During the Tang dynasty, the accumulation of numerous
wealthy and worldly individuals with large amount of
leisure time in a few cities created a true metropolitan
elite that demanded an abundance of exotic luxury
items, thus defining a new aesthetic taste and fashion.
As sculptural representations of the fashions of the time,
the highest quality painted pottery mingqi tended to be
more successful than those glazed. While sancai objects
required greater expenditure of material and labour, the
application of the glaze meant that the replication of fine
details in drapery and physiognomy would have got lost
or overseen in favour of the rich glaze. Because of the
requirements of the glazing process, sancai pieces
tended to be less freely sculpted while for painted
pottery the artisans felt best able to explore the details of
the face, the garments and over all decoration, hairstyle
and the other accoutrements that fascinated the Tang
aristocracy.
The horse depicted would have belonged to a large and
spirited breed much sought after by the Chinese.
Originating in the grasslands of Inner Asia, such horses
were much larger than the pony native to China, hence
valued for their speed and nobility. Indeed owing a horse
became a privilege in Tang China when, in 667 an edict
decreed that only aristocrats (of both sexes) could ride
them.
Leisure-rich aristocrats then amused themselves playing
sports (in this case polo) and hunting. And such
activities were not limited to men but more than often
involved the partecipation of women. This female rider,
with her high waisted long red tunic, and an arm raised,
her hand possibly brandishing a stick that is no more
there, as to hit the ball, beautifully reflects the aura of
novelty and gender exploration that permeated the Tang
period. The colourful dresses, hairstyles and
ornamentation provide us with an insight into the
aethetic tastes and fashion consideration of the time,
carrying us into a past-time of amusements of exotic
flavour.
