|
This imposing pair of austere ceramic attendants
was made during what many consider to be
China’s Golden Age, the T’ang Dynasty. They
were designed as grave furnishings (mingqi), and
while there were many different forms, 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 T’ang Dynasty China,
while also demonstrating sculptural mastery in
exaggerating characteristics for effect, and for
sheer elegance of execution. These are made in a
relatively unusual manner, which has notable
geographical specificity within the Shaanxi
province. They are notably less rotund than the
majority of these figurees, with more detailed
modelling and a more conservative appearance
than the “classical” fat ladies. They have the
same rounded cheeks and jawlines, but they have
a far more dignified and reserved pose than is
usual for the genre. Their faces are detailed, with
a small, rounded nose and pursed lips, but their
expressions are less coquettish than is standard.
Their austerity is heightened by the rather
powerful geometric hairstyles; one rises fan-like
on a raised column from the back of the head,
while the other is more bouffant, with a
secondary bun towards her left. The effect is
more courtly and formal than the rather flippant
look of standard fat ladies. Rather than the
usual, rather ambiguous “come hither” hand
gestures, their hands are folded primly inside
their sleeves. Their dress is modelled as full-
length dresses, with folds picked out using
indentations. The ground colour is pale, with
reddish pigment on the upper halves of their
bodies. The figure with the bouffant hair also
some green pigment below the hands; her
colouring is much more defined, presumably an
artefact of preservation. Both figures – but
especially the one with the bouffant hair – have
further detailing in the form of floral patterns
picked out in dark pigment across much of their
dresses. Their pointed toes protrude from under
their dresses; their feet do not seem to have
been deformed through foot binding. It is
possible that these predate the development of
the system, which was a late T’ang innovation.
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.
This pair of sculptures is a remarkable reminder
of China’s outstanding heritage, and a beautiful
addition to any serious collection of the genre.
- (DK.114 (LSO))
|
