It was during the T’ang 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 T’ang 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 T’ang 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. Domestic servants
and attendants were also included,
however, and it is to this category that
the current pieces belong. 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 - were buried with the dead in
order to provide for the afterlife. Of the
various types of mingqi, perhaps none
are more charming than the beautiful
sculptures of elegant female courtiers.
This gorgeous sculpture represents the
idealized woman of the T’ang Dynasty.
This sophisticated lady provided eternal
companionship for her lord throughout
the afterlife. We can imagine her looking
into the mirror for the final touch up of
her make-up and her hair styling, in the
very popular customs for courtiers during
the T’ang Dynasty, considered a golden
age of Chinese culture. This stunning
lady wears her hair in an elaborately
styled coiffure. A remarkable amount of
the original pigment that once decorated
this work remains intact. Such woman
may represent wife, princess, or
attendant. 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. She speaks of the
enormous wealth and sophisticated
culture of the T’ang Dynasty, one of the
greatest periods of artistic creation in
human history. Although she speaks of
the past, this lady in waiting continues to
amaze us in the present with her
unmatched beauty and sculptural
refinement.
