Pair of Tang Horses

Circa	618 AD to 906 AD
Dimensions	27.25″ (69.2cm) high
Medium	Painted Terracotta
Origin	China

These magnificent museum-quality sculptures have survived in almost perfect condition, and would grace any collection. Standing at c. 69 cm high, their finely modeled features and exquisitely observed anatomical detail makes this pair of Tang Dynasty horses one of the most instantly recognisable – and desirable – icons of Chinese art. This matching set of terracotta horses was created with extreme attention to musculoskeletal topography and surface anatomy. Both horses have short tails, dressed with dressage- style precision, as well as trimmed manes and backwards-sweeping forelocks. They bear detachable saddles with multi- layer detailing and high pommels, and added incised decoration to the saddle blankets. One of the horses is a model of noble serenity, with dipped chin and generally peaceful demeanour; the other, while possessed of similarly poised body posture, has been depicted with open mouth and raised head, thus conveying a more excited – or perhaps martial – image. Both retain much of their original paintwork, including detailing of the eye, eyelashes and mouth. This admiration the Chinese held for the horse can clearly been seen in this pair and the true artistry of the Tang Dynasty shines through. The importance of horses to ancient Chinese culture cannot be overstated, and is perhaps nowhere better expressed than in these magnificent Tang Dynasty sculptures. The most sought-after steeds were known as “blood-sweating horses”; raised in the western kingdom of Ferghana, they were sent in great numbers as tribute to the emperor. Horses also were a sign of wealth: strict sumptuary laws limited the use of the horses to people of a certain rank and even those serving in the military, such as the hooded soldier saluting from astride this horse, had to provide their own mount. In fact, the ancient unification of the Chinese Empire was due in large part to the horse as their rapid mobility allowed for quick communication between distant provinces. Likewise, the military role of horses aided in the conquest and submission of distant lands. The need to import stronger, faster steeds from Central Asia (as opposed to the native Mongol pony) led to the creation of the Silk Road. It is this atmosphere that China saw one of its ‘golden’ eras flourish.

Tang Sculpture of a Horse with Removable Saddle

Circa	7th Cnetury AD to 8th Century AD
Dimensions	25.25″ (64.1cm) high x 26.25″ (66.7cm) wide
Medium	Terracotta
Origin	China

The Tang Dynasty was a golden age of Chinese culture. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulership. The Silk Road brought fortunes into China on the backs of camels, carrying exotic luxury items from distant lands. Foreign merchants from across Central Asia and the Middle East settled in the urban centers of the Tang China, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan centre of over two million inhabitants. The Tang Dynasty was a relatively stable period of great prosperity representing one of the greatest cultural flourishings in human history. During the Tang Dynasty, the adoration of the horse can be seen through their burial art. Horse models excavated from mausoleums of the period are among the most splendid and easily recognizable works of Chinese art.

The great influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient unification of the Chinese Empire was due in large part to the horse. Their rapid mobility allowed for quick communication between far away provinces. Likewise, the military role of horses aided in the conquest and submission of distant lands. The need to import stronger, faster steeds from Central Asia (as opposed to the native Mongol pony) led to the creation of the Silk Road. The importance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting, and literature, horses were glorified and revered, believed to be relatives of dragons, a theory reflecting their sacred status within society.

This impressive, large sculpture of a horse still retains much of its original white pigment in tact. However, even more impressive, is the removable saddle with engraved details that graces his back. This saddle appears to have once been painted orange and likely would have once supported a sculpted rider. The horses ears stand at attention. Its striking eyes are well defined. Its nostrils are flared and its mouth is open, suggesting the horse has just come to rest after a vigorous journey. These rare features, in particular the open mouth and removable saddle, are highly sought after by collectors. This gorgeous sculpture is a testament to the admiration and adoration the Chinese had for this marvelous creature. Although they were an integral part in the expansion and defense of the empire, they were equally regarded for their beauty and grace as revealed by this sculpture.

Pair of Tang Terracotta Horses with Removable Saddles

Circa	618 AD to 906 AD
Dimensions	21″ (53.3cm) high
Medium	Terracotta
Origin	China

The great influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient unification of the Chinese Empire was due in large part to the horse. Their rapid mobility allowed for quick communication between far away provinces. Likewise, the military role of horses aided in the conquest and submission of distant lands. The need to import stronger, faster steeds from Central Asia (as opposed to the native Mongol pony) led to the creation of the Silk Road. The importance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting, and literature, horses were glorified and revered, believed to be relatives of dragons, a theory reflecting their sacred status within society. During the T’ang Dynasty, the adoration of the horse can be seen through their burial art. Horse models excavated from mausoleums of the period are among the most splendid and easily recognizable works of Chinese art.

These impressive, large sculptures of a horses still retain much of their original white pigment in tact. However, even more impressive, is the removable saddles that grace their backs. Our horse facing left is painted in a soft green hue, while his mate facing left is painted in a soft white hue. These textured saddles may have once supported riders who are now lost to us. Traces of polychrome are also visible inside the nose and along the mouth. The horses also feature a prominent cowlick rising between their ears and arching forwards. All these rare features are sought after by collectors. When one imagines these horses as they might have originally appeared, with vibrant hues and a similarly modeled riders, the illusion would have been uncanny. These gorgeous sculptures are a testament to the admiration and adoration the Chinese had for this marvelous creature. Although they were an integral part in the expansion and defense of the empire, they were equally regarded for their beauty and grace as revealed by this sculpture.

Early Tang Painted Pottery Horse with Detachable Rider

Circa	618 AD to 906 AD
Dimensions	14.3″ (36.3cm) high x 12.5″ (31.8cm) wide
Medium	Terracotta
Origin	China

The important influence of the horse throughout the history of China cannot be underestimated. In fact, the ancient expansion of the Chinese Empire was due in a large part to the horse. The rapid mobility of horses allowed for enhanced communication between distant provinces. Likewise, the military role of horses facilitated the conquest and submission of other lands as well as securing the borders against barbarian invaders. The need to import stronger, faster steeds from Central Asia (as opposed to the local Mongol pony) contributed to the creation of trading routes along what became known as the Silk Road. The significance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilisation. In sculpture, painting and literature, horses are frequently glorified and revered as distant relatives of sacred, mythological dragons.

During the Tang dynasty the adoration of the horse is evident in their burial art. Horse models excavated from mausoleums of the period are among the most celebrated and splendid works of Chinese art. Naturally, owing to their rarity, horses became a status symbol for the aristocratic elite. Polo and other equestrian pastimes became popular. This sculpture, depicting a lady-in-waiting on horseback, is remarkable for several reasons. Firstly, the lady and saddle detach from the body of the horse in one piece. Small traces of the original polychromy remain, most visibly on the lady’s red lips. She wears a long sleeved dress, a type of which was used in a popular dance where the lady swirls the excess of fabric around in the air. Unusually, the horse is depicted with its head raised, ears upright, and nostrils flaring. It intimidates us with its open mouth and visible teeth. Remarkably the lady-in-waiting seems unaffected by whatever has startled her steed and retains her dignified pose.

The majority of Tang horses were produced to accompany the deceased throughout the afterlife. The striking beauty of this work is even more impressive, considering that it was created specifically for internment and was not supposed to be seen by the living. Today, we marvel in the beauty of this sculpture as much as its tremendous history and intriguing legacy.

Han Polychrome Torso of a Horse

Circa	206 BC to 220 AD
Dimensions	18″ (40.6cm) long x 13″ (33cm) high
Medium	Terracotta
Origin	China

This pottery figurine is sculpted to show the strong, bold line and muscularity of the horse. Once part of an assembled set, this horse bears the characteristics associated with the famed Heavenly Horse of Fergana. Its long muscular neck, arched mane, stylistically curved snout, flared nostrils and gaping mouth depict a horse of regal origin. The figurine is painted in red pigment with designs representing saddle and bridle painted on. White and pink swirled sashes and ribbons are drawn onto the body, complimenting the animal's own natural beauty and grace.

Valued for its speed, strength and beauty, the horse has been one of the most admired animals in China. The horse has enabled man to swiftly transport massive armies into distant and neighboring territories in order to secure vast wealth and land. According to lore, there existed a horse so powerful and beautiful that it was believed to be bequeathed from heaven. In early China, owning a horse required wealth and status, eventually becoming as a sign of one's social standing. Equestrian activities only encourage the indulgence of the wealthy few who owned horses. Naturally in Chinese art, the horse became a favorite subject of artists who try to create visual representations of the animal that capture both its vitality and presence. During the Han Dynasty, the horse was rendered in miniature sculptural form to be interred with the dead. It was believed that the animal could assume its powers and assist the deceased in the dangerous journey to the other world. This custom answered to the needs of a particular belief system regarding life after death and the spiritual world.

Tang Terracotta Sculpture of a Prancing Horse

Circa	618 AD to 906 AD
Dimensions	18.5″ (47.0cm) high
Medium	Terracotta
Origin	China

The most magnificent horses, immortalised in Chinese literature and the visual arts, were the Ferghana horses introduced into China from the west (from modern Uzbekistan, Tajikistan and Kyrgyztan) during the Han dynasty (206 BC-AD 220). Obtaining these extraordinary stallions was still a priority for the Tang dynasty Emperor Taizong (r. AD 626-49), despite the fact that by the middle of the 7th century the Tang government owned more than 700,000 -built up through tribute gifts and the careful management of official herds. Emperor Taizong was so devoted to his own horses that he ordered bas reliefs of his six favourite battle steeds to be carved and placed at his tomb. Even Emperor Xuanzong (r. AD 847-59) was said to have had two consuming passions – beautiful women and horses, and a dramatic painting of one of his favourite horses, Night-Shining White, by the renowned horse painter Han Gan (AD 720-60) can now be seen now in the Metropolitan Museum of Art.

Such horses were used both for military campaigns and for leisure activities – for the Tang dynasty elite they became symbols of power and prosperity. Furthermore, during the early years of the Tang dynasty, the increasing cross-cultural fertilization between sedentary Chinese and Central Asian semi-nomadic people encouraged the fashion of horse riding. Its tremendous popularity was very soon restrained by an imperial edict in 667, decreeing that only aristocrats (of both sexes) should be allowed to ride horses: owing a horse then became a privilege dispensed only to members of the higher class.

It is then not surprising that during the Tang Dynasty this mania would permeate and greatly influence the mingqi (burial) artistic repertoire. In terms of technical and artistic achievement, as sculptural representations of the fashions of the time, the highest quality painted pottery mingqi tended to be more successful than those glazed. In fact, while sancai objects required greater expenditure of material and labour, the application of the rich glaze meant instead, that the replication of fine details in drapery and physiognomy was generally overseen, while for the unglazed painted pottery the artisans felt best able to explore the details and overall decoration that fascinated the Tang aristocracy.

Our horse perfectly exemplifies the early artistic production of the Central Plains (Henan and Shaanxi provinces) during the 7th- early 8th centuries AD, when more detailed sculptures of caparisoned horses were placed in the tombs of the wealthy as companions for the afterlife. This impressive sculpture with a carefully groomed mane and tail -its legs, torso, and head individually moulded and then attached together- still retains much of the original paint intact. The elongated prancing legs would have been strengthened in the core with an iron armature, covered up by clay and subsequently painted; the saddle –painted in orange- was added to the moulded figure. Horses with saddles appear frequently already in tombs dated to the Northern Wei period, where they would have symbolized the presence of the deceased. Furthermore, the quite unique – seldom found in mingqi- rendering of his pelt with a maculated effect would suggest a dappled bay steed specific to Central Asia, sometimes portrayed in silk panel screens dating to the Tang dynasty, such as the one found in tomb 188 in Astana, Turfan, Xinjiang Autonomous Region.

Reference:

For the silk portrait from Astana see , J. Y. Watts et al, China, Dawn of the Golden Age, 200-750 AD, New York, Metropolitan Museum of Art, 2004: No.177, p. 284.

Medley, Margaret. Tang Pottery and Porcelain. London: Faber and Faber Limited, 1981.

Sullivan, Michael. The Arts of China. Los Angeles: University of Califonia Press, 1999.

Watson, William. Tang and Liao Ceramics. New York: Rizzoli, 1984.

Wood, Nigel. Chinese Glazes: Their Origins, Chemistry, and Recreation. London: A and C Black, 1999.

Ming Stone Sculpture of a Chariot Rider, Horse and Attendents

Circa	1368 AD to 1644 AD
Dimensions	11″ (27.9cm) high x 20″ (50.8cm) wide
Medium	Stone
Origin	China

This stone sculpture depicts the arrival of an esteemed patron on chariot. Symbolically, it conveys the Buddhist belief in the attainment of nirvana arrived at through the vehicle of devout faith. Seated on an ornate chariot which signifies enthronement, the rider holds a lotus flower on his knee. This figure's delicately modelled face is surmounted by an elaborate crown with a rising center piece. Two smaller sized figures accompany the rider, displaying great movement and energy in their stylized gestures. The smaller attendant yanks the reins of the vigorous horse as the other figure waves his arm high, enhancing the movement of his body and clothing. Both men wear three-quarter robes and bear the Buddhist marking of wisdom– the ushnisa.

Tang Dynasty Painted Pottery Walking Camel

Circa	618 AD to 907 AD
Dimensions	17.38″ (44.1cm) high x 13.38″ (34.0cm) wide
Medium	Terracotta
Origin	China

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 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. Traces of original polychromy survive on this friendly looking animal, fashioned with large eyes and a raised head. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China.

Tang Sculpture of a Horse

Circa	618 AD to 906 AD
Dimensions	15″ (38.1cm) high
Medium	Terracotta
Origin	China

Tang Sculpture of a Horse

Silver-Gilt Phalera with the Head of a Horse

Circa	300 BC to 100 BC
Dimensions	5″ (12.7cm) wide
Medium	Silver
Origin	Mediterranean

This ‘phalera’ – a decorative plate worn on the cuirass of a soldier – is decorated with a central roundel containing a low relief image of a horse head. The horse is open-mouthed and wide-eyed, this possibly being a depiction of it in battle. His head takes up the whole central space of the plate, and when light runs across the surface it really comes to life. Around the circumference of the phalera are the remains of the heads of the bolts that would have attached it to the armour.

Ming Glazed Terracotta Tile From a Temple Roof

Circa	1368 AD to 1644 AD
Dimensions	17″ (43.2cm) high
Medium	Glazed Terracotta
Origin	China

Chinese architecture is one of the more distinct styles of building throughout the world. Perhaps the most characteristic element is the pagoda roofs that end in dramatic curves. This sculptural tile would have been situated on that curved edge of a Ming Dynasty temple. Depicting a figure lunging forward on the tile, this work was placed on the roof in order to frighten away any evil spirits that might attempt to infiltrate the sacred space. The exposed flesh of the bald man is covered in an ochre glaze; otherwise, he is covered in a blue and white skirt that gathers in undulating folds in between his spread legs. He has his fists clenched together, held in front of his body as if a boxer. Holes in his hands reveal that he would have once held objects likely made out of wood that have deteriorated over the centuries. Who does this figure represent? A fighter? A spiritual leader? A deity? While we may never know his true identity, we can assume that he was an important individual to be memorialized in such a way. When one considers that this remarkable architectural sculpture is just the tip of the temple, the beauty of the completed temple must be truly astounding.

T’ang Dynasty Painted Terracotta Fat Lady

Circa	618 AD to 907 AD
Dimensions	12″ (30.5cm) high
Medium	Painted Terracotta
Origin	Shaanxi Province – ‘Xi’an’

This sophisticated woman provided eternal companionship for her lord throughout the afterlife. We can imagine her gracefully dancing or singing a poetical song, two popular customs for ladies during the Tang Dynasty. Such courtiers are described in the numerous love poems written during this era, considered a golden age of Chinese culture. She has her hair styled in a sophisticated coiffure that crown her heads while she wears an elegant long- sleeved robe typical of the time period. A remarkable amount of the original pigment that once decorated the work remains intact, most noticeable on the floral motifs that decorate the dress as well as her rosy cheeks and lips. Such women may represent wives, princesses, or attendants. Her beauty inspires us as we are transported back to another time. This gorgeous sculpture has been to the next world and returned to our modern era to tell us her tale. They speak of the enormous wealth and sophisticated culture of the Tang Dynasty, one of the greatest periods of artistic creation in human history.

Khmer Bronze Triad

Circa	12 th Century AD to 13 th Century AD
Dimensions	10″ (25.4cm) high
Medium	Bronze
Origin	Cambodia

The triad consists of a meditating Buddha seated on the coils of a serpent flanked to his left by the feminine deity, Prajnaparamita, and to his right by Lokesvara, “the Lord of the World.” The base is tiered, and the central figure is elevated—a symbol of sovereignty and pre-eminence in the spiritual realm. Wearing a full-length skirt drawn together by an ornate belt, Prajnaparamita grasps lotus flowers in her hands with arms raised forward in the teaching mudra. She is considered the incarnation of the Divine World. The four-armed Lokesvara assumes an analogous pose, wearing a short dhoti held in place by a belt and holding a lotus bud and a vase. The central Buddha figure is adorned with armbands, heavy earrings and jeweled necklaces, and a transparent-like robe is incised along the borders that cover the chest and drape over the left shoulder. All three figures display an introspective dreamy expression implied by the familiar formula of closed eyes and smiling lips.

The Cambodian ideal image of the Buddha evolved during the rise of the empire. Indebted to the Gupta canon, the massive, spheroid conception of the head became the standard feature of Khmer Buddhist iconography. The separation of the hairline from the face with a band developed in this period, indicative of the tendency of Khmer sculpture to assume a more hard linear character through clear-cut definition of features. The appearance of the closed eyes and lips distended into a long mysterious smile became the Khmer formula for indicating the self-contained bliss and serenity of the Enlightened One. Khmer heads contain a suggestion of personality or individuality within the mould of iconographical convention perhaps due to the custom of attributing these icons to idealized portraits of the reigning monarch in the guise of a devaraja or god-king.

In Khmer sculpture, the prevalence of the iconography of the Buddha seated on the coils of a giant serpent is not entirely a portrayal of the obscure legend of Sakyamuni's encounter with a naga after his enlightenment. It is a reference to the legend that the nagas or serpent deities were the divine progenitors and protectors of the Cambodian throne. Regardless of whether the state religion was Hindu or Buddhist, the conception of the ruler as the earthly embodiment of the prevailing deity of the realm was an established tenet of the Cambodian belief system.

Khmer Glazed Terracotta Sphinx

Circa	1200 AD to 1400 AD
Dimensions	13.50″ (34.3cm) high x 10″ (25.4cm) wide
Medium	Glazed Terracotta
Origin	Cambodia

This exceptionally rare ceramic was produced during the Khmer period in Cambodia. Known mainly for the staggering city of Angkor, the Khmer empire covered much of SE Asia between the 9th and 15th centuries AD, and was a trading hub for much of the surrounding are. The finds made from this dynamic period of Asian history have been highly informative as to the cultural and religious characteristics of Khmer society, and this is an astonishing example of their sculptural traditions. Whilst the bronze and stone sculptures of this civilisation have been well-studied, ceramic wares have only recently begun to attract attention. Large kilns have been discovered in the Mount Kulen and Roluos areas, where the necessary raw materials – clay, sand, rock and water – are in plentiful supply. The majority of surviving works, such as storage vessels, are utilitarian in function. Although zoomorphic vessels in the form of turtles, frogs and elephants are known, this piece was clearly not designed to hold liquid. It must therefore have had a ceremonial or ritualistic function of some importance.

The earliest known representations of the sphinx, a mythological creature with the body of a lion and the head of a man, come from Egypt during the Old Kingdom period. The idea also occurs in ancient Greece where wings were often added to the lion’s body. The motif was equally popular in South-East Asia, although scholars have debated whether it arose here independently or was transmitted via the Hellenistic kingdoms of Central Asia. A variety of names are used to describe this beast but the most popular one is the Indian term, ‘purushamriga.’ It was believed to have apotropaic powers and was placed in temples and palaces to ward off evil spirits. Unlike other areas of the world where sphinxes were produced, Southern Asian sphinxes are still used in the modern day.

The sphinx is modelled in an alert, tense pose, with head raised and back legs bunched as if in preparation. The body is highly muscular and powerful, decorated with flanges of ceramic – themselves decorated with floral patterns – that delineate the limbs and haunches. The tail is plain with an ornate tip, and curls backwards along its spine, forming an ‘S’ shape when viewed in profile. The detailing is extremely well done, from the superficial decoration to the forming of the grinning face to the toes with their individual claws. The face displays a slightly supercilious expression, with high, arched eyebrows, piercing eyes and a smile that slightly bunches the cheeks. The headwear is exceptionally elaborate, with a raised rim, circular motifs around the perimeter and a three-tier “tower” in the centre; it also wears leaf-shaped earrings that protrude from under the headwear. The circular motifs are also impressed into the necklace, along with larger scrollwork patterns and foliate designs. The broad forehead and the shape of the diadem recall the style of bronze Khmer statues that are more widely known.

Although there has been some restoration, especially to the front legs, the piece is in exceptional condition considering the fragility of its material. The delicate blue/green glaze appears in a myriad of different shades. The tail is accentuated by a brown glaze that is typical of Khmer ceramics in this period. The facial expression is difficult to read but appears to be benevolent. This is a unique opportunity to acquire an extremely rare masterpiece which offers a major insight into Khmer civilisation.