Chinese statuette of a horse with rider

ITEM: Statuette of a Sogdian rider MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 560 mm x 510 mm x 175 mm CONDITION: Good condition. Includes The...

ITEM: Statuette of a horse MATERIAL: Pottery CULTURE: Chinese, Northern Wei Dynasty PERIOD: 386 – 535 A.D DIMENSIONS: 404 mm x 350 mm x 230 mm CONDITION: Good condition. Includes Th...

ITEM: Statuette of a horse MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 560 mm x 530 mm x 200 mm CONDITION: Good condition. Includes Thermolumin...

ITEM: Statuette of a horse with musician MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 420 mm x 365 mm x 145 mm CONDITION: Good condition. Includ...

ITEM: Statuette of a Fat Lady MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 655 mm x 265 mm x 210 mm CONDITION: Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 05B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE: Ex Belgian private collection, acquired from Dutch art gallery Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Due to the fragility and size of this piece, it can only be shipped within the European Union, United Kingdom and neighbouring countries that can be transported by road by private courier (door to door). 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...

ITEM: Statuette of a Fat Lady MATERIAL: Pottery CULTURE: Chinese, Tang Dynasty PERIOD: 618 – 907 A.D DIMENSIONS: 645 mm x 260 mm x 180 mm CONDITION: Good condition. Includes Thermoluminescence test by Laboratory Kotalla (Reference 04B101123). Includes Certificate of Authenticity from Dutch gallery PROVENANCE: Ex Belgian private collection, acquired from Dutch art gallery Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks. Due to the fragility and size of this piece, it can only be shipped within the European Union, United Kingdom and neighbouring countries that can be transported by road by private courier (door to door). 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...

A fine and unusual Chinese Tang Sancai glazed model of a horse and rider, Tang Dynasty (618 to 906 CE), early 8th century, China. This fantastic sculpture portrays a male figures se...

A pair of Han Dynasty (206 BC-220 AD) painted pottery horse and riders, China. The horses modeled standing foursquare, supporting their eque...

A charming Tang dynasty painted pottery figure of a horse and mounted noble rider. TL tested by Oxford Authentication. The horse portrayed standing fours...

Welded cast iron toy from the Indian 900s depicting a chariot with a square canopy and conical dome. We can identify this toy-statue as a depiction of Krishna’s Rath Gita (Bhagavad Gita...

Standing horse from the Tang Dynasty 618-907 AD. Beautiful sculptural piece of art from the Chinese ancient period of the Tang Dynasty (618-907 AD) featuring the finely sculptural figure of a horse, carefully made of earthenware clay pottery. The horse is standing in a very elegant and majestic position striding the four legs crossed. The animal has a slightly arched neck to the left looking forward and its extremely well modeled. The body is embellished with a beautiful saddle and intricate harnesses. The surface is treated with applications of natural color pigments such; white, light red and grays. Has a measurements of 343 mm by 140 mm by 356 mm (13.5 x 5.5 x14 Inches) (34.3 x 14 x 35.6 Cm). Tang dynasty or Tang Empire, was an imperial dynasty of China that ruled from 618 to 907, with an interregnum between 690 and 705. It was preceded by the Sui dynasty and followed by the Five Dynasties and Tend Kingdoms period. Historians generally regard the Tang as a high point in Chinese civilization, and a the golden age of cosmopolitan culture. Tang territory, acquired through the military campaigns of its early rulers, rivaled that of the Han dynasty. The Li family founded the dynasty, seizing power during the decline and collapse of the Sui Empire and inaugurating a period of progress and stability in the first half of the dynasty's rule. The dynasty was formally interrupted during 690–705 when Empress Wu Zetian seized the throne, proclaiming the Wu Zhou dynasty...

The cylindrical opium container is executed in hammered brass and decorated with an expressive repose design of a rider in a landscape with blossom tre...