to flaunting status and excess. Tombs were no longer "underground houses," but became a landscape with murals depicting the palaces, gardens, and open countryside in which the nobles passed their lives. Buddhist Guardian beings, including both supernatural humans and animals, reflected this trend toward elaborateness as they functioned to provide protection, links with the spirit world, and status. It is no doubt this guardian figure served that purpose for its master. Its ferociousness is felt through the sight and sound of its growl, triggered by the approach of danger; it was believed that this beast took life during the depths of night or at moments of threat. Equipped with wings, cloven hooves, a long spiny tail that continued up its back, and a snout, the guardian animal was a coming together of the best features of different animals: lion, horse, and dragon. This guardian beast crouches in a lion-like stance, thrusting its chest forward and drawing back its head. Although once painted in bright colors, the hardship of years of underground burial have caused the red, blue, and white coatings to fade. This guardian figure surely captures the vitality and spirit of supernatural beings in its awesome form. Created during one of the greatest periods in Chinese history, it reflects the artistic vitality of the time and provides us with a unique glimpse into the luxurious and sophisticated world of contemporary upper class life. - (H.516)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

H.517 Origin: China Circa: 618 AD to 907 AD Dimensions: 15.25" (38.7cm) high x 6" (15.2cm) wide

Catalogue: V17 Collection: Chinese Medium: Terracotta Location: Great Britain

The second flowering of tomb figurines occurred during the reunification of the empire under the Sui (581-618) through the first half of the Tang (618-907). Tang figurines reflect the wealth, vitality, and openness of a great empire. A gradual evolution occurred in the choice of tomb objects emphasizing more ceremonial aspects of daily life and the supernatural quality of guardian beings. Buddhist Guardian Kings and animal guardians rose to become some of the most prized subjects, valued for the importance they served in protecting the tombs and the dead. This figurine of an animal guardian is characteristic of the human-animal hybrid creatures chosen to guard the entrances of tomb quarters. Spiky wings on the forequarters adorn the body of a crouching lion with cloven hooves and a curled tail. A horn of twisted hair rising from the head and a menacing expression--snouted nose, flared nostrils, tensed forehead, glaring eyes--capture the bestiality of this supernatural being intended to ward off evil and wrongdoing. The colors have worn over time, but patches of red, blue, and white paint adhere to the surface. The Tang period is the high point in the history of Chinese tomb figurines. The important role assigned to these models in Tang tomb arrangements and their significances as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury objects. Created during one of the greatest periods in Chinese history, they reflect the artistic vitality of the time and give a unique glimpse into the luxurious and sophisticated world of contemporary upper class life. This figurine of a guardian beast is a great addition to collection of tomb objects, representing the changes in subject material that occurred in the mingqi industry of the Tang Dynasty. - (H.517)

S e t o f T h r e e Ta n g P o l y c h r o m e G u a r d i a n F i g u r e s

H.009 Origin: China Circa: 618 AD to 907 AD Dimensions: 15.75" (40.0cm) high x 4.5" (11.4cm) wide

Collection: Chinese Style: Tang Dynasty Medium: Terracotta Location: United States

These unglazed figures were covered with white slip and then painted with mineral pigments. Over time, the original bright reds, greens and black faded though traces remain throughout on the pointed caps, clad armor, layers of robe, and flowing pantalones. In this set, each figure bestows distinguishable characteristics, unique among burial objects that were mass produced. The central figure wears a distinctive cap with three triangular sections pointed upward covering the center top knot. The two side figures sport similar red caps that are bordered with a white flap, tight-fitting and expose the top knot. They differ in posture--one figure assimilates holding a weapon with the right hand lowered and the other vice versa. Though they resemble Deva Kings, they are most likely supernatural representations of fearsome military officers.

Without uncertainty, their role was to protect the underground tomb and its inhabitant, and as retainer, to serve their sovereign in the realm of other-worldly existence.

Considered to be the finest examples of Chinese burial objects, Tang figurines reached their peak in the first half of the eighth century The important role assigned to these models in Tang tomb arrangements and their significance as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury objects. They reflect the artistic vitality of the time and give a unique perspective into Tang customs and practices as well as the contemporary upper class life. - (H.009)

P a i r o f Ta n g F i g u r e s

H.033 Origin: China Circa: 618 AD to 907 AD Dimensions: 9.25" (23.5cm) high

Collection: Chinese Medium: Terracotta Location: Great Britain

This unique set of painted pottery figures possibly represents individuals wearing ancestral ceremonial garb or divine figures associated with local religious cults. The figure dressed in a collar-less, long sleeved white tunic decorated with orange donutshaped circles and matching hood shares iconographic features similar to that of the Heavenly Guardians--bulging eyes, tensed forehead, snub nose, grimace, and plump which give it a ferocious expression. The other figure wears a similar outfit of white circles on a black background, but instead of a tunic, she wears a three-quarter robe with voluminous sleeves that is tied beneath the breasts over a white pleated flowing undergarment. The rise of the hood is much higher and impressive, and her look is not one of dread, but of serenity and complacency. Both figures hold hands out in front with holes drilled in areas indicating that they once held objects. - (H.033)

Ta n g S cu lptu re o f a S eated L ady

H.047a Origin: China Circa: 618 AD to 907 AD Dimensions: 8.25" (21.0cm) high

Collection: Chinese Medium: Terracotta Location: UAE

Seated with legs slightly apart and arms resting on lap, this female figurine depicts an aristocratic lady. Her delicate features and plump face convey the ideal image of feminine beauty, as her posture on a seated throne relate to her privileged position among women of the inner chambers. She wears elaborately designed clothing consisting of several layers of intricately decorated silk robes in floral motif. The various borders, hems, cuffs and collars are delineated in colors of white, red, green and yellow, and the designs are primarily painted on, except for a few incised lines and folds on the outer robe. The woman clasps a sash in her hands which hangs between cloud toe tipped shoes. Her face is whitened, delicately modeled in the cheek, mouth, nose and eye area which is pronounced with rose and black pigment. Her hair is combed into a bun, surmounted by a small, puffy cap decorated in matching floral motif. Burial art of the T'ang period is characterized by a penchant toward figural objects rather than architectural models that prevailed during the Han. Princes and officials often commissioned large, brilliantly glazed sets of ceramic figures which ushered in the mass production of burial objects. However, the desire to imbue figurines with a life-like quality kept artisans busy creating Buddhist guardians, court entourage, civil and military officials and other figures. - (H.047a)

S e t o f S i x Ta n g B r o n z e Wi n e C u p s

H.656 Origin: China Circa: 9 th Century AD Dimensions: 4.5" (11.4cm) wide

Collection: Chinese Medium: Bronze Location: Great Britain

The most important feature of this magnificent set of six stemmed wine cups, featuring two larger cups and four smaller ones, is a two character inscription etched into the inner stem of one of the larger cups. This inscription, a testament to the master artisans who crafted these vessels, can be translated as, “Imperial Warehouse.” This message confirms that this set was the treasured possession of the royal family. Furthermore, the text reveals the pride of the artists who produced works specifically for the King and his associates. Although portions of the vessels are covered by magnificent patina, remarkable for its diverse texture and coloring, other sections of the cups remain in pristine condition, revealing the “mirror black” finish of the bronze that looks similar to silver. Discovered buried inside a tomb, this set of wine cups clearly played as important a role in the afterlife as it did in this world. This set reveals as much about the sophisticated social customs of the Tang Dynasty as it does about their spiritual beliefs. Clearly, the joys of life, including the enjoyment of wine, continue on into the next world. This set was not interred with its owner as a memorial to his wealth, but as a functional tool meant for use in the afterlife. In fact, these cups were forged by a master to survive throughout eternity, as they seemingly have. While we gaze upon this set and hold the cups in our hands, raising them up to our lips, we are transported back in time. We repeat the same actions that occurred almost twelve hundred years ago.

Yet, the action of drinking would have continued into the afterlife and beyond. Thus we can hold these cups and imagine saying a toast, to the original owner of this set, who continues to treasure this remarkable work of art from the next world as we do in our own. - (H.656)

Ta n g P o l y c h ro me S cu lp tu re o f an Attendant

H.630 Origin: China Circa: 8 th Century AD to 9 th Century AD Dimensions: 21.75" (55.2cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

This attendant exhibits a finesse and gentleness associated with the civil corp. He wears a mid-length orange tunic and armored breastplate and backplate bound by cords, while a flowing white bottom piece exposes the tips of his burgundy shoes. Standing in a proud and regal position, with his hands held together just above his stomach, this figure patiently awaits the commands of his deceased master in the afterlife.

Considered to be the finest examples of Chinese burial objects, Tang figurines reached their apex in the first half of the eighth century. The important role assigned to these models in Tang tomb arrangements and their significance as status symbols and powerful guardians protecting the dead meant that these clay figures became luxury items. They reflect the artistic vitality of the time and give a unique perspective into Tang customs and practices as well as the contemporary upper class life. This object symbolizes both the earthly wealth of his master as well as the familial piety of the deceased’s relative who commissioned the work. With furrowed brow and dimpled cheeks, this attendant bears a pensive, compassionate expression that is both wise and comforting. Clearly, this is a man who the deceased can turn to for spiritual advice and assistance in beginning a new life in the next world. Today, this sculpture is a vivid reminder of the glories of Chinese civilization. He represents both the wealth and taste of the culture, and their appreciation of beauty, as well as the philosophical and religious beliefs of the time. - (H.630)

P a i r o f Ta n g S c u l p t u r e s o f S p i r i t G u a r d i a n s

H.734 Origin: China Circa: 618 AD to 906 AD Dimensions: 22.75" (57.8cm) high

Collection: Chinese Medium: Painted Terracotta Location: Great Britain

Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures are mythological composite creatures, one always an amalgamation of various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were most likely interred in order to ward off potential tomb robbers or perhaps evil spirits in the next world that might try to infiltrate the tomb. These intimidating spirit guardians both stand on pedestals, their feet covered in slithering snakes. On each base, a small turtle is present. The unusual appearance of this amphibian might allude to the ruler whose tomb these sculptures were in charge of guarding. However, their significance has been lost to us over the centuries. Perhaps the most stunning feature of this pair is their back, elegantly painted in the orange and black stripes of a tiger.

Protrusions of horns and flames emerge from their body, remarkably in tact considering their fragility. Although these works are supposed to be frightful, the masterfully delicate sculpting of their flaming heads and the gorgeous colors of their Sancai glaze prove more attractive than repelling. - (H.734)

Tan g G lazed Terracotta Camel and F or eign Groom

H.741 Origin: China Circa: 618 AD to 906 AD Dimensions: 20.5" (52.1cm) high

Catalogue: V33 Collection: Chinese Medium: Glazed Terracotta Location: Great Britain

The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.

--Guo Pu, 3rd Century AD For the Chinese, camels symbolized commerce and its associated wealth, largely concentrated on profits though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh desert of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and 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 commodities 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 artist 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 sculpture of a camel and an accompanying groom is a perfect example of the refined artistry dedicated to such works despite the fact that they were never meant to be seen by the living. The distinct physiognomy of the groom reveals that he is of foreign descent, most likely from Central Asia. We can imagine him tending to the vast herds of these invaluable beasts that were maintained by the government. He holds his arm in the air as if leading the camel; we can almost see the reigns. Both the camel and rider are elegantly glazed in brown hues that complement the natural coat of the camel. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.741)

Ta ng Sc ul p tu re o f a War rio r

H.737 Origin: China Circa: 618 AD to 906 AD Dimensions: 31.5" (80.0cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

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 have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians - were buried with the dead. This dynamic warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that have their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent beast. Although this figure is slightly different, we can assume his role in the afterlife would have been the same.

This warrior is poised for battle, arms raised in the air, mouth held open as if emitting a battle cry. A small amount of the original polychrome is still visible, specifically along his arms. According to one Chinese tradition explaining their origin, the emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods. Originally, this warrior would have brandished a weapon in his hands. Most likely a sword or spear, this weapon was probably fabricated in a material such as wood that deteriorated over the centuries.

Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits, this warrior does not repel us; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H.737)

Ta n g Sc ulptu re o f a R ecu mbe n t O x

H.762 Origin: China Circa: 618 AD to 906 AD Dimensions: 4.25" (10.8cm) high x 8.75" (22.2cm) depth

Collection: Chinese Medium: Terracotta Location: UAE

Ta n g Sc ulptu re o f a R ecu mbe n t O x

H.763 Origin: China Circa: 618 AD to 906 AD Dimensions: 5.75" (14.6cm) high x 9.75" (24.8cm) depth

Collection: Chinese Medium: Terracotta Location: UAE

Ta n g S cu lptu re o f a S tan d ing Ox

H.764 Origin: China Circa: 618 AD to 906 AD Dimensions: 8.25" (21.0cm) high x 12.25" (31.1cm) depth

Collection: Chinese Medium: Terracotta Location: United States

During the Tang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Aside from function, this sculpture is also remarkable for its exquisite state of preservation. During the Tang Dynasty, 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 T’ang Dynasty. This bovine effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.762) - (H.763) - (H.764)

Tan g S c u l p t u re of an Ox w ith R emo vab le Horns

H.765 Origin: China Circa: 618 AD to 906 AD Dimensions: 12.5" (31.8cm) high

Collection: Chinese Medium: Terracotta Location: United States

During the Tang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Besides it function, this sculpture is also remarkable for its massive size and exquisite state of preservation. Removable horns can be attached, completing the astounding illusion of the animal. Such delicate attachments rarely survive the ravages of time and the stresses of excavation. Some of the original red pigment that once decorated the animal is also visible on its nose. During the Tang Dynasty, 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. - (H.765)

Tan g S c u l p t u re of an Ox w ith R emo vab le Horns

H.766 Origin: China Circa: 618 AD to 906 AD Dimensions: 13.5" (34.3cm) high

Collection: Chinese Style: Tang Dynasty Medium: Terracotta Location: United States

During the Tang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Besides it function, this sculpture is also remarkable for its massive size and exquisite state of preservation. Removable horns can be attached, completing the astounding illusion of the animal. Such delicate attachments rarely survive the ravages of time and the stresses of excavation. Some of the original red pigment that once decorated the animal is also visible on its mouth. During the Tang Dynasty, 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (H.766)

P a i r o f Ta n g S c u l p t u r e s o f S p i r i t G u a r d i a n s

H.755 Origin: China Circa: 618 AD to 906 AD Dimensions: 14" (35.6cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, usually one an amalgamation various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures.

This pair is unusual in the fact that both figures are composite beasts without human characteristics. Both spirit guardians are quite similar in appearance, with clawed feet, long thin legs, broad shoulders, and snarling faces with recessed eyes and upturned noses. One of the figures features the bumps of his spine prominently along his back.

Their fangs are clearly delineated, appearing as if dogs warding off an intruder. Both beasts have a tuft of hair that rises from the center of their heads as if a dancing flame.

Very little of the polychrome paint that once covered these figures remains; extraordinary in itself considering the many centuries these works were entombed.

Despite their intimidating appearance and fierce features, these beasts do not repel us as they would have frightened away tomb robbers during the T’ang Dynasty; instead, we are attracted to their aesthetic beauty and rich cultural history. - (H.755)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

H.761 Origin: China Circa: 618 AD to 906 AD Dimensions: 14.25" (36.2cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures.

This mythological beast combines the body and face of a feline with the legs and hooves of a horse. An undulating orange form similar to a blade rises out of the back of a head, serving as a backdrop to the pointed central antler that emerges from in between his upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted orange and his legs and face are adorned with the black stripes of a tiger. A gorgeous floral pattern rendered in orange, green, and black decorates his chest. His snarling face, complete with outlined fangs, has been expertly rendered, conveying a determined expression that is fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.761)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

H.770 Origin: China Circa: 618 AD to 906 AD Dimensions: 14" (35.6cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. This mythological beast combines the body and face of a feline with the legs and hooves of a horse. An undulating form similar to a blade rises out of the back of a head, serving as a backdrop to the large central antler that emerges from in between his upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted in the red and black stripes of a tiger while his chest is decorated with a gorgeous floral pattern rendered in red, orange, and green. His face has been expertly rendered, conveying a determined expression that is both fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.770)

Ta n g G i lt Sc ulp tu re o f a S p irit G u ardian

H.771 Origin: China Circa: 618 AD to 906 AD Dimensions: 18.5" (47.0cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. This mythological beast combines the body and face of a feline with the legs and hooves of a horse. An undulating form similar to a blade rises out of the back of his head, in between the large pair of antlers that emerges from the top of his head, next to its upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted orange with black spots of a Bengal leopard while his chest is decorated with a delicately detailed floral pattern rendered in red, orange, and green. Most remarkable, his kneecaps have been gilt. His face has been expertly rendered, conveying a determined expression that is both fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.771)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

H.772 Origin: China Circa: 618 AD to 906 AD Dimensions: 14.5" (36.8cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures.

This mythological beast combines the body and face of a feline with the thin legs and two-toed feet of a camel. An undulating form similar to a blade rises out of the back of a head, serving as a backdrop to the large central antler that emerges from in between his upright ears that look almost like fish fins. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted in the orange and black stripes of a tiger while his chest is decorated with a gorgeous floral pattern rendered in red, blue, and green. His face has been expertly rendered, conveying a determined expression that is both fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.772)

Ta ng Sc ul p tu re o f a War rio r

H.835 Origin: China Circa: 618 AD to 906 AD Dimensions: 20.5" (52.1cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

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 have been excavated. Entire retinues of ceramic figures--animals, entertainers, musicians, guardians--were buried with the dead. This warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that had their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent ox. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This armored warrior is poised for battle. He rests his right arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a spear, which was made of a material such as wood that deteriorated over the centuries. A small amount of the original polychrome is still visible, specifically on his pink face and forearm. According to one Chinese tradition explaining their origin, the emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods.

Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits. - (H.835)

Ta ng Sc ul p tu re o f a War rio r

H.837 Origin: China Circa: 618 AD to 906 AD Dimensions: 24" (61.0cm) high

Collection: Chinese Style: Tang Dynasty Medium: Painted Terracotta Location: United States

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 have been excavated. Entire retinues of ceramic figures--animals, entertainers, musicians, guardians--were buried with the dead. This warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that had their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent ox. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This armored warrior is poised for battle. He rests his right arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a spear, which was made of a material such as wood that deteriorated over the centuries. A small amount of the original polychrome is still visible, specifically on his pink face and forearm. According to one Chinese tradition explaining their origin, the emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods.

Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits, this warrior does not repel us; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H.837)

Ta ng Sc ul p tu re o f a War rio r

H.836 Origin: China Circa: 618 AD to 906 AD Dimensions: 20.75" (52.7cm) high

Collection: Chinese Style: Tang Dynasty Medium: Painted Terracotta Location: United States

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 have been excavated. Entire retinues of ceramic figures--animals, entertainers, musicians, guardians--were buried with the dead. This warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that had their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent ox. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This armored warrior is poised for battle. He rests his right arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a spear, which was made of a material such as wood that deteriorated over the centuries. A small amount of the original polychrome is still visible, specifically on reddened mouth and eyes and his red skirt. According to one Chinese tradition explaining their origin, the emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles.

When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods. Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits, this warrior does not repel us; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H. 836)

Ta ng Sc ul p tu re o f a War rio r

H.879 Origin: China Circa: 618 AD to 906 AD Dimensions: 22.75" (57.8cm) high

Collection: Chinese Style: Tang Dynasty Medium: Painted Terracotta Location: United States

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 have been excavated. Entire retinues of ceramic figures--animals, entertainers, musicians, guardians--were buried with the dead. This dynamic warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that have their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent beast. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This warrior is poised for battle. He rests his left arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a halberd, which was made of a material such as wood that deteriorated over the centuries. A striking amount of the original polychrome is still visible, specifically on his pink face and the individual scales of metal intricately painted on his armor and helmet. According to one Chinese tradition explaining their origin, Emperor Taizong, when ill, was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods. Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits, this warrior does not repel us, even despite his beady-eyed, bucktoothed demonic visage; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H.879)

Ta ng Oc hre-Glazed C ame l

H.914 Origin: China Circa: 618 AD to 906 AD Dimensions: 10" (25.4cm) high

Collection: Chinese Style: tang Dynasy Medium: Glazed Terracotta Location: United States

During the Tang Dynasty, the status of the beloved camel ranked second only to the revered horse. Camels symbolized commerce and its associated wealth, profits made possible primarily through the legendary Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreigner merchants, and exotic merchandise into China, connecting the Mediterranean world with the Far East.

However, this arduous journey through the jagged mountains and rugged deserts of Central Asia could only be undertaken by the two-humped Bactrian camel, a beast 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, T’ang artist began to create charming representations of these prized creatures as mingqi wealth and prosperity to come in the afterlife. An ancient Chinese custom, mingqi were works of art specifically created to be interred in the tombs of the elite classes in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from such tombs, and this glazed sculpture of a camel is a perfect example of the refined artistry dedicated to such works, despite the fact that they were never meant to be seen by the living. Holding his head high in the air, this camel possesses an air of grace and dignity. He appears to demand the adoration that the ancient Chinese bestowed upon him. With refined modeling and defined musculature, this gorgeous sculpture reveals the Tang Dynasty’s respect and admiration for this magnificent creature. - (H.914)

Tan g P o l y c h r ome S cu lp tu re o f a For e ig n Groom

H.919 Origin: China Circa: 618 AD to 906 AD Dimensions: 22" (55.9cm) high

Collection: Chinese Style: Tang Dynasty Medium: Painted Terracotta Location: United States

Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese empire. While the local Mongol Pony was native to the region, larger and faster breeds were imported from Central Asia, eventually leading to the establishment of the Silk Road. This sculpture of a groom represents one of the foreigners who imported or cared for such horses. Dressed in an elegantly painted orange tunic, this groom features an expressive and emotive face with a broad nose that reveals his foreign origins. He wears a distinctive conical hat that reinforces his foreign status.

While this groom might have accompanied a prized steed on the long and arduous journey from Central Asia to its new owner inside China, it is just as likely that this expert groom lived and resided in China, tending to the needs of a royal stable of stallions. During the T’ang Dynasty, it was not uncommon for foreigners to reside in the larger cosmopolitan centers of the empire. Clearly, this groom is no meager peasant, but a refined and respected foreigner who was memorialized in this sculpture.

He holds one of his arms aloft, as if pulling the reigns to lead a horse. We can easily picture him lovingly combing a horse and brushing its mane. This groom is no mere worker, but a talented and respected artist who brought out the full beauty of these revered creatures. - (H.919)

Tan g P o l y c h r ome S cu lp tu re o f a For e ig n Groom

H.920 Origin: China Circa: 618 AD to 906 AD Dimensions: 21" (53.3cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

Horses were among the most revered creatures in ancient China. The speed and strength of these majestic creatures was vital to the protection and expansion of the Chinese empire. While the local Mongol Pony was native to the region, larger and faster breeds were imported from Central Asia, eventually leading to the establishment of the Silk Road. This sculpture of a groom represents one of the foreigners who imported or cared for such horses. Dressed in an elegantly painted orange tunic, this groom features an expressive and emotive face with a pointed black beard that reveals his foreign origins. While this groom might have accompanied a prized steed on the long and arduous journey from Central Asia to its new owner inside China, it is just as likely that this expert groom lived and resided in China, tending to the needs of a royal stable of stallions. During the T’ang Dynasty, it was not uncommon for foreigners to reside in the larger cosmopolitan centers of the empire. Clearly, this groom is no meager peasant, but a refined and respected foreigner who was memorialized in this sculpture. He holds one of his arms aloft, as if pulling the reigns to lead a horse. We can easily picture him lovingly combing a horse and brushing its mane. This groom is no mere worker, but a talented and respected artist who brought out the full beauty of these revered creatures. - (H.920)

Ta ng Ter raco tta O x an d C art

H.924 Origin: China Circa: 618 AD to 906 AD Dimensions: 10.5" (26.7cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

During the Tang 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 ox, 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 red body of the ox and orange stripes along the sides of the cart. 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 painted black spokes. During the T’ang Dynasty, the Chinese believed that the afterlife was a continuation of our earthly existence. Thus, this ox 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 T’ang Dynasty. - (H.924)

Ta n g Te r r ac otta S cu lp tu re o f a Stan d ing Ox

H.906 Origin: China Circa: 618 AD to 906 AD Dimensions: 7" (17.8cm) high

Collection: Chinese Medium: Terracotta Location: United States

Ta n g Te r r ac otta S cu lp tu re o f a Stan d ing Ox

H.907 Origin: China Circa: 618 AD to 906 AD Dimensions: 7" (17.8cm) high

Collection: Chinese Medium: Terracotta Location: United States

During the Tang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Aside from function, this sculpture is also remarkable for its exquisite state of preservation. During the Tang Dynasty, 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 Tang Dynasty. This bovine effigy has served its eternal purpose well. - (H.906) - (H.907)

Tan g Ter r a c otta S cu lp tu re o f a R ec u mb ent Ox

H.908 Origin: China Circa: 618 AD to 906 AD Dimensions: 3.75" (9.5cm) high

Collection: Chinese Medium: Terracotta Location: United States

Tan g Ter r a c otta S cu lp tu re o f a R ec u mb ent Ox

H.909 Origin: China Circa: 618 AD to 906 AD Dimensions: 4" (10.2cm) high

Collection: Chinese Medium: Terracotta Location: United States

Tan g Ter r a c otta S cu lp tu re o f a R ec u mb ent Ox

H.911 Origin: China Circa: 618 AD to 906 AD Dimensions: 4.75" (12.1cm) high

Collection: Chinese Medium: Terracotta Location: United States

During the Tang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. Aside from function, this sculpture is also remarkable for its exquisite state of preservation. During the Tang Dynasty, 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 Tang Dynasty. This cow effigy has served its eternal purpose well. - (H.908) - (H.909) - (H.911)

Ta n g Te r r a c o tta Sc u lp tu re o f a R ecu mbe nt Ram

H.912 Origin: China Circa: 618 AD to 906 AD Dimensions: 5" (12.7cm) high

Collection: Chinese Style: Tang Dynasty Medium: Terracotta Location: United States

During the Tang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ram served as nourishment. In China, the ram is one of the Twelve Terrestrial Branches of the Chinese calendar and is the emblem of retired life. A recumbent ram or sheep symbolizes the Confucian virtue of filial piety. During the Tang Dynasty, 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. It is possible this sculpture was created to serve as food for the afterlife. However, much more than a mere sculpture; this ram is a gorgeous memorial to the religious and philosophical beliefs of the Tang Dynasty. - (H.912)

Ta n g Te rr aco tta S cu lp tu re o f a Ca mel

H.986 Origin: China Circa: 618 AD to 906 AD Dimensions: 15.75" (40.0cm) high

Collection: Chinese Medium: Painted Terracotta Location: United States

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 though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the arduous journey through the rugged mountains and harsh desert of Central Asia could only be traversed by the two-humped Bactrian camel. This remarkable beast 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 commodities 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 artist 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 polychrome 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. A remarkable amount of the original pigment that once covered this work remains intact. Vibrant yellow, orange, and burgundy hues decorate the camel and its accoutrements. Bulging with merchandise, a large pack shaped like a growling tiger, or perhaps a dragon, rests atop the camel’s back. This majestic sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.986)

Ta n g Te rr aco tta S cu lp tu re o f a Ca mel

H.987 Origin: China Circa: 618 AD to 906 AD Dimensions: 15.75" (40.0cm) high

Collection: Chinese Art Medium: Painted Terracotta Location: United States

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 though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the arduous journey through the rugged mountains and harsh desert of Central Asia could only be traversed by the two-humped Bactrian camel. This remarkable beast 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 commodities 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 artist 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 polychrome 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. A remarkable amount of the original pigment that once covered this work remains intact. Vibrant yellow, orange, and burgundy hues decorate the camel and its accoutrements. Bulging with merchandise, a large pack shaped like a growling tiger rests atop the camel’s back. This majestic sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.987)

Ta n g Te rr aco tta S cu lp tu re o f a Ca mel

H.978 Origin: China Circa: 618 AD to 906 AD Dimensions: 15.75" (40.0cm) high

Collection: Chinese Art Style: Tang Dynasty Medium: Painted Terracotta Location: United States

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 though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the arduous journey through the rugged mountains and harsh desert of Central Asia could only be traversed by the two-humped Bactrian camel. This remarkable beast 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 commodities 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 artist 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 polychrome 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. Much of the original pigment that once covered this work remains intact. Burgundy brushstrokes highlight the camel’s neck and mane, the tips of the humps, as well as the hooves and legs. In addition, black paint remains along the saddle. This majestic sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H. 978)

Ta ng Sc ul p tu re o f a War rio r

H.1009 Origin: China Circa: 618 AD to 906 AD Dimensions: 23.75" (60.3cm) high

Collection: Chinese Art Medium: Painted Terracotta Location: United States

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 have been excavated. Entire retinues of ceramic figures--animals, entertainers, musicians, guardians--were buried with the dead. This dynamic warrior bares a striking resemblance to the Buddhist warrior deities known as Lokapalas that have their origins as protectors of Buddhist temples but assumed a mortuary role in China. However, this warrior does not stand in the traditional stance of the Lokapala, subduing a demon or triumphing over a recumbent beast. Although this figure is slightly different, we can assume his role in the afterlife would have been the same. This warrior is poised for battle. He rests his left arm on his waist and holds his other arm in the air. Originally, he would have likely brandished a weapon of sort, perhaps a sword, which was made of a material such as wood that deteriorated over the centuries. A small amount of the original polychrome is still visible, specifically on his red lips and pink face and hand. According to one Chinese tradition explaining their origin, Emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods.

Although he was intended to protect the tomb and ward off any infiltrators, be they tomb robbers or malevolent spirits, this warrior does not repel us; instead, his compelling history and stunning aesthetic beauty attracts us to him. - (H.1009)

Ta n g Te rr aco tta S cu lp tu re o f a Ca mel

H.1056 Origin: China Circa: 618 AD to 906 AD Dimensions: 17.5" (44.5cm) high

Collection: Chinese Art Medium: Painted Terracotta Location: United States

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 though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the arduous journey through the rugged mountains and harsh desert of Central Asia could only be traversed by the two-humped Bactrian camel. This remarkable beast 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 commodities 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 artist 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 polychrome 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. A remarkable amount of the original pigment that once covered this work remains intact. Vibrant yellow, red, and burgundy hues decorate the camel’s saddle in a charming motif of flowers and spiraling leaves. The camel itself is also covered in a lovely ochre color, while its eyes are highlighted in red and black with each lash applied individually. This majestic sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.1056)

Ta n g Te rr aco tta S cu lp tu re o f a Ca mel

H.1059 Origin: China Circa: 618 AD to 906 AD Dimensions: 15" (38.1cm) high

Collection: Chinese Art Medium: Terracotta Location: United States

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 though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the arduous journey through the rugged mountains and harsh desert of Central Asia could only be traversed by the two-humped Bactrian camel. This remarkable beast 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 commodities 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 artist 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 polychrome 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. Much of the original pigment that once covered this work remains intact. Burgundy brushstrokes highlight the tufts of hair along the camel’s neck and mane, the tips of the humps, as well as the hooves and legs. In addition, black and white painted highlights still decorate the saddle blanket. This majestic sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.1059)

Ta n g Te rr aco tta S cu lp tu re o f a Ca mel

H.1060 Origin: China Circa: 618 AD to 906 AD Dimensions: 18.125" (46.0cm) high

Collection: Chinese Art Medium: Terracotta Location: United States

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 though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the arduous journey through the rugged mountains and harsh desert of Central Asia could only be traversed by the two-humped Bactrian camel. This remarkable beast 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 commodities 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 artist 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 polychrome 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. A remarkable amount of the original pigment that once covered this work remains intact. Vibrant yellow, red, and burgundy hues decorate the camel and its accoutrements. Bulging with merchandise, a large pack shaped like a growling tiger rests atop the camel’s humps. This majestic sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.1060)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

H.1063 Origin: China Circa: 618 AD to 906 AD Dimensions: 15.25" (38.7cm) high

Collection: Chinese Art Medium: Terracotta Location: United States

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians are a general type of Chinese art known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures.

This mythological beast combines the body and face of a feline with the legs and hooves of a horse. Undulating fiery waves rise from his arms, alternately painted green with a black stripe or left unadorned, culminating in a large orange peak that rises from his head. From in between his ears that appear almost like fish fins, rises an undulating antler and a segmented black horn, both framed by the orange flame behind. The bright polychrome that covers this sculpture is remarkably intact. His shoulders are painted orange and his legs and face are adorned with the black stripes of a tiger. A gorgeous floral pattern rendered in orange, green, and black decorates his chest. His snarling face, complete with tiny fangs, has been expertly rendered, conveying a determined expression that is fierce and intimidating. Although this work was supposed to frighten away intruders, the masterfully delicate sculpting and gorgeous colors prove far more attractive than repelling. - (H.1063)

Tan g Ter r a c o tta Sc u lp tu re o f a Kne e li ng Camel

X.0411 Origin: China Circa: 618 AD to 906 AD Dimensions: 12.25" (31.1cm) high x 14.5" (36.8cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

For the Chinese, 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, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and 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 commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of T’ang China, carrying both traders and their goods directly into the markets. Likewise, T’ang artist 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 sculpture of a camel and an accompanying groom is a perfect example of the refined artistry dedicated to such works despite the fact that they were never meant to be seen by the living. Thick tufts of furry hair cover the camel along his head, neck, humps and knees. A saddle bulging with exotic goods and merchandize, including an easily discernable rolled blanket, has been placed between the two humps. The facial features of this creature have been rendered with extreme attention to detail, including the beady eyes. The camel is in the process of kneeling down (or perhaps standing up) in order to unload the merchandize carried on his back. This sculpture reveals the T’ang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (X.0411)

P a i r o f Ta n g Te r r a c o t t a Wa r r i o r s

X.0621 Origin: China Circa: 618 AD to 906 AD Dimensions: 26" (66.0cm) high x 10.50" (26.7cm) wide

Collection: Chinese Art Medium: Terracotta Additional Information: 48 each Location: Great Britain

Ta n g J ad e Scu lp tu re o f a Hor se

X.0639 Origin: China Circa: 618 AD to 906 AD Dimensions: 1.25" (3.2cm) high x 2" (5.1cm) wide x 1" (2.5cm) depth

Collection: Chinese Art Medium: Jade Location: United States

Ta ng Te r r a co tta C amel an d R emova b le Rider

H.1087 Origin: China Circa: 7 th Century AD to 8 th Century AD Dimensions: 24" (61.0cm) high x 19" (48.3cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and 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 commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of T’ang China, carrying both traders and their goods directly into the markets. Likewise, T’ang artists began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.

During the T'ang 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, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs, and this sculpture of a camel and rider is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. The distinct physiognomy of the removable rider, featuring deep-set squinting eyes and fleshy cheeks, reveals that he is of foreign descent, most likely from Central Asia. His hair has been tied back in a ponytail.

Incised lines along the top of his head indicate individual locks of hair. He wears a jacket with a broad fur lapel. The jacket is left partially open, leaving his chest and belly exposed. His nipples are clearly depicted and the rolls of fat on his belly reveal his wealth. This attire and posture is consistent with other representations of foreign riders. A flask with a red heart-shaped decoration hangs at his side on the saddle. Thick tufts of furry hair cover the camel along his head, neck, and front knees. The camel holds his mouth wide open, exposing his teeth. The undulating tail gracefully rises in the rear. This sculpture reveals the T’ang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H.1087)

Early Tang Terracotta Camel with Removable Saddle

LA.508 Origin: China Circa: 7 th Century AD to 8 th Century AD Dimensions: 22" (55.9cm) high x 19.5" (49.5cm) wide

Collection: Chinese Medium: Terracotta Location: Great Britain

“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and 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 commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of T’ang China, carrying both traders and their goods directly into the markets. Likewise, T’ang artist began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.

During the T'ang 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, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs, and this sculpture of a camel is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. Thick tufts of furry hair cover the camel along his head, neck, and front knees. The camel holds his mouth wide open, exposing his teeth. The undulating tail gracefully rises in the rear. A saddle filled with exotic goods to be hauled along the Silk Road rests on the back of this beast. Long tubes sag across his back in between the humps. Could these be rolled carpets from Central Asia that are destined for China? This sculpture reveals the T’ang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of Ancient China. - (LA.508)

Ta n g P a i n t e d Te rr aco tta S cu lp tu re o f a Camel

LA.513 Origin: China Circa: 618 AD to 906 AD Dimensions: 10.75" (27.3cm) high x 19" (48.3cm) wide

Collection: Chinese Medium: Painted Terracotta Location: Great Britain

“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and 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 commodities 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 artist began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.

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, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art were excavated from tombs, and this sculpture of a camel is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. This recumbent camel has paused for a moment before returning on the arduous journey. The saddle is packed high with goods including rolled carpets possibly from Central Asia. A fur blanket with engraved tufts of hair tops the bundle. The camel’s head is held high in the air, as if getting ready to stand. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of Ancient China. This fine unglazed example would date back to the early Tang period, i.e. 7th century AD, when unglazed pottery figurines were still preferred to the later sancai glazed earthenware. Similar sculptures have been indeed unearthed throughout the Zhongyuan, prevalently in Shanxi and Shaanxi provinces, attesting to the lively and incompassed artistry of the early Tang potters. (LA.513)

G l a z e d Ta n g P o t t e r y I n c e n s e B u r n e r

LA.518 Origin: China Circa: 618 AD to 906 AD Dimensions: 14.25" (36.2cm) high

Collection: Chinese Art Medium: Terracotta Location: Great Britain

P a i r o f E a r l y Ta n g P o t t e r y F e m a l e D a n c e r s

LA.558 Origin: China Circa: 618 AD to 700 AD Dimensions: 10.75" (27.3cm) high

Collection: Chinese Art Medium: Terracotta Additional Information: part of DK.119/ 9 items in a set Location: Great Britain

Two painted earthenware figurines of female dancers, white pigmented faces with red lips, upswept hair in high bun, high waisted flowing floor-length gown with frontal central pleat revealing trefoil upturned shoes, traces of original pigmentation remain.

One arm folded backward behind the back, the other raised and bent at an angle, the long sleeve covering the hand to mimic a dance movement.

Music, as well as dance, was highly appreciated by the Tang aristocracy who would indulge frequently in lavish displays. The atmosphere was well captured by the poet Du Fu (712-770), who in his “Song of the Beautiful Ladies” provides a poetic description of these entertainments: “Third month, third day, in the air a breath of newness: By Chang’ An riverbanks the beautiful ladies crowd, Warm-bodied, modest-minded, mild and pure, With clear sleek complexions, bone and flesh well matched, In figured-gauze robes that shine in the late spring, worked with golden peacocks, silver unicorns. On their heads what do they wear? Kingfisher glinting from hairpins that dangle by side lock borders. On their back what do I see? Pearls that weight the waistband and subtly set off the form." [Watson 1984: 222] Early Tang music and dance stemmed out of Central Asia, from Silk Road centres such as Kucha and Sogdiana. The Central Asian musical influence is well reflected in the inventory of musical instruments, which included small drums and cymbals, barbarian lutes (hu pipa) and horizontal harps (hangkou) of clear Central Asian derivation. These exotic instruments were preferred during the Tang period possibly because they would have been easy to carry around for less formal performances.

According to archaeological findings, Chinese dance has a history of over five thousand years. Until the Han dynasty (206 B. C. - A. D. 220), most of the Chinese dances originated and were maintained by from the folks. Only during the Han period, a musical entertainment court was established for the imperial family, which was essentially a centre for systematically documenting and enhancing folk songs and dances.

Because of the political stability and the economic prosperity of the Tang dynasty, poetry, music and dance were given opportunities to flourish. The Tang dynasty has been regarded as the golden age for dance in ancient China. Dances in the Tang dynasty inherited techniques that were developed in the past dynasties such as Zhou, Qin, Han, Wei, Jin, and Nanbei. During the early Tang period, Buddhism was introduced to China and because trade and social relationship with other countries rapidly expanded, dances was influenced by folk dances of other countries such as

India, Rome, Persia (Iran), Korea, Cambodia, Burma, Vietnam, and other Central Asian countries, through the Silk Road. In addition, it also combined with other forms of fine arts such as painting, scenery, and colourful costumes as well as poetry, classical music and drama. The combination of these multi-faceted traditions brought the performing arts to a new peak of entertainment.

Even the emperors of the Tang dynasty paid significant attention to the development of the Chinese dance and music, often by directly contributing to this effort. Among them, Emperor Li Shimin who personally composed the song Pozhen yuetu, which was successfully staged for a major dance festival and was later introduced to India, Turfan (Xinjiang), and Japan, and Emperor Li Lonji (also known as Tang Minhuang), who composed another brilliant piece of music called Nishang yuyi. Tang Minhuang used graceful traditional dance techniques combining with marvelous Indian dance skills and music to portray an elegant fairyland with beautiful maidens. Staged by Tang Minhuang, danced by his famous concubine and dancer Yang Guifei, and music played

by Liyuan, the Nishang yuyi dance has been regarded as one of the splendid treasures in China's dance history.

The cosmopolitan emphasis in music and dance during the Tang is well reflected in some of the astonishing high Tang murals in cave 178 of the Mogao complex in Dunhuang (Gansu province). Everywhere, even in specifically religious themes such as the preaching of the Buddha, images of dancers often accompany the narrative.

The magnificent dance of the Tang period was the result of inheriting the traditions, enhancing the Chinese classical and folk dance techniques, as well as widely incorporating music and dance skills from other countries. Due to the broad spectrum of styles, characteristics and topics, dance was one of the favorite performing arts and was very well received by almost every social class during the Tang period. It also played a significant role in the social relationship among different countries as well as different ethnic groups. The Chinese classical dance has passed from generation to generation, and is still practiced by the Chinese classical and folk dance community.

Our elegant pair of female dancers manages to crystallise in a single untouched pose, the beauty and enjoyment Tang people must have felt in such a thriving period of musical and artistic creativity.

Cf: Wang Kefen, "The History of Chinese Dance," Wai Yuyan Chubanshe, Beijing, China, 1985.

Smallest height 10.25 inches - (LA.558)

P a i r o f Ta n g P o t t e r y B u l l s

LA.524 Origin: China Circa: 618 AD to 906 AD Dimensions: 9" (22.9cm) high

Collection: Chinese Art Medium: Terracotta Location: Great Britain

As new philosophical and religious strands penetrated the thought system of early China, the subject matter of tomb objects and tomb patterns changed. The past practice of entombing elite members of society with earthenware objects continued throughout the early and middle Tang period, but the earlier emphasis placed on recreating daily life shifted to flaunting status and excess. Tombs were no longer "underground houses," but became a landscape with murals depicting the palaces, gardens, and open countryside in which the nobles passed their lives. 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 have been excavated. Entire retinues of ceramic figures animals, entertainers, musicians, guardians - were buried with the dead.

During the T’ang 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.

While similar examples exist, most were found harnessed to wagons and carts and were meant to function as beasts of burden. However, this pair of sculptures was discovered buried as part of a herd, contained inside a sculpted miniature pen with other domesticated animals, suggesting that these oxes served as nourishment. During the T’ang Dynasty, 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, these works are more than mere sculptures; they are a gorgeous memorial to the religious and philosophical beliefs of the T’ang Dynasty. These effigies have served their eternal purpose well. Today, they continue to nourish our souls with their beauty and grace. - (LA.524)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

LA.562 Origin: China Circa: 618 AD to 908 AD Dimensions: 12.25" (31.1cm) high

Collection: Chinese Art Medium: Earthenware Location: Great Britain

The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (386-534) and continued into the Tang dynasty. Also called earth spirits ‘dusheng', or ‘zhenmushou’ ("grave-quelling beasts"), these guardians took the form of a fantastic hybrid creature composed of various animal and sometimes human elements and were placed in the tomb in pairs to ward off any malevolent beings who threatened to intrude. This apothropaic concept was indeed already present during the Warring States period (5th-4th centuries BC) in tombs from the southern state of Chu, where often ‘zhenmushou’ with incredible antler tines and long tongues sticking out were placed at the entrance of the tomb to guard the coffin and protect it from evil. However, 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 and western 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.

When looking at our human-faced earth spirit, it is clear that his face betrays distinctive Central Asian features; his twisted head gear is reminiscent of the tall pointed hats made of felt or soft material, worn by Central Asian merchants who frequently crowded the streets of the Tang capital, Chang’an. Some scholars in the past have also attempted to attribute these distinctive traits to either a group of Semitic merchants or to some ethnic groups from the Kashgar region of Central Asia, although neither possibility has been verified.

Yet this figure typifies the funerary guardian creatures of the seventh and early eight centuries. It is brilliantly painted with speckles on the shoulders and colourful painted flowers on the chest, both motifs possibly deriving from wax-resist techniques long popular in textile manufacture. It does not wear an armour, an accessory commonly found in human guardians instead, and his legs terminate in hooves, similarly to those found in the Astana tombs in the Turfan basin of Xinjiang and datable to the 7th- early 8th century AD. Although very little is known to date the Astana tombs precisely, it seems likely that these beats were introduced in the area after the Tang conquest of the kingdom of Gaochang in 640. Chinese control of the area lasted until the mid 8th century and many are the stylistic parallels in tomb furnishings between central China and Turfan, although the western regions seemed to have preferred painted decoration to the more popular sancai glaze of the metropolitan pieces.

Reference: J.C.Y. Watt et al, China. Dawn of a Golden Age, 200-750 AD, New York, 2004: no. 178-179, pp. 286-287. - (LA.562)

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

LA.566 Origin: China Circa: 618 AD to 906 AD Dimensions: 21.25" (54.0cm) high x 11.4" (29.0cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (386-534) and continued into the Tang dynasty. Also called earth spirits (dusheng), or ‘zhenmushou’ ("tomb-guarding beasts"), these guardians took the form of a fantastic hybrid creature composed of various animal and sometimes human elements and were placed in the tomb in pairs to ward off any malevolent beings who threatened to intrude. Such idea was indeed already present during the Warring States period (5th-4th centuries BC) in tombs from the southern state of Chu, where often ‘zhenmushou’ with incredible antler tines and long tongues sticking out were placed at the entrance of the tomb to guard the coffin and protect it from evil.

However, 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. This was probably due to the fact that 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.

The painted animal guardian is here depicted with quite a ferocious feline head with fangs out and upturned ears, his red-painted mane on the side and the back made of protruding spikes stretching upwards, his powerful paws firmly placed on top of rocks.

This type of ‘zhenmushou’ probably evolved from the dorsal-spiked beasts of the Han and Western Jin period (see X.0351) and was later refined during the Six Dynasties period. His menacing look would seem to indicate a northern workshop, during the early to mid Tang period.

Reference: J. Watt et al, China. Dawn of a Golden Age, 200-750 AD, New York, 2004: no. 178-179, pp. 286-287. - (LA.566)

Ta n g Vo t iv e Stat u ette o f a S eated Bu ddha

LO.1169 Origin: China Circa: 618 AD to 927 AD Dimensions: 4" (10.2cm) high

Collection: Chinese Art Medium: Bronze Location: Great Britain

Tan g S cu lp tu re o f a Wo ma n

TF.001 Origin: China Circa: 600 AD to 900 AD Dimensions: 9.50" (24.1cm) high x 4.0" (10.2cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

Tan g Sc ulptu re o f a F o reig n G r oom

DK.115 (LSO) Origin: Shaanxi Province - 'Xi'an' Circa: 618 AD to 907 AD Dimensions: 35.5" (90.2cm) high

Collection: Chinese Art Medium: Terracotta Condition: Very Fine Location: UAE

This charismatic ceramic figure of a groom was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was designed to be interred with a deceased member of the aristocracy or burgeoning Middle Classes, to attend to his/her needs in the afterlife. Grave furnishings (mingqi) came in many different forms; well-known variants include “fat ladies”, demons, administrators and animals (especially camels and horses). Grooms are rather less common; the high status of horse owners in China (even owning a horse was, to an extent, an indicator of one’s social position) might seem to suggest that this piece was interred with someone of considerably exalted rank.

This particular piece is remarkable for its facial morphology, which may be designed to imply that he is not Chinese, and is instead a native of Central Asia towards the fringes of the Tang imperial territories. It must be remembered that Chinese physiognomy – rather high cheekbones, narrow eyes with epicanthic folds, dark hair and delicate features – is usually exaggerated in their funerary arts. There is no possibility that this figure depicts someone of Chinese origin. The face is very pale, with an extremely broad chin, a broad nose with widely-spaced nostrils. The eyes are very large and round, with pale irises, and a similarly broad and down-turned mouth. The brows are marked, the ears protuberant and the cheekbones lower than might be expected for the depiction of a Chinese character. The hair is gathered up into an ornate coiffure pointing forward and upward (or is perhaps intended to be a fur hat); the figure is dressed in a simple shift-like tunic that reaches to the knee, with a slash up to the midthigh, with a tie around the waist and hems on the leading edges that cross on the chest.

Incised lines have been used to denote minor creasing and folds in the cloth. The figure also wears matching leggings and plain leather shoes with pointed toes. The pose is puzzling until the role of the groom in life is considered; both hands, which are poised in readiness, were designed to hold something. It is probable that the higher left hand was designed to hold the reins of a recalcitrant horse or camel, while the other held either the other hand of the reins, or perhaps a riding crop or whip.

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 – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/camels were provided for transport, and officials to run his estate in the hereafter. Domestic servants and attendants were also included, however, and it is to this category that the current piece belongs.

This sculpture is a remarkable reminder of China’s outstanding heritage, and a beautiful addition to any serious collection of the genre. - (DK.115 (LSO))

Ta n g D y n a s ty Wh ite Marb le ' B o d h is vat ta ' Torso

DK.117 Origin: Shaanxi Province - 'Xi'an' Circa: 618 AD to 907 AD Dimensions: 59" (149.9cm) high

Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Condition: Very Fine Location: UAE

Tan g D y na sty L imesto n e C h am ber Door

DK.118 (LSO) Origin: Shaanxi Province - Xi'an Circa: 618 AD to 907 AD Dimensions: 53.5" (135.9cm) high x 53" (134.6cm) wide x 11.8" (30.0cm) depth

Collection: Chinese Medium: Limestone Condition: Very Fine Location: United States

This monumental stone door originally sealed the entrance to the tomb chamber of a member of the T’ang Dynasty’s elite classes. Hand-carved from solid limestone, it is of sectorial construction, with a wide central decorated panel flanked by a pair of narrower columnar panels, each decorated with a single figure. The low-relief carving is exquisite. The central panel depicts five figures, at least three of which are female (as indicated by their hair and bound feet) and two (or perhaps one) male figures. All are standing in postures indicating respect and perhaps mourning, with their hands folded inside their sleeves; one is facing the viewer, one facing the left, and three facing to the right. Their hair is highly ornate, and marks them out as members of courtly society.

The single figures on the flanking columns are rendered in slightly higher relief than the central figures, and are similar in that they face centrally and have their heads slightly (the male) or notably (the female) bowed. The figure to the left – a man – is dressed in a similar courtly style, and bears a ewer and a glass/goblet. The other figure is female, and is simply but elegantly dressed and is unencumbered by any paraphernalia.

This piece was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists.

During the Tang Dynasty, considerable investment was put into the creation of a suitable afterlife, especially for the social elites. A striking variety of tomb furnishings – known as mingqi – have been excavated. Entire retinues of ceramic figures – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, while horses/camels were provided for transport, and officials to run his estate in the hereafter. Decorated superstructures are rare, however, especially of this delicacy of execution.

It is probable that these refined figures represent mourners, wives and distinguished associates of the deceased; it is also possible that the couple on the flanking pillars represent the deceased person (statistically likely to have been a man) and his wife or concubine. This is a stunning piece of ancient art and a credit to any collection of Chinese masterpieces. - (DK.118 (LSO)

Tan g S cu lp tu re o f a C ame l

DK.120 (LSO) Origin: Shaanxi Province - Xi'an Circa: 618 AD to 907 AD Dimensions: 18.7" (47.5cm) high x 13" (33.0cm) wide

Collection: Chinese Art Medium: Terracotta Condition: Very Fine Location: UAE

This charismatic ceramic figure of a camel was made during what many consider to be China’s Golden Age, the Tang Dynasty. It was designed to be interred with a deceased member of the aristocracy or burgeoning Middle Classes, to attend to his/her needs in the afterlife. Grave furnishings (mingqi) came in many different forms; well-known variants include “fat ladies”, demons, administrators and grooms. Perhaps the most charming, however, are the representations of animals, especially camels and horses.

These were important creatures at the time, and only owned by those of considerable wealth and exalted rank.

This engaging sculpture represents a standing camel, unsaddled, and in what is evidently a playful mood, tossing his head and swishing his tail from side to side. The twin humps, the shape of the limbs and the body, and the plentiful hair, identify him as a Bactrian camel, which still roan across parts of Central Asia. The mouth and the eyes are open, the hairy poll atop the head and the “mane” on the back of the neck picked out in careful detail. The forelimb is clad with hair to the knee, and appears to have been trimmed to shape, implying that he is a domestic animal. This is confirmed by a close inspection of the back, which shows a strikingly rectilinear space between the humps (which are themselves unusually slim), which implies that a saddle was once fitted. This is further confirmed by the paint colouration on the right flank, which shows a vertical line where the posterior aspect of the saddle would have rested. The tail is also docked, which facilitated the attachment of harnesses. The ground is between yellow and orange in tone, with a well-developed irregular patina of age. The piece is in good condition, and stands upon an integral oblong base.

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 – representing warriors, animals, entertainers, musicians, guardians and every other necessary category of assistant – were buried with the dead in order to provide for the afterlife. Warriors (lokapala) were put in place to defend the dead, with domestic servants and attendants, and officials to run his estate in the hereafter. Charming examples of animals such as the current piece are perhaps the most amusing and aesthetically-pleasing of the mingqi, however. This attractive sculpture is an eloquent reminder of China’s outstanding heritage, and a beautiful addition to any serious Chinese collection.- (DK.120 (LSO))

Ta n g S c u lp tu re o f a My th o lo g ica l C rea ture

TF.007 Origin: China Circa: 618 AD to 907 AD Dimensions: 3.5" (8.9cm) high x 8" (20.3cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

TF.005 Origin: China Circa: 618 AD to 907 AD Dimensions: 21.75" (55.2cm) high x 7.50" (19.1cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

TF.006 Origin: China Circa: 618 AD to 907 AD Dimensions: 24" (61.0cm) high x 9.60" (24.4cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

P a i r o f Ta n g S c u l p t u r e s o f S p i r i t G u a r d i a n s

TF.008 Origin: China Circa: 618 AD to 907 AD Dimensions: 14.75" (37.5cm) high x 9.50" (24.1cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (386-534) and continued into the Tang dynasty. Also called earth spirits (dusheng), or ‘zhenmushou’ ("tomb-guarding beasts"), these guardians took the form of a fantastic hybrid creature composed of various animal and sometimes human elements and were placed in the tomb in pairs to ward off any malevolent beings who threatened to intrude. Such idea was indeed already present during the Warring States period (5th-4th centuries BC) in tombs from the southern state of Chu, where often ‘zhenmushou’ with incredible antler tines and long tongues sticking out were placed at the entrance of the tomb to guard the coffin and protect it from evil. However, 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. This was probably due to the fact that 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. - (TF.005) - (TF. 006) - (TF.008)

Tan g C iv ic Officials

RD.34 Circa: 618 AD to 906 AD Dimensions: 21.75" (55.2cm) high x 6.10" (15.5cm) wide

Collection: Chinese Art

Ta n g Sc ulp tu re o f a S p irit Gu ard ian

TF.013 Origin: China Circa: 618 AD to 907 AD Dimensions: 27" (68.6cm) high x 9.75" (24.8cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. This mythological beast combines the body and face of a feline with the legs and hooves of a horse. A pointed central antler emerges from in between his upright ears. His snarling face, complete with fangs, has been expertly rendered, conveying a determined expression that is fierce and intimidating. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. - (TF.013)

P a i r o f Ta n g Te r r a c o t t a Wa r r i o r s

TF.017 Origin: China Circa: 618 AD to 907 AD Dimensions: 28" (71.1cm) high x 15" (38.1cm) wide

Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Additional Information: Height refers to the tallest warrior.

Location: Great Britain

Tan g S cu lp tu re o f a C ame l

TF.020 Origin: China Circa: 618 AD to 906 AD Dimensions: 13" (33.0cm) high x 10" (25.4cm) wide

Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Location: Great Britain

Tan g S cu lp tu re o f a C ame l

TF.019 Origin: China Circa: 618 AD to 906 AD Dimensions: 14" (35.6cm) high x 9.50" (24.1cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

During the Tang Dynasty, the status of the beloved camel ranked second only to the revered horse. Camels symbolized commerce and its associated wealth, profits made possible primarily through the legendary Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreigner merchants, and exotic merchandise into China, connecting the Mediterranean world with the Far East.

However, this arduous journey through the jagged mountains and rugged deserts of Central Asia could only be undertaken by the two-humped Bactrian camel, a beast 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, T’ang artist began to create charming representations of these prized creatures as symbols of the wealth and prosperity to come in the afterlife. - (TF. 019)

Ta ng Te r r a co tta C amel an d R emova b le Rider

H.1087a Origin: China Circa: 7 th Century AD to 8 th Century AD Dimensions: 29" (73.7cm) high x 26.5" (67.3cm) wide

Collection: Chinese Art Medium: Terracotta Location: Great Britain

“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.” This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and 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 commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of T’ang China, carrying both traders and their goods directly into the markets. Likewise, T’ang artists began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.

During the T'ang Dynasty, restrictions were placed on the number of objects that could be interred 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, etc. - were buried with the dead in order to provide for the afterlife. Some of the most beautiful works of Chinese art have been excavated from tombs, and this sculpture of a camel and rider is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. The distinct physiognomy of the removable rider, featuring deep-set squinting eyes and fleshy cheeks, reveals that he is of foreign descent, most likely from Central Asia. His hair has been tied back in a ponytail. Incised lines along the top of his head indicate individual locks of hair. He wears a jacket with a broad lapel and his right arm is raised. This may once have held a whip or similar item fashioned from a perishable material that no longer survives. This attire and posture is consistent with other representations of foreign riders. A flask with a red heart-shaped decoration hangs on each side of his saddle. Thick tufts of furry hair cover the camel along his head, neck, and front knees. The camel holds his mouth wide open, exposing his teeth. This sculpture reveals the T’ang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China. - (H. 1087a)

Ta n g Pa inted Terraco tta Ca mel

RP.030 Origin: China Circa: 618 AD to 907 AD Dimensions: 13.75" (34.9cm) high x 9.75" (24.8cm) wide

Collection: Chinese Medium: Terracotta Location: UAE

During the Tang Dynasty, the status of the beloved camel ranked second only to the revered horse. Camels symbolized commerce and its associated wealth, profits made possible primarily through the legendary Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreigner merchants, and exotic merchandise into China, connecting the Mediterranean world with the Far East.

However, this arduous journey through the jagged mountains and rugged deserts of Central Asia could only be undertaken by the two-humped Bactrian camel, a beast 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, T’ang artist began to create charming representations of these prized creatures as symbols of the wealth and prosperity to come in the afterlife. - (RP. 030)

S e t o f N i n e Ta n g S e a t e d F e m a l e E n t e r t a i n e r s

TF.036 Origin: China Circa: 618 AD to 906 AD Dimensions: 6.50" (16.5cm) high x 4.50" (11.4cm) wide

Collection: Chinese Medium: Terracotta Location: Great Britain

Ta ng Ter raco tta O x an d C art

RP.141 Origin: China Circa: 618 AD to 906 AD

Collection: Chinese Art Medium: Terracotta Location: UAE

Ta n g S cu lptu re o f a S tan d ing Ox

RP.147 Origin: China Circa: 618 AD to 906 AD Dimensions: 12.75" (32.4cm) high x 13.5" (34.3cm) wide

Collection: Chinese Art Medium: Terracotta Location: UAE

Ta n g S cu lptu re o f a S tan d ing Ox

RP.148 Origin: China Circa: 618 AD to 906 AD Dimensions: 9.25" (23.5cm) high x 12.75" (32.4cm) wide

Collection: Chinese Art Medium: Terracotta Location: UAE

During the T’ang 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.

While similar examples exist, most 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 sculpted miniature pen with other domesticated animals, suggesting that this ox served as nourishment. During the T’ang Dynasty, 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 T’ang Dynasty. This cow effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace.

- (RP.147) - (RP.148)

Ta n g S cu lptu re o f a S tan d ing Ox

RP.152 Origin: China Circa: 618 AD to 906 AD Dimensions: 13.5" (34.3cm) high x 14.5" (36.8cm) wide

Collection: Chinese Art Style: Tang Dynasty Medium: Terracotta Location: UAE

Ta n g M arbl e Head o f C o n fu ciu s

LK.228 Origin: China Circa: 618 AD to 907 AD Dimensions: 8.26" (21.0cm) high x 4.33" (11.0cm) wide

Collection: Chinese Art Style: Tang Dynasty Medium: Marble Location: Great Britain

Ta ng D y n as ty Terraco tta sp irit gua r dian

NP.015 Circa: 618 AD to 906 AD Dimensions: 24" (61.0cm) high x 8" (20.3cm) wide

Additional Information: Pair with TF.013 Location: Great Britain

Originating during the Six Dynasties period (222-589 A.D.), this type of figure is known as a tomb guardian, for originally, a pair of such figures always stood guard at the tombs of Chinese rulers. Traditionally, both figures in the pair are mythological composite creatures, one always an amalgamation various animals while the other combined of human and animal traits. These guardians were interred in order to ward off potential tomb robbers or evil spirits that might try to infiltrate the tomb. This mythological beast combines the body and face of a feline with the legs and hooves of a horse. A pointed central antler emerges from in between his upright ears. His snarling face, complete with fangs, has been expertly rendered, conveying a determined expression that is fierce and intimidating. While just half of a pair, this guardian stands alone, revealing the exotic beauty of these fantastical creatures. - (NP.015)

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