Dog
Han Dynasty (206 BCE - 220 CE)
Red earthenware with brown glaze
11.16 in. high
Animal figurines were commonly found in tombs and burial sites. This particular
one could represent the tomb occupant's pet, or perhaps a guardian for the
afterlife. The expression on its face, however, shows that it was probably a
companion. It is not fierce enough to be a guardian and does not have the common
demonic qualities seen in tomb guardians from this era.
Archer
Han Dynasty (206 BCE - 220 CE)
Gray earthenware with traces of pigment
18.5 in. high
Warriors would be placed in the tomb to serve the occupant. Objects such as
archer give a clue as to the dress of the time of its making. Cloaked in robes,
this small archer would have held replicas of his tools in his hands. He wears
three layers of robes and a flat hat that have been sculpted on and then
painted.
Horse
Han Dynasty (206 BCE - 220 CE)
Gray earthenware
11 in. high
Long an important symbol in China, horse figures were commonly placed in tombs.
Confucians considered the horse a strong and filial animal, and Daoists called
the best of them "heavenly horses" and regarded them as akin to
dragons. During the Han period, horses were an invaluable military resource.
This horse shares many characteristics with those found in western Han tombs.
The stout figure and cropped tail, possibly indicates that it was of a local
breed, as most figures of horses from Central Asia have longer, thinner legs and
smaller chests.
Horse (from Sichuan)
Han Dynasty (206 BCE - 220 CE)
Earthenware
41 in. high
Found in Sichuan Province, this majestic horse would have been placed in the
tomb with others so that the deceased could use it in death. This horse stands
in attentive position, ears forward, head and foot up, ready to serve his
master. The holes on its rump would have been used to attach a tail. Although it
could have been a detachable ceramic tail, it is more likely that actual horse
hair or some other fiber was used.
Ram
Han Dynasty (206 BCE - 220 CE)
Earthenware with light green glaze
7.25 x 31.5 in.
The ram, an auspicious animal because its name was a homonym for good fortune,
was often placed in tombs. Rams and other animals that were not native to China
were especially cherished because they were thought to come in contact with
spirits that lived on the edges of the known world. The exact use of this ram is
unknown; it may have stored food or served as a lamp, like a ram found at the
tomb of Liu Sheng in Lingshan, Mancheng in the Hebei Province.
Lady with Bell-shaped Skirt
Han Dynasty (206 BCE - 220 CE)
Gray earthenware with white and red pigments
12.77 in. high
This ceramic figurine of a court lady or attendant of the Han dynasty is yet
another example of a figure buried in a tomb to serve the deceased in the
afterlife. She wears the popular
garment of the time, a three-layered robe called a shenyi. The curve
between her slim waist and her flaring skirt give the piece a beautiful form.
The craftsmanship of this object is superb, both in the sculpting and
detailed painting of the face and body.
Female Attendant
Han Dynasty (206 BCE - 220 CE)
Gray earthenware with pigments
24 in. high
Male Attendant
Han Dynasty (206 BCE - 220 CE)
Gray earthenware with pigments
24.5 in. high
During the Han Dynasty, lavish burial customs were practiced by members of the
official-class and nobility who were laid to rest in tombs filled with articles
they had used during their life as well as sculptural representations of
anything they might need in the afterlife. These
representations included pottery figurines of servants, attendants, warriors,
and anyone else the deceased might require.
These two attendants are dressed in the popular garments of that time,
three-layered robes called shenyi.
The male attendant, also possibly an official, can be distinguished
from the female by his bun-like hairstyle and red, clog-like shoes that stick
out from under his robe. The
female’s tightly wrapped robe reveals a slim and graceful physique, the
“standard aesthetic of the female body in the Han dynasty.”
(Ling-Yi Chen) These figures
closely resemble two standing male and females figures excavated in 1953 from a
tomb at
Mat Weights in the Shape of Lions
Han Dynasty (206 BCE - 220 CE)
Bronze
2 x 2.5 in.
This pair of small, curled up lion figures would have served as mat weights for
their owner. Along their backs are stripes carved into the bronze. Figures like
these may be attributed to the Western Han, as the emperor Wudi created a zoo
that inspired the creation of several animal weights such as bears and leopards.
Horses and Riders
Six Dynasties (220-586 CE)
Gray earthenware with pigments
Horses: 9 x 11.25 in.
Riders: 10 x 5.75 in.
Sculpted of terracotta and then painted to show their clothing, this pair of Six
Dynasties riders mark a move away from sculpted details to painted designs.
Interestingly, there are five small holes on each horse: two above the mouth for
a bit and reins that would be held by the rider, and one on each leg of the
horse, except the left hind leg. They were more likely for attaching some type
of decoration.
Mythical Animal
Han Dynasty (206 BCE - 220 CE)
Gray earthenware with white pigment
7.8 x 11.75 in.
Mythical beasts like this one were placed in tombs as guardians. The practice of
putting guardians in tombs was long standing, but as time went on, beasts would metamorphose
into newer and stranger creatures. Many are combinations of animals, often with
horns or unusual tails. This creature appears to have the body of a lion with
two large protrusions on its neck, like horns. A very similar beast with the
same protrusions and tail was found in a Western Jin tomb in Henan.
Standing Man
Han Dynasty (206 BCE - 220 CE)
Bronze
15.5 in. high
The pose and dress of this Han dynasty man suggests that he might be a sort of
guardian. Properly upright in posture and certainly attentive, he calmly grasps
his patterned robe and handbag. His decorous headwear and bag, though the latter
is indistinct, identify him an official guarding the tomb. A similar Han figure
appears on an earthenware column bearing the inscription, "lieutenant of
the gate." He wears a similarly geometric hat, which is possibly a mark of
rank. The earthenware column functioned as architectural facing for the tomb's
doorway; perhaps this bronze man also stood close to the entry of the tomb.
Hunting Vase
Han Dynasty (206 BCE - 220 CE)
Earthenware with dark green glaze
14.25 in. high
Glazed in green, this Han dynasty vase depicts a hunting scene in a register
around its breadth. Running creatures mingle with abstracted landscape. Reliefs
of a leopard, a tiger, a dragon, mixed beasts, and an archer on horseback in
pursuit of game span the vase's surface. The taotie design appears again, here
bearing a ring in its mouth. It is important to note that its artist has
distinguished the spotted leopard from the striped tiger, a legacy of the
Eastern Zhou period.
Granary
Han Dynasty (206 BCE - 220 CE)
Red earthenware with green glaze
19 in. high
This pottery Han granary represents a cang for storing unhusked grain;
other Han granaries named lin stored husked rice. It is raised off the
ground for ventilation and to preserve the grain’s dryness. Some cang had
holes beneath wooden floors, which in conjunction with the upper-story windows
provided ventilation. Agricultural
tomb art was frequent and varied during this time; other pieces include a
pottery chicken coop, residential courtyard houses with room for animals, and
relief tiles of agricultural scenes, such as "Hulling and Winnowing
Grain." This type of
rectangular tomb granary is not as common as cylindrical forms. In terms of
architectural tomb pieces, tall, roofed watchtowers were more common. The
granary likely served as a storing place for sustenance set out for the earthly po.
Hill Jar (Zun)
Han Dynasty (206 BCE - 220 CE)
Bronze
11 x 10.5 in.
This vessel would have been used to warm wine in funeral rituals or in the
afterlife. Although similar motifs are often named "hunting scenes,"
the content of this bronze zun may be a representation of the Daoist Kunlun
mountain of Queen Mother or Penglai to the east. The piece's division into
registers appropriate for its subject matter, since depictions of a journey into
afterlife are generally divided in this way. Also, the fantastical creatures
adorning its ascending landscape resemble other mingled species found in Daoist
art. The piece depicts a cosmology rooted in the four quadrants of the compass;
beginning with the vermillion bird, which denotes the south, the zun is marked
by directional animals. The white tiger of the west and the green dragon of the
east sit on opposite sides of a register. Fuxi and Nuwa, male and female
progenitors in China's origin tale, are placed in opposition as well. Here
things converse in nature, as yin and yang are converse, are placed opposite as
their natures would intend. This bronze piece displays a map-like vision of an
otherworldly place.
Bo (Bell) from Southern China
Late Western Zhou or Early Eastern Zhou (ca. 700 BCE)
Bronze
17.25 x 12 in.
This bronze bo of is unusual in its adornments; an abstracted taotie rises from
its surface decorated with bosses (mei) and ornamental flanges. The small
horizontal s-shaped designs making up the horns of the taotie look like the
scrolls or dragon parts in similar bells; however here they are reminiscent of
silkworms. It is possible that what were formerly horns in taotie motifs here
became silkworms. Although the bell's composition implies that it was cast for
musical performance, it is a tomb piece and most likely played a part in funeral
rituals or was intended for use in the occupant's afterlife.
Goose
Eastern Zhou (Warring States Period; 475 - 221 BCE)
Buff earthenware with traces of red pigment
6.8 x 11 in.
During the widespread conflict of the Warring States period, influences from the
northern nomadic tribes and the southern regions mingled. The practice of
placing representations of actual objects in the tomb also became popular. In
addition to ceramic versions of bronzes, one would see figures of animals, such
as this goose. The goose was likely used to store grain in the tomb. Popular
Daoist beliefs about the soul required the earthly po and the ethereal hun to be
appeased, and the po would need to eat before it disappeared into the earth. A
duck similar to this goose was found in Erligang, Zhengzhou in the Henan
Province. Upon close inspection, one can see red paint on the neck and in a
circular pattern on the body.
Pagoda Tile
Late Period of Division (220-581 CE)
Earthenware with green glaze
14 x 13.8 in.
An almost identical tile, in a personal collection, has the same demonic
creature except in mirror image. This suggests that the tiles were originally
paired either facing each other or looking away, perhaps on either side of a
doorway or entrance. During this period, pagodas were mostly constructed of
brick or stone. The popular wooden pagodas that preceded brick and stone ones
were gradually phased out due to their susceptibility to fire. Later on, the
pagodas were constructed using both brick and wood to strengthen the
anti-seismic capability of the building. Glazed tiles were important building
materials that added a special luster to China's classical architecture.
Pair of Earth Spirit Guardians
Late Period of Division (220-581 CE)
Tan earthenware with red, white, and black pigments
10.5 in. high
These tomb guardians were found as a pair and are similar to others found in
tombs dating from the "Three Kingdoms": Wei, Wu and Shu. These
figurines are almost identical to each other except for their facial features.
One holds a demonic expression while the other has an almost human face. They
would most probably have been placed on either side of the coffin inside a grave
or the entrance to a tomb. Traces of paint suggest a colorful appearance.
Dui (a type of ritual vessel)
Eastern Zhou (Early Warring States; 475 - 221 BCE)
Bronze
10.5 x 8.5 in.
This bronze dui was found in Hebei province in China. It was used as a ritual
vessel, probably to store food. The style of the design in the bronze indicates
that it was originally inlaid with semi-precious staones. The exquisite
workmanship and design patterns show the skill level of the artisans during the
early Warring States period. This design motifs can be found in pieces from
other regions made about the same time, thus exhibiting the movement of ideas
and patterns through China.
Warrior
Gray earthenware with red and white pigments
Period of Division (220 - 581 CE)
14 in. high
The Period of Division succeeded the Han Dynasty and was a time of
"political division, economic decline, and barbarian incursion." (Kuwayama)
Regional warlords fought one another with private armies. This accounts for the
prevalence of ceramic figures of soldiers and warriors found in tombs of this
time. Tomb figures were meant to serve the personal needs of the deceased, so
powerful lords were buried with replicas of the armies that had served them in
this world and would continue to serve them in the afterlife. Han styles and
themes continued to influence the production of ceramic sculpture, but
craftsmanship declined. Characteristic of the ceramic sculpture of the Northern
Wei, this ceramic warrior was not glazed, although traces of red and white
painted pigment remain. In fact, this sculpture is very similar to a pair of
guardian warriors from the Northern Wei Dynasty, excavated at Hohhot, Inner
Mongolia Autonomous Region, in 1975. (Dawn of a Golden Age) These two figures
stand 15.5 and 17 inches tall; the warrior in the Colville Collection reaches a
height of 14 inches. They share the same threatening military postures,
grimacing facial expressions, bulbous noses, and pointed helmets.
Model of a Weight
Eastern Zhou (Warring States Period; 475 - 221 BCE)
Earthenware with yellow glaze
3.5 x 4.5 in.
This ceramic weight from the Warring States period is another representation of
a practical object. As an important tool for conducting trade or assisting
production, the weight is an apt symbol for a merchant. In tomb art, such
reproductions of objects are a frequent occurrence. But unlike those frequently
cast in bronze, a weight's functional medium, this piece is modeled in ceramic
with a hollow core. This is most likely tied to a belief about the afterlife, in
which the deceased continues after death with symbols of the tools he used in
life.
Ewer
Eastern Zhou (Warring States Period; 475 - 221 BCE)
Earthenware with yellow glaze
7.25 in. high
This ceramic ewer may represent a real bronze object placed in the tomb for use
in the after life by the tomb occupant. It is very similar to a bronze ewer also
in the Colville collection. It was possibly used in rituals for wine or water.
The s-shaped designs impressed into the clay are typical of its period, and it
has a yellow ash-fired glaze. Thermoluminescence testing shows that it was fired
roughly two thousand two hundred years ago.
Ewer
Eastern Zhou (Spring and Autumn Period; 770 - 475 BCE)
Bronze
9.5 in. high
This ewer was a ceremonial vessel for holding wine. Its similarity to the
ceramic ewer in the Colville collection demonstrates the widespread production
of this form in a variety of media. The animal spout and the flanges along the
handle are almost identical to the ceramic version. The cast surface decor is a
complex arrangement of locking L-shaped designs.
Bowl
Late Neolithic Period (Yangshao Culture; ca. 2500 BCE)
Earthenware with pigments
4.65 x 7.65 in.
The Yangshao culture is known for its geometrically painted pottery, and this
slab pot displays these usual Yangshao features. Painted vessels did not,
however, constitute the majority of the ceramics produced at the time. This
painted pottery was not used for everyday activities and seems to have been
primarily intended for ritual use. Cruder, utilitarian vessels, usually without
surface decoration, were used in the home for cooking, serving, and storage. The
more sophisticated painted pottery was buried in tombs with the dead, and very
few examples have been excavated from dwelling areas outside the tombs.
Source: The Chinese Potter A Handbook of Chinese Ceramics
Yi (a type of ritual vessel)
Eastern Zhou (Spring and Autumn Period; 770 - 475 BCE)
Bronze
7.75 x 15.35 in.
A yi is a type of bronze water vessel that first appeared during the late
Western Zhou period. It was used for ritual cleansing of the hands, usually
together with a shallow bronze pan. Water from the yi was poured over the hands
into the pan. The two types of vessels are often found together in the same
tomb, with the yi placed inside the pan. Eastern Zhou yi were made in
four-legged or three-legged versions. This particular yi stands on three legs,
with its handle capped by a flat tail extending horizontally from the rim. A
small point projects downward below the pouring channel; its purpose is still
unclear. These features are characteristic of those yi vessels excavated from
eastern and southeastern coastal locations, especially one in the Sen'oku
Hakkokan in Kyoto, dated to the eighth century BCE. (Eastern Zhou Ritual
Bronzes)
Source: Eastern Zhou Ritual Bronzes Volume Three
Stem Cup
Late Neolithic Period (Longshan Culture; ca. 2500 - 2000 BCE)
Black "Eggshell" Clay
5.5 in. high
Cup
Late Neolithic Period (Longshan Culture; ca. 3300 BCE)
Black "Eggshell" Clay
6 in. high
Jar
Late Neolithic Period (Longshan Culture; ca. 2000 BCE)
Black "Eggshell" Clay
8.75 in high
Jar with Handle
Late Neolithic Period (Longshan Culture; ca. 2000 BCE)
Black "Eggshell" Clay
7.75 in high
This thin, black pottery is characteristic of the Neolithic Longshan culture.
Use of the fast-moving potter's wheel became common at this time, causing an
increased attention to form and shape. Black pottery was produced in elegant
forms with extremely thin walls. The delicacy of the pieces suggests that they
were not used for everyday utilitarian purposes, but were intended for ritual
use. Unlike the ritual vessels of the Yangshao culture, this black pottery was
not painted, probably due to the increased attention to form. These high quality
pieces demonstrate the advanced technical skill of Longshan potters.
Li (a type of ritual vessel)
Late Western Zhou (1050 - 771 BCE)
Bronze
5.25 x 7.45 in.
Intertwined lines form bird and dragon figures on this bronze li. When turned
over, an inscription is found along the rim. The inscription identifies the li
as from the kingdom of Cao, established at towards the end of the Western Zhou
period. It dedicates the li to Fei from Cao Ziji for the sacrifice of a
barbarian captive, and goes on to describe the making of the li along with a
short stanza honoring Fei.
Gui (a type of ritual vessel)
Late Neolithic (Longshan Culture; ca. 3500 BCE)
Buff earthenware with traces of pigment
9.75 in. high
This type of vessel became popular in the Shandong Longshan culture. This gui
tripod ewer has the typical pouch-like legs, although some other versions have
three solid, conical legs. The spout is beak-shaped to resemble a bird and
points upwards, a characteristic feature of this vessel type. Also typical is
the curved handle made of several twisted or braided clay coils. This kind of
vessel was typically used for cooking or drinking.
Flask
Liao dynasty (916-1125)
Red earthenware with light green glaze
8.75 in. high
Pottery "cockscomb" flasks have been found in several Liao dynasty
burial sites. Founded by a nomadic ethnic group known as the Qidan, Liao ruled
over their northern Chinese territory for almost two centuries. This flask's
form imitates the leather saddle pouches commonly used by the Qidan for carrying
water, milk, and wine. An almost identical pot-with the same red body, light
green glaze, and incised scroll pattern-was excavated in 1978 from the Inner
Mongolian tomb of a prominent Liao noble.
Bodhisattva
Sui Dynasy (589-618)
White earthenware
1.25 in. high
Devout Buddhists frequently kept small votive sculptures of Buddhist deities in
their residences, and they sometimes placed the sculptures in tombs. This
unusual ceramic version belongs to a small set of sculptures cast from the same
mold. One of these works, now owned by the Museum of East Asian Art in Bath,
England, bears a handwritten inscription in black ink dating the work to the
year 563 CE.
Pillow
Jin Dynasty (1115-1234)
Stoneware with glaze
5 x 13.5 in.
Ceramic pillows were a common household and grave good from the Period of
Division on; however, the highpoint of their manufacture occurred in the
Northern Song (960-1126) and Jin (1115-1234) dynasties. During the Jin, one
popular pillow type featured a crouching child decorated with yellow, black, and
white glaze. Some Jin pillows have congratulatory inscriptions addressed to a
young married couple, suggesting that pillows also functioned as appropriate
wedding gifts.
