|ITEM||Statuette of a horse with rider|
|CULTURE||Chinese, Tang Dynasty|
|PERIOD||618 – 907 A.D|
|DIMENSIONS||440 mm x 380 mm x 120 mm|
|CONDITION||Good condition, old collector’s repairs on base and legs. Include Thermoluminescence test by QED Laboratoire (Reference QED2205/EC-0134)|
|PROVENANCE||Ex Hong Kong art dealer, acquired on the art market|
This beautifully-finished ceramic attendant was made during what many consider to be China’s Golden Age, the Tang 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 Tang 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 Tang 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.
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.
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. Of all the various types of mingqi, however, there are none more elegant or charming than the sculptures of sophisticated female courtiers, known – rather unfairly – as “fat ladies”. These wonderfully expressionistic sculptures represent the idealised beauty of Tang Dynasty China, while also demonstrating sculptural mastery in exaggerating characteristics for effect, and for sheer elegance of execution.
It is likely that the original purpose of the figure was that of a mingqi, terracotta figures designed to be included in a burial in order to accompany the deceased in the afterlife for protection, service and companionship.
They included daily utensils, musical instruments, weapons, armor, and intimate objects such as the deceased’s cap, can and bamboo mat. Mingqi also could include figurines, spiritual representations rather than real people, of soldiers, servants, musicians, polo riders, houses, and horses. Extensive use of mingqi during certain periods may either have been an attempt to preserve the image of ritual propriety by cutting costs, or it may have a new idea separating the realm of the dead from that of the living.
Though these were particularly popular during the Tang dynasty (618-906 AD), mingqi from a broad range of historical periods have been found, with this piece acting as a particularly early example of the practice.