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. These gorgeous sculptures represent
the idealized woman of the T’ang Dynasty. This
sophisticated lady provided eternal
companionship for her lord throughout the
afterlife. We can imagine her gracefully dancing
or singing a poetical song, two very popular
customs for courtiers during the T’ang Dynasty,
considered a golden age of Chinese culture. Such
ladies are described in the numerous love poems
written during this era, the greatest outpouring of
poetry in Chinese history. 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
women may represent wives, princesses, or
attendants. Their 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.
- (SK.011)
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