T H E B A R A K A T G A L L E R Y

Chinese Art

Ming Dynasty
1368 AD - 1644 AD
 Ming Dynasty
Upon leading a victorious rebellion against the foreign Mongul rulers of the Yuan
Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the
Ming Dynasty in 1368. As emperor, he founded his capital at Nanjing and adopted the
name Hongwu as his reign title. Hongwu, literally meaning “vast military,” reflects the
increased prestige of the army during the Ming Dynasty. Due to the very realistic threat
still posed by the Mongols, Hongwu realized that a strong military was essential to
Chinese prosperity. Thus, the orthodox Confucian view that the military was an inferior
class to be ruled over by an elite class of scholars was reconsidered. During the Ming
Dynasty, China proper was reunited after centuries of foreign incursion and
occupation. Ming troops controlled Manchuria, and the Korean Joseon Dynasty
respected the authority of the Ming rulers, at least nominally.
Like the founders of the Han Dynasty (206 B.C.- 220 A.D.), Hongwu was extremely
suspicious of the educated courtiers that advised him and, fearful that they might
attempt to overthrow him, he successfully consolidated control of all aspect of
government. The strict authoritarian control Hongwu wielded over the affairs of the
country was due in part to the centralized system of government he inherited from the
Monguls and largely kept intact. However, Hongwu replaced the Mongul bureaucrats
who had ruled the country for nearly a century with native Chinese administrators. He
also reinstituted the Confucian examination system that tested would-be civic officials
on their knowledge of literature and philosophy. Unlike the Song Dynasty (960-1279
A.D.), which received most of its taxes from mercantile commerce, the Ming economy
was based primarily on agriculture, reflecting both the peasant roots of its founder as
well as the Confucian belief that trade was ignoble and parasitic.
Culturally, the greatest innovation of the Ming Dynasty was the introduction of the
novel. Developed from the folk tales of traditional storytellers, these works were
transcribed in the everyday vernacular language of the people. Advances in
printmaking and the increasing population of urban dwellers largely contributed to the
success of these books. Architecturally, the most famous monument of the Ming
Dynasty is surely the complex of temples and palaces known as the Forbidden City that
was constructed in Beijing after the third ruler of the Ming Dynasty, Emperor Yongle,
moved the capital there. Today, the Forbidded Palace remains one of the hallmarks of
traditional Chinese architecture and is one of the most popular tourist destinations in
the vast nation.
Ming Bronze Sculpture of a Buddhist Disciple

FZ.344 Collection: Chinese

Origin: China Medium: Bronze
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 9.25" (23.5cm) high x
3.75" (9.5cm) wide
This bronze figure standing on a decorated base surely indicates by the position of his
hands that he is in the midst of acknowledging an audience or presenting an offering.
A long scarf wraps around his arm and shoulder on both sides. His attire, coiffure, and
sturdy built reveal his duties as a protector and religious figure. A slightly inward
footing indicates humbleness as if standing before the presence of royalty or nobility.
His vivid facial expressions and head movement animate the heavy medium, rendering
it a sense of vitality and charm as if the person being depicted is ready to walk out of a
hardened trance. In accordance with Chinese physiognomy, elongated ear lobes tell of
a person's benevolence and a wide forehead is a sign of a person's generosity. Regarded
as an ideal, these characteristics are believed to be those of great figures such as
Buddha and Confucius, and are the most desired and depicted in Chinese art. - (FZ.
344)
 P a i r o f M i n g G l a z e d Te r r a c o t t a A t t e n d a n t s
Holding Bowls

H.001 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
These two lead-glazed female attendants exemplify Ming advances made in the
ceramic industry with regards to glaze technique and color. The colorful green, amber,
blue and red flowing robes and skirts contain highlights and speckles of complimentary
colors, as their folds and creases emphasizes the fluidity of the silk garments and
gracefulness of the women. Each standing on a hexagonal stepped pedestal colored in
the same color scheme, the women balance bowls on their concealed hands. They don
an elaborate red headdress with an incised band across the forehead tapering their
parted hair while the rest of their tresses is knotted and weaved into an ornate central
headpiece. Their plump cheeks, delicate features, and small rosy lips reflect the ideal
beauty of women in court life.
Ming statuette art reflects the attempt to restore purely 'Chinese' artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occurred throughout the Ming Era. - (H.001)
M i n g G i l t Wo o d e n S c u l p t u r e o f a F o l k D e i t y

H.014 Collection: Chinese

Origin: China Medium: Gilt Wood
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 18.5" (47.0cm) high x
8.5" (21.6cm) wide
Seated with legs slightly apart and arms bent at the elbows with the hands emerging
from the voluminous sleeves of this priest robe, the god sits on a throne decorated in
swirl and feather motif in red and black pigment. The crown, robe and face are in gilt,
rubbed-off on the lower portion of the robe which bears traces of black and red
pigment. The collar of the robe is incised in a cloud pattern covering the edge of an
incised lapel which crosses over the bodice. Tightened with a red belt, the outer robe
reveals the decorative border of an inner robe which drapes to the floor exposing the
tips of upward curved shoes. A puffed, pleated cap with a black border rests on top of
the head, just above the pendulant earlobes--a physiognomic character that attests to
one's benign being, as in the Buddha. The full face and delicately molded eyes, nose,
and mouth also convey the characteristics of a divine figure. Throughout China, local
gods and Taoist deities were worshipped in the private and public domains. It was
custom to make offerings to these figures to ensure the well-being of the household and
smooth handling of affairs. Since the introduction of Buddhism and invention of
Confucianism, the images of divine figures synthesized, borrowing elements from all
religious and philosophical beliefs, as evidenced in this Ming representation. - (H.014)
M i n g G l a z e d Te r r a c o t t a S c u l p t u r e s o f a H o r s e
and a Civic Official

H.016 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
With his arm outstretched holding an imaginary rein, a civil official stands patiently
beside his horse. He wears a long, flowing turquoise robe with wide sleeve openings
folded loosely across the body with a high, crossover white collar and a belt drawn
through a circular belt buckle. A flattened, tall cylindrical hat rests snugly on his head,
accentuating his pendulant earlobes and delicately featured white face. The horse is
caught in a natural pose with its right leg cocked and mouth agape. Its sturdy, graceful
body is decorated with colorful layers of fittings and insignia. The mane is combed
and parted between the ears, and the long tresses of the tail are cast in a singular mold.
It has a playful, childish quality that comes forth through its gestures and expressions.
After the T'ang Dynasty (AD 618-907), figurines no longer formed standard part of
tomb furnishings but the tradition lingered on. The use of burial objects varied
according to individual choice or local habit. The Ming consciously revived the art of
tomb figurines, adding to the range of colored glazes used since the T'ang--light to dark
blue, green, yellow and turquoise. Although the belief behind their use faded, the Ming
still produced marvelous pieces, perhaps for their aesthetic and symbolic value. - (H.
016)
M i n g S t o n e S c u l p t u r e o f a C h a r i o t R i d e r, H o r s e
and Attendents

H.026 Collection: Chinese

Origin: China Medium: Stone
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 11" (27.9cm) high x
20" (50.8cm) wide
This stone sculpture depicts the arrival of an esteemed patron on chariot. Symbolically,
it conveys the Buddhist belief in the attainment of nirvana arrived at through the
vehicle of devout faith. Seated on an ornate chariot which signifies enthronement, the
rider holds a lotus flower on his knee. This figure's delicately modelled face is
surmounted by an elaborate crown with a rising center piece. Two smaller sized figures
accompany the rider, displaying great movement and energy in their stylized gestures.
The smaller attendant yanks the reins of the vigorous horse as the other figure waves
his arm high, enhancing the movement of his body and clothing. Both men wear three-
quarter robes and bear the Buddhist marking of wisdom-- the ushnisa. - (H.026)
S e t o f S i x M i n g G l a z e d Te r r a c o t t a F i g u r e s a n d a
Horse and Rider

H.003 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 13.5" (34.3cm) high x
3.75" (9.5cm) wide
This group of lead-glazed statuettes is both unique and comical, perhaps depicting a
band of travelling entertainers, hermit scholars, or strange mystical servants. Although
the exact occupation of these figures is evasive, their farcical features and captivating
expressions reveal the artist's skill at creating figures that come to life and delight
audiences. Consisting of six standing figures and one seated on horseback, this odd
grouping seems to be partaking in a procession. The six standing figures wear emerald
green flowing robes with wide sleeves and an amber colored belt with an ornate
buckle. The robe reveals their white collars and black boots, and on some figures, a fin-
shaped pad seemingly part of the robe is fitted on one shoulder. Perhaps, it served as a
prop rest for a shaft or banner pole given that those fitted with it have one armed raised
and hand clenched as if shouldering a long slender object. Another figure, with
extremely different facial features from the others, stands in a bold stance revealing his
clenched fist and bare arm. Behind these men, another men carries a wooden rack on
his back. The man on horseback assumes an erect posture, right arm folded in front of
his button down jacket. Not only is his clothing significantly different, but his short,
incised pointed cap contrasts with the tall conical black caps worn by the men on foot.
His horse is short and stocky, but adorned with once colorful trappings that bespeak of
its important service to man. Ming statuette art reflects the attempt to restore purely
'Chinese' artistic genres with a healthy injection of Confucian aesthetic, political, and
moral standards. Realistic depictions of daily life became popular themes among artists
who were often patronized by the court. Under Xuande's reign (1426-35), the art
industry flourished, producing many exquisite porcelain and ceramic pieces. This
glazed set is a product of the Ming artistic revival and the imagination of artists who
prospered as a result. - (H.003)
P a i r o f M i n g G l a z e d Te r r a c o t t a M i l i t a r y F i g u r e s

H.032 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 19.25" (48.9cm) high x
5.5" (14.0cm) wide
Modelled on a curved surface, a military official decorates the side of these two
circular objects. A square-shaped hole cut out between the feet indicates that the
objects could have been used as incense burners or lamps. The military official is
glazed in sancai colors, yellow ochre, amber and green reminiscent of T'ang style,
while the raised base is left unglazed. The features of these stocky figure are delicately
molded, depicting the serious expression and bold nature commonly associated with
military men. Their tense eyebrows and piercing eyes exhibit a sense of stamina and
determination and while sternly clasping hands in the position of attention, their
elaborately decorated battle gear hint at their respected ranking in society. Careful
attention has been given to the modelling of the headdress which drapes to the
shoulders and the outer armor which is incised with horizontal diamond patterns.
During the Ming Dynasty, irredentist sentiment spawned a cultural movement that
sought to celebrate China's glorious past. Reproductions of cultural artifacts of the Han
and T'ang dynasties flooded the art market, increasing patrons appreciation and
awareness of their sophisticated past. It is possible that this piece was produced amidst
this flurry of enthusiasm and celebration. - (H.032)
S et o f F iv e M in g G lazed Terracotta A ttendants ,
a Horse, and a Pagoda

H.004 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Additional Information: Dimensions
Dimensions: 16.125" (41.0cm) high x are for the Tallest Figure
6" (15.2cm) wide Location: United States
This miniature procession consists of five attendants, a horse, and palanquin glazed in
sancai--a type of glazing that originated in the T'ang Dynasty (618-906). The
attendants are dressed in layers of robes that expose their footwear. The outer emerald
colored robe is shortened at the cuff of the wide sleeves to reveal an inner yellow ochre
robe. They wear tall rounded, short brimmed caps and lean forward as a gesture of
humility. As Chinese statuette art prescribes, the faces are created individually, owing
to their distinctive expressions and features. With the exception of the palanquin, the
attendants and horse stand atop a stepped pedestal of green or amber colors. The horse
charms us with its playful expression conveyed through its wide eyes, smiling grin, and
blockish built. Reminiscent of a childhood merry-go- round, the white horse is well-
groomed with its black mane combed and parted in the center around its ears, its tail
hair brushed and curled upward, and its body lavishly adorned with emerald green and
amber trappings. Glazed in the same color scheme as the other figures, the palanquin is
elegantly constructed with a small diamond pattern designed screen on both sides, an
double-arched, arabesque open entry, and curved hip roof.
This Ming set of sancai glazed figurines depicts an aspect of Chinese political and
social life. Tributary processions were common protocol at this time, the emperor
requiring provincial lords to pay tribute and tax on a regular basis. Processions were
also held for funerals, marriages, and rituals differing in grandeur depending on the
status of the individuals involved and nature of the ceremony. The palanquin served as
the primary form of transportation for the elite who often travelled with several
attendants. Ming statuette art reflects the attempt to restore purely "Chinese" artistic
genres with a healthy injection of Confucian aesthetic, political, and moral standards.
Realistic depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occured throughout the Ming. - (H.004)
S et o f F iv e M in g G lazed Terracotta A ttendants ,
a Horse, and a Palanquin

H.005 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
This miniature procession consists of five attendants, a horse, and palanquin. The
attendants are dressed in layers of robes that expose their footwear. The outer emerald
colored robe is shortened at the cuff of the wide sleeves to reveal an inner yellow ochre
robe. They wear tall rounded, short brimmed caps and lean forward as a gesture of
humility. As Chinese statuette art prescribes, the faces are created individually, owing
to their distinctive expressions and features. With the exception of the palanquin, the
attendants and horse stand atop a stepped pedestal of yellow, green or amber colors.
The horse charms us with its playful expression conveyed through its long eyelashes,
wide eyes, smiling grin, and blockish built. Reminiscent of a childhood merry-go-
round, the white horse is well-groomed with its black mane combed and parted in the
center around its ears, its tail hair brushed and curled upward, and its body lavishly
adorned with emerald green and amber trappings. Glazed in the same color scheme as
the other figures, the palanquin is elegantly constructed with a diamond pattern
designed screen on both sides, an arched, arabesque open entry, and curved hip roof.
This Ming set of glazed figurines depicts an aspect of Chinese political and social life.
Tributary processions were common protocol at this time, the emperor requiring
provincial lords to pay tribute and tax on a regular basis. Processions were also held for
funerals, marriages, and rituals differing in grandeur depending on the status of the
individuals involved and nature of the ceremony. The palanquin served as the primary
form of transportation for the elite who often traveled with several attendants. Ming
statuette art reflects the attempt to restore purely “Chinese” artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occurred throughout the Ming. - (H.005)
M i n g G l a z e d Te r r a c o t t a S c u l p t u r e s o f a H o r s e
and Rider and an Attendant

H.506 Catalogue: V17

Origin: China Collection: Chinese
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Dimensions: 15.5" (39.4cm) high Location: United States
After years of suffering from Yuan domination-- a domination realized through the
mastery of cavalry warfare--the Ming Dynasty emerged to reclaim its culturally
superior status. In the statuette art of the Ming, horses are favored subjects. Ming
horses typically have a robust and rather massive appearance. This modification is
apparent in this set of horse, rider and attendant. The rider sits high on a saddled horse
with an attendant at his side holding the reigns. The figurines are painted in blue, red,
and white glaze. Apparently of high social status, the rider is dressed in plain military
attire. His hands grasp something we can no longer see, but can only imagine to be a
weapon. His rank and position in society enable him to travel on horse accompanied by
a male attendant. It was also common for men of his background to engage in
equestrian activities such as polo. Through realistic facial detail, the Ming artist gives
life to the medium. An individual emerges out of these lifeless objects; the depiction of
real-life expressions enhances the vitality of these characters who have existed
throughout China's long history. Imbuing the object with life was the goal of craftsmen
since their work, as representations of real people, were to accompany the deceased
along a perilous journey into the other world. Whether or not these ceramic pieces
made during the Ming carried the same significance for its owner still remains a
mystery; however such burial practices did not disappear with such speed or entirety. -
(H.506)
S e t o f S e v e n M i n g G l a z e d Te r r a c o t t a A t t e n d a n t s
and a Horse

H.006 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Additional Information: The
Dimensions: 16.5" (41.9cm) high x Dimensions are for the Tallest Figure
5" (12.7cm) wide Location: United States
Seven attendants wear emerald green robes attached on one side and tied at the waist
with a sash. Their whitened faces accentuate their finely shaped eyes and small
reddened mouths as well as their black hair that appears beneath the tall, rounded red
caps. Although dressed in nearly identical attire, each attendant bears a mark that
distinguishes one from the other-- this method was used by Chinese statuette artists for
centuries to imbue each figure with spirit. One figure holds a red and black object in his
arm and bears a crest on his robe. The others are distinguished by their pose, the
appearance of their robes, or their facial features. The procession is complete with a
white horse decked out in exquisite trappings--the bridle and rein are adorned with
decorative studs and the amber glazed saddle is complimented with red and green
saddle blankets. Wide-eyed and grinning, the horse displays its elegance and strength.
This Ming set of sancai glazed figurines depicts an aspect of Chinese political and
social life. Tributary processions were common protocol at this time, the emperor
requiring provincial lords to pay tribute and tax on a regular basis. Processions were
also held for funerals, marriages, and rituals differing in grandeur depending on the
status of the individuals involved and nature of the ceremony. Ming statuette art
reflects the attempt to restore purely "Chinese" artistic genres with a healthy injection
of Confucian aesthetic, political, and moral standards. Realistic depictions of daily life
became popular themes among artists who were often patronized by the court. Under
Xuande's reign (1426-35), the art industry flourished, producing many exquisite
porcelain and ceramic pieces. This glazed set is a product of the artistic revival that
occured throughout the Ming Dynasty. - (H.006)
 S e t o f M i n g D y n a s t y G l a z e d Te r r a c o t t a
S culp tu r es F eaturing a D ignitary and S even
Attendants

H.007 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Additional Information: The
Dimensions: 18.5" (47.0cm) high x dimensions are for the dignitary.
4.75" (12.1cm) wide Location: United States
Modelled standing on a rectangular plinth, seven attendants accompany a dignitary
holding a box resting on a draped scarf over the folds of his sleeves. The dignitary is
modelled twice the size of the attendants, perhaps indicative of his high social ranking
or importance in the procession. The dignitary wears a tall back cap flattened on top
and an emerald green colored robe with yellow ochre showing on the sides. The lapel
is white with fading in some areas. With a countenance of veneration, the dignitary's
whitened fleshy face, elongated ear lobes, and refined facial features bespeaks of his
exemplary moral character and high social status. The seven attendants assume various
positions--some with one arm raised to the shoulder as if holding the pole that supports
a palanquin, others with their arms held forward carrying ceremonial objects or
musical instruments. All seven attendants wear unglazed half-robes with black collars
over emerald green undergarments and rounded caps of various shapes. Whereas the
dignitary stands erect and center-lined, the attendants stand slightly bent with their
heads lowered--a sign of their humble demeanor.
This Ming set of sancai glazed figurines depicts an aspect of Chinese political and
social life. Tributary processions were common protocol at this time, the emperor
requiring provincial lords to pay tribute and tax on a regular basis. Processions were
also held for funerals, marriages, and rituals differing in grandeur depending on the
status of the individuals involved and nature of the ceremony. The palanquin served as
the primary form of transportation for the elite who often travelled with several
attendants. Ming statuette art reflects the attempt to restore purely 'Chinese' artistic
genres with a healthy injection of Confucian aesthetic, political, and moral standards.
Realistic depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occured throughout the Ming. - (H.007)
M i n g Wo o d e n P o l y c h r o m e S c u l p t u r e o f G u a n y i n

PF.2359 Catalogue: V7
Origin: China Collection: Chinese
Circa: 1368 AD to 1644 AD Medium: Wood And Paint
Dimensions: 37" (94.0cm) high x Location: United States
9" (22.9cm) wide
Noted for her kindness, Guanyin is an ancient Boddhisattva. In Buddhism,
Boddhisattvas are beings who have attained enlightenment, but renounce the goal of
Nirvana, a state characterized by freedom from pain, suffering and the external world.
Instead, these benevolent Boddhisattvas minister eternally to relieve the sufferings of
all creatures, like Archangels, passing from the remote heaven to the world of men.
Indeed, this carved wood depiction of the Boddhisattva Guanyin emanates an other-
worldiness that bespeaks of spirited compassion and kindness. The artist who created
this sculpture captures through skillful carving a beautiful image, her serene face
radiating devotion and tenderness. Masterful chiseling of her garments results in an
ethereal quality that flows like the ancient tides. In her raised right hand she holds a
portion of her garment that magically becomes a cobra, the ancient Dravidian symbol
for a water spirit; evidencing Guanyin's close bond with all the natural world. Whispers
of her once colorful image are seen in the soft, subtle colors that still cling to her
beautiful form, now serving to accentuate her mystical qualities. When we behold this
work of art we are at once elevated to a height of aesthetic and spiritual awareness that
transcends both time and culture. - (PF.2359)
 M i n g G l a z e d Te r r a c o t t a Te m p l e R o o f Ti l e
Depicting a Horse and Rider

H.719 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 18" (45.7cm) high
Chinese architecture is one of the more distinct styles of building. Perhaps the most
characteristic element is the pagoda roofs that end in dramatic curves. This sculptural
tile would have been situated on that curved edge of a Ming Dynasty temple. Depicting
a horse and rider, this work was placed on the roof in order to frighten away any evil
spirits that might attempt to infiltrate the sacred space. The goateed and mustached
rider, apparently a soldier, is decorated in ochre-glazed armor that covers his body.
Both his hands are positioned as if they once held something. Most probably weapons,
perhaps swords, rendered in wood, that have deteriorated over the centuries. Although
this detail has disappeared, the vibrant hues of the blue and ochre glaze remain as
brilliantly colorful as ever. The horse’s saddle, mane and tail are all a beautiful deep
blue glaze, some of which has dripped over the other elements of the work, creating a
marvelous pattern. Blue-glazed ribbons decorating the riders swirl in the breeze, just
like the wavy winds that blow at the horse’s feet. When one considers that this
remarkable architectural sculpture is just the tip of the temple, the beauty of the
completed temple must be truly astounding. - (H.719)
 M i n g G l a z e d Te r r a c o t t a Te m p l e R o o f Ti l e
Depicting a Horse and Rider

H.718 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 18.25" (46.4cm) high
Chinese architecture is one of the more distinct styles of building. Perhaps the most
characteristic element is the pagoda roofs that end in dramatic curves. This sculptural
tile would have been situated on that curved edge of a Ming Dynasty temple. Depicting
a horse and rider, this work was placed on the roof in order to frighten away any evil
spirits that might attempt to infiltrate the sacred space. The rider, apparently a soldier,
is decorated in ochre- glazed armor that covers his body. Both his hands are positioned
as if they once held something. Most probably weapons, perhaps swords, rendered in
wood, that have deteriorated over the centuries. Although this detail has disappeared,
the vibrant hues of the blue and ochre glaze remain as brilliantly colorful as ever. The
horse’s saddle, mane and tail are all a beautiful deep blue glaze, some of which has
dripped over the other elements of the work, creating a marvelous pattern. Blue-glazed
ribbons decorating the riders swirl in the breeze, just like the wavy winds that blow at
the horse’s feet. When one considers that this remarkable architectural sculpture is just
the tip of the temple, the beauty of the completed temple must be truly astounding. -
(H.718)
S e t o f N i n e M i n g G l a z e d Te r r a c o t t a A t t e n d a n t s
and a Palanquin

H.866 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 8.5" (21.6cm) high
This miniature procession consists of nine attendants and a palanquin. The attendants
wear green-glazed robes with long flowing sleeves and shoes that have been painted
black. Their tall rounded black caps accentuate their dignified appearance. As Chinese
statuette art prescribes, the faces are created individually with uniquely painted
features, owing to their distinctive expressions. One of the attendants carries a black
stool around his back, perhaps providing a seat for the emperor once they arrived at
their destination. Glazed in the same rich forest green as the figures, the palanquin is
elegantly constructed with molded screens on both sides and curved hip roof crowned
with a diamond ornament. Here, the emperor would have once sat. However, he is not
depicted, since this processional set was intended to usher the soul of the deceased
emperor into the afterlife. - (H.866)
S e t o f Te n M i n g G l a z e d Te r r a c o t t a A t t e n d a n t s
and a Palanquin

H.867 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 8.5" (21.6cm) high
Ming statuette art reflects the attempt to restore purely "Chinese" artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occurred throughout the Ming. This Ming set of glazed figurines
depicts an aspect of Chinese political and social life. Tributary processions were
common protocol at this time, the emperor requiring provincial lords to pay tribute and
tax on a regular basis. Processions were also held for funerals, marriages, and rituals
differing in grandeur depending on the status of the individuals involved and nature of
the ceremony. The palanquin served as the primary form of transportation for the elite
who often traveled with several attendants.
This miniature procession consists of nine attendants and a palanquin. The attendants
wear green-glazed robes with long flowing sleeves and shoes that have been painted
black. Their tall rounded black caps accentuate their dignified appearance. As Chinese
statuette art prescribes, the faces are created individually with uniquely painted
features, owing to their distinctive expressions. One of the attendants carries a black
stool around his back, perhaps providing a seat for the emperor once they arrived at
their destination. Glazed in the same rich forest green as the figures, the palanquin is
elegantly constructed with molded screens on both sides and curved hip roof crowned
with a diamond ornament. Here, the emperor would have once sat. However, he is not
depicted, since this processional set was intended to usher the soul of the deceased
emperor into the afterlife. - (H.867)
 S e t o f Tw e l v e M i n g G l a z e d Te r r a c o t t a
Attendants and a Palanquin

H.868 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 9.25" (23.5cm) high
Ming statuette art reflects the attempt to restore purely "Chinese" artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occurred throughout the Ming. This Ming set of glazed figurines
depicts an aspect of Chinese political and social life. Tributary processions were
common protocol at this time, the emperor requiring provincial lords to pay tribute and
tax on a regular basis. Processions were also held for funerals, marriages, and rituals
differing in grandeur depending on the status of the individuals involved and nature of
the ceremony. The palanquin served as the primary form of transportation for the elite
who often traveled with several attendants.
This miniature procession consists of twelve attendants and a palanquin. The attendants
wear green-glazed robes with long flowing sleeves. Their tall rounded black caps
accentuate their dignified appearance. As Chinese statuette art prescribes, the faces are
created individually with uniquely painted features, owing to their distinctive
expressions. One of the attendants carries a fan against his chest. We can imagine him
periodically fanning down the emperor during their voyage. Glazed in the same rich
forest green as the figures, the palanquin is elegantly constructed with molded screens
on both sides and curved hip roof crowned with a diamond ornament. Here, the
emperor would have once sat. However, he is not depicted, since this processional set
was intended to usher the soul of the deceased emperor into the afterlife. - (H.868)
M ing Ter r acotta P olychrome S cu lptur e of an
Attendant

H.960 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Painted Terracotta
Dimensions: 8.875" (22.5cm) high Location: United States
M ing Ter r acotta P olychrome S cu lptur e of an
Attendant

H.961 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 8.875" (22.5cm) high
This statue represents a courtly attendant who is patiently awaiting the commands of
his noble master in the afterlife. He stands with his right arm raised as if he was once
holding the reigns of a horse, implying that he might represent a groom. The original
pigment that once covered this sculpture has survived the ravages of centuries
remarkably intact. He wears a bright red hat with a black rim that matches his long
black coat with little white buttons. His face has also been elegantly detailed with each
whisker of his moustache delicately applied as well as his eyes and eyebrows. The
details are remarkable. He almost appears to stare back at us. Having been to the
afterlife and resurrected in our era, what secrets might he share with us? While once
intended solely to be an eternal companion and attendant to the needs of his deceased
lord and his stable of mighty steeds, now this sculpted figure functions on his own as a
vibrant relic of history and as a spectacular work of art. - (H.960) - (H.961)
M i n g G i l t P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse

H.954 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 10.125" (25.7cm) high
M i n g G i l t P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse

H.956 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 10" (25.4cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This horse bears the broad, flattened face that is characteristic of
horse sculptures during the transition from the Yuan to the Ming Dynasty. A burgundy
numnah with tassels covers his back, resting under the bright orange saddle. Remnants
of green pigment around the harness and bridal suggest that they may once have been
painted, while the stirrups and bits still retain gilding. Overall, this sculpture is a
testament to the revered status of the horse in Chinese culture, a love affair that was
well over a fifteen hundred years old by the time this equestrian effigy was created. -
(H.954) - (H.956)
 M i n g Te r r a c o t t a P o l y c h r o m e S c u l p t u r e o f a
Horse

H.955 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 10.25" (26.0cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This white horse bears the broad, flattened face that is characteristic
of horse sculptures during the transition from the Yuan to the Ming Dynasty. A white
numnah with tassels covers his back, resting under the saddle. Remnants of blue
pigment around the saddle, harness, and bridal suggest that they were once painted.
Overall, this sculpture is a testament to the revered status of the horse in Chinese
culture, a love affair that was well over a fifteen hundred years old by the time this
equestrian effigy was created. - (H.955)
 M i n g P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse

H.957 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 10" (25.4cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This white horse bears the broad, flattened face that is characteristic
of horse sculptures during the transition from the Yuan to the Ming Dynasty. A green
numnah covers his back, resting under the bright red saddle. Remnants of brown
pigment on the harness and bridal suggest that they were once painted as well. Overall,
this sculpture is a testament to the revered status of the horse in Chinese culture, a love
affair that was well over a fifteen hundred years old by the time this equestrian effigy
was created. - (H.957)
 M i n g P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse

H.958 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 10.25" (26.0cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This white horse bears the broad, flattened face that is characteristic
of horse sculptures during the transition from the Yuan to the Ming Dynasty. A white
numnah with tassels covers his back, resting under the bright orange saddle. Remnants
of green pigment on the harness and bridal suggest that they were once painted as well.
Overall, this sculpture is a testament to the revered status of the horse in Chinese
culture, a love affair that was well over a fifteen hundred years old by the time this
equestrian effigy was created. - (H.958)
 M i n g P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse

H.959 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 10" (25.4cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This white horse bears the broad, flattened face that is characteristic
of horse sculptures during the transition from the Yuan to the Ming Dynasty. A tasseled
numnah with hints of yellow and pink hues covers his back, resting under the saddle.
Overall, this sculpture is a testament to the revered status of the horse in Chinese
culture, a love affair that was well over a fifteen hundred years old by the time this
equestrian effigy was created. - (H.959)
 M i n g P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse and Rider

H.953 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 13.25" (33.7cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This white horse bears the broad, flattened face that is characteristic
of horse sculptures during the transition from the Yuan to the Ming Dynasty. Remnants
of light green paint still remain on his harness while red pigment highlights his nostrils,
mouth, and eyes. The rider, who rests solemnly with his hands held together in front of
his chest and his eyes closed, as if in a trace, also bears a striking amount of his
original paint, evident in his black coat and red lips. Overall, this sculpture is a
testament to the revered status of the horse in Chinese culture, a love affair that was
well over a fifteen hundred years old by the time this equestrian effigy was created. -
(H.953)
M i n g G i l t P o l y c h r o m e Te r r a c o t t a S c u l p t u r e o f a
Horse and Rider

H.952 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 13.5" (34.3cm) high
The importance of the horse in the history and culture of China can be viewed, in part,
through the artistic legacy of this great civilization. In sculpture, painting, and
literature, horses were glorified and revered. Furthermore, horses were believed to be
relatives of the mythological dragon, reflecting their sacred status within society. The
speed and endurance of horses enabled China to conquer new lands and govern far
away provinces under a unified central government. Horses were and essential
component of the Civic Letters Bureau, a modern postal service founded during the
Ming Dynasty, which contributed to the dissolution of traditional smoke signal
communications. This white horse bears the broad, flattened face that is characteristic
of horse sculptures during the transition from the Yuan to the Ming Dynasty. Remnants
of light green paint still remain on his harness while red pigment highlights his nostrils,
mouth, and eyes. Some gilding is even visible on the bits, suggesting the luxurious
nature of this work. The rider, who sits with his left arm curled up to his chest and his
right arm held out to his side, as if motioning with invisible reigns for the horse to turn,
also bears a striking amount of his original paint, evident in his red coat and black vest.
Overall, this sculpture is a testament to the revered status of the horse in Chinese
culture, a love affair that was well over a fifteen hundred years old by the time this
equestrian effigy was created. - (H.952)
S e t o f N i n e M i n g G l a z e d a n d P a i n t e d Te r r a c o t t a
Attendants

H.927 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 9.25" (23.5cm) high
Ming statuette art reflects the attempt to restore purely “Chinese” artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occurred throughout the Ming Dynasty. This Ming set of glazed
figurines depicts an aspect of Chinese political and social life. Tributary processions
were common protocol at this time, the emperor requiring provincial lords to pay
tribute and tax on a regular basis. Processions were also held for funerals, marriages,
and rituals differing in grandeur depending on the status of the individuals involved
and nature of the ceremony.
This miniature procession consists of nine attendants. The male attendants wear green-
glazed robes with a frosted patina and long flowing sleeves. Their tall rounded caps
and shoes have been painted black, accentuating their dignified appearance. The ladies
in waiting wear similar green robes; however, they have on ochre-glazed dresses
underneath. Their elegantly coiffed hairstyles enhances their beauty. As Chinese
statuette art prescribes, the faces are created individually with uniquely painted
features, owing to their distinctive expressions. Several of the attendants bear gifts and
royal regalia, such as the emperor’s headdress and a plate. Three others hold one of
their arms in the air. A hole in their hands reveals that they were once carrying poles,
suggesting that a palanquin once accompanied the procession, hauled on the shoulders
of these men. Here, the emperor would have once sat. However, he is not depicted,
since this processional set was intended to usher the soul of the deceased emperor into
the afterlife. - (H.927)
 M i n g G l a z e d Te r r a c o t t a Ti l e F r o m a Te m p l e

H.849 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Dimensions: 20.5" (52.1cm) high Location: United States
This glazed terracotta tile would have been one of the centerpieces in the decorative
scheme of a Ming Dynasty temple. Brilliantly colored in rich bluish green, light
grayish yellow, and ochre hues, this tile depicts figure with a comical charm carrying a
pole across his back while traversing across a river. The undulating waves of the
stream roll underneath his feet, winding its way through rock while a plant rises from
the surface of the water. Dressed in a green robe that hangs open, revealing his large
belly and beaded necklace, he seemingly struggles to keep his balance against the pull
of the current. Considering that this figure appears to walk on water, it is also likely
that the waves really represent rolling hills. It is clear from the edges that this work
would have been joined with others on either side that would have completed the
image. The subject matter, although not apparent, is most likely Buddhist, considering
the nature of the temple. When we imagine the entire temple structure covered in such
tiles, from the walls to the roof, the glory of Ming Dynasty China becomes apparent. -
(H.849)
 M i n g G l a z e d Te r r a c o t t a Ti l e F r o m a Te m p l e
R oof

H.1005 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 17.25" (43.8cm) high
Chinese architecture is one of the more distinct styles of building throughout the world.
Perhaps the most characteristic element is the pagoda roofs that end in dramatic curves.
This sculptural tile would have been situated on a roof of a Ming Dynasty temple.
Depicting bearded man in a dynamic posture, this work was placed on the roof in order
to frighten away any evil spirits that might attempt to infiltrate the sacred space. He
wears a rich blue robe with black boots and a green hat. His unusual posture, with one
leg raised and his two arms both held outwards, suggests he may be dancing. Holes in
his hands reveal that he would have once held objects likely made out of wood that
have deteriorated over the centuries. Who does this figure represent? A Confucian
sage? A spiritual leader? A deity? While we may never know his true identity, we can
assume that he was an important individual to be memorialized in such a way. When
one considers that this remarkable architectural sculpture is just the top of the temple,
the beauty of the whole temple must be truly astounding. - (H.1005)
M ing G lazed Terracotta S culpture of a Warrior
F r o m a Te m p l e

H.1022 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 21" (53.3cm) high
Glazed tiles are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed tiles became a popular decorative devise extensively employed in
temples, altars, imperials palaces, and gardens. Beijing became the center of glazed
architectural tile production during the Ming period, and colorfully decorated pagodas
began to sprout up around this region.
This glazed terracotta architectural sculpture features an armored warrior posed in a
dynamic stance. It is known that such glazed works were most frequently employed on
the roofs and along the doorways of imperial or sacred structures. Judging from the
shape of the base, it is likely that this work once stood in a corner, perhaps along a wall
where a doorframe jutted out. Brilliantly colored in rich bluish green, light crème, and
brownish ochre hues, the warrior stares at us with intense concentration. His black
pupils project slightly from his eyes, so that it appears as if his eyes follow us as we
move around the piece. A hole in his right hand suggests that he would have once held
a sword or some other weapon made of wood that deteriorated over the centuries. His
armor is richly ornamented, with a spectacular helmet and ribbons of fabric flare
outward, undulating in the breeze like waves, imbuing the work with a sense of
movement. When we imagine the entire temple structure covered in such tiles, from
the walls to the roof, the glory of Ming Dynasty China becomes apparent. - (H.1022)
P a i r o f M i n g G l a z e d Te r r a c o t t a H o u s e F a ç a d e s

H.1049 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Dimensions: 16" (40.6cm) high Location: United States
P a i r o f M i n g G l a z e d Te r r a c o t t a H o u s e F a ç a d e s

H.1049 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Dimensions: 16" (40.6cm) high Location: United States
Like walking down some ancient avenue, here we are confronted by the façades of
Ming Dynasty houses. With slanted tiled roofs and ochre- glazed doors, we can
imagine hearing the joyous cries of children playing or the fragrant odors of a
simmering wok emerging from inside. This natural depiction of the façades gives us a
colorful picture into what life might have been like in ancient China during the Ming
era. However, this pair of house models was not discovered as part of some larger
miniature city; instead, it was uncovered from a tomb. Why would someone place
façades of houses inside a tomb? In antiquity, the Chinese believed that the afterlife
was an extension of our earthly existence. Thus, it was the custom to bury alongside
the deceased ornate representations of daily life. Yet, by the time of the Ming, this
ancient custom has lost most of its philosophical connotations and was continued
merely out of tradition. Therefore, these houses would have served as a permanent
abode for the deceased throughout the afterlife. - (H.1049) - (H.1050)
 M i n g G l a z e d Te r r a c o t t a O ff e r i n g Ta b l e

H.1051 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 8.375" (21.3cm) high
This offering table, overflowing with the bounteous fruits of the land and sea,
represents a sumptuous feast that would have nourished the deceased throughout
eternity. A marvelous array of fresh fruits, pyramid-shaped pastries, and intricately
carved vegetables that have been laid out on platters to appear like blossoming flowers.
The ball-shaped fruits have been arranged on separate plates, in small stacks of four.
While the burial customs of ancient China had lost most of their original meanings by
the time of the Ming, such offerings were continually carried out, often just for the
sake of tradition. In this case, it was believed that the deceased must be provided for in
the afterlife of all that was necessary in this world. Thus food, and feasting, would have
been one of the foremost concerns. This offering table would have appeased the
deceased’s appetite for all eternity. Today, it is a vivid reminder of the beauty and
history of China, both culinary and artistic. - (H.1051)
 M i n g G l a z e d Te r r a c o t t a O ff e r i n g Ta b l e

H.1052 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 9.25" (23.5cm) high
This offering table, overflowing with the bounteous fruits of the land and sea,
represents a sumptuous feast that would have nourished the deceased throughout
eternity. A tripod vessel stands in the center of the table. Such a container may have
been used to heat or steam certain dishes. A pair of large teapots and candlestick
holders flank this tripod vessel. Other delicacies are presented for our enjoyment: a
pig’s head, an assortment of cakes, a bird, and fish. While the burial customs of ancient
China had lost most of their original meanings by the time of the Ming, such offerings
were continually carried out, often just for the sake of tradition. In this case, it was
believed that the deceased must be provided for in the afterlife of all that was necessary
in this world. Thus food, and feasting, would have been one of the foremost concerns.
This offering table would have appeased the deceased’s appetite for all eternity. Today,
it is a vivid reminder of the beauty and history of China, both culinary and artistic. -
(H.1052)
 M i n g G l a z e d Te r r a c o t t a S c u l p t u r a l Ti l e o f a
Dragon's Head

H.1045 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 24.25" (61.6cm) high x
18" (45.7cm) depth
This glazed sculpture of a dragon’s head dates from the Ming Dynasty. Such a work
would have been used as a decorative element on the roof or entryway of a palace or
temple structure. The Ming Dynasty especially is noted for its colorfully glazed
architectural sculptures. With open mouth, sharp fangs, and beady eyes, this dragon’s
head was clearly meant to frighten away any potential evildoers, be they human or
otherworldly, which might try to infiltrate the building it once adorned. Considering
that both the concave back of the work and inside of the dragon’s mouth have been left
unglazed, we can presume that these are the areas where the work was attached to the
structure. The general shape of the work, as well as the fact that the top is glazed,
implies that it once stood at an intersection of support beams. The work would rest
easily between vertical beams while a horizontal beam may have been inserted into the
hole in the mouth. A gateway or doorframe comes to mind. When we imagine the
entire temple structure covered in such tiles, from the walls to the roof, the glory of
Ming Dynasty China becomes apparent. - (H.1045)
 M i n g G l a z e d Te r r a c o t t a S c u l p t u r a l Ti l e o f a
Dragon's Head

H.1046 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 24.25" (61.6cm) high x
20.5" (52.1cm) depth
This glazed sculpture of a dragon’s head dates from the Ming Dynasty. Such a work
would have been used as a decorative element on the roof or entryway of a palace or
temple structure. The Ming Dynasty especially is noted for its colorfully glazed
architectural sculptures. With open mouth, sharp fangs, and beady eyes, this dragon’s
head was clearly meant to frighten away any potential evildoers, be they human or
otherworldly, which might try to infiltrate the building it once adorned. Considering
that both the concave back of the work and inside of the dragon’s mouth have been left
unglazed, we can presume that these are the areas where the work was attached to the
structure. The general shape of the work, as well as the fact that the top is glazed,
implies that it once stood at an intersection of support beams. The work would rest
easily between vertical beams while a horizontal beam may have been inserted into the
hole in the mouth. A gateway or doorframe comes to mind. Along the dragon’s
forehead, in between the eyes, a dedicatory text has been inscribed, detailing the date,
location, and patron who commissioned the work. When we imagine the entire temple
structure covered in such tiles, from the walls to the roof, the glory of Ming Dynasty
China becomes apparent. - (H.1046)
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g a D r a g o n

X.0264 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 15.5" (39.4cm) high x
48" (121.9cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the then end of the T’ang Dynasty. Even then, during the Song and
Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperials palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This pair of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich dark blue,
bright turquoise and yellow ochre hues, these tiles depict a ferocious undulating
dragon. During the height of the Ming Dynasty, large sculptures of dragons, called
guardian dragons, were placed outside the main entrance of the imperial palace and the
mansions of wealthy magistrates. Later, during the Qing Dynasty, dragons would be
replaced by stone lions and Fu dogs as the main choice of guardian creatures.
However, dragons continue to be revered, as they were during the Ming era, for their
infinite protective qualities. With its open mouth, sharp fangs, and beady eyes, this
dragon was clearly meant to frighten away any potential evildoers, be they human or
otherworldly, which might try to infiltrate the building it once adorned. This pair of
tiles is but one part of a larger frieze of glazed tiles that would have once decorated the
interior or exterior of the temple structure. When we imagine the entire temple
structure covered in such tiles, from the walls to the roof, the glory of Ming Dynasty
China becomes apparent. - (X.0264)
 M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l Ti l e s
Depicting a Dragon

X.0265 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 18" (45.7cm) high x
71" (180.3cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the then end of the T’ang Dynasty. Even then, during the Song and
Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperials palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This trio of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green and
yellow ochre hues, these tiles depict a ferocious dragon undulating across a
background of verdant foliage including a human head and a small figure. During the
height of the Ming Dynasty, large sculptures of dragons, called guardian dragons, were
placed outside the main entrance of the imperial palace and the mansions of wealthy
magistrates. Later, during the Qing Dynasty, dragons would be replaced by stone lions
and Fu dogs as the main choice of guardian creatures. However, dragons continue to be
revered, as they were during the Ming era, for their infinite protective qualities. With
its open mouth, sharp fangs, and beady eyes, this dragon was clearly meant to frighten
away any potential evildoers, be they human or otherworldly, which might try to
infiltrate the building it once adorned. This trio of tiles is but one part of a larger frieze
of glazed tiles that would have once decorated the interior or exterior of the temple
structure. When we imagine the entire temple structure covered in such tiles, from the
walls to the roof, the glory of Ming Dynasty China becomes apparent. - (X.0265)
M i n g G l a z e d Te r r a c o t t a Te m p l e Ti l e i n t h e F o r m
of a D ragon' s H ead

X.0266 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 22.5" (57.2cm) high x
8" (20.3cm) wide x 17" (43.2cm) depth
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the then end of the T’ang Dynasty. Even then, during the Song and
Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperials palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This glazed sculpture of a dragon’s head dates from the Ming Dynasty. Such a work
would have been used as a decorative element on the roof or entryway of a palace or
temple structure. The Ming Dynasty especially is noted for its colorfully glazed
architectural sculptures. With open mouth, sharp fangs, and beady eyes, this dragon’s
head was clearly meant to frighten away any potential evildoers, be they human or
otherworldly, which might try to infiltrate the building it once adorned. Dragons, along
with phoenixes, were there principle motifs of architectural decorations. In the Chinese
language, the words for almost everything associated with the emperor was preceded
by the character for dragon or phoenix. Thus, the “dragon seat” was the equivalent of
the emperor’s throne and “dragon robe” stood for the emperor’s ceremonial dress.
Considering the significance of the dragon in Chinese mythology and this creatures
intimate relationship with the ruling elite, it is likely that this architectural ornament
would have adorned a palace of a close associate of the emperor. During the height of
the Ming Dynasty, large sculptures of dragons, called guardian dragons, were placed
outside the main entrance of the imperial palace and the mansions of wealthy
magistrates. Later, during the Qing Dynasty, dragons would be replaced by stone lions
and Fu dogs as the main choice of guardian creatures. However, dragons continue to be
revered, as they were during the Ming era, for their infinite protective qualities. When
we imagine the entire temple structure covered in such tiles, from the walls to the roof,
the glory of Ming Dynasty China becomes apparent. - (X.0266)
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g a D r a g o n

X.0267 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 14.25" (36.2cm) high x
48" (121.9cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the then end of the T’ang Dynasty. Even then, during the Song and
Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperials palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This pair of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in dark blue, rich
green and yellow ochre hues, these tiles depict a ferocious undulating dragon. During
the height of the Ming Dynasty, large sculptures of dragons, called guardian dragons,
were placed outside the main entrance of the imperial palace and the mansions of
wealthy magistrates. Later, during the Qing Dynasty, dragons would be replaced by
stone lions and Fu dogs as the main choice of guardian creatures. However, dragons
continue to be revered, as they were during the Ming era, for their infinite protective
qualities. With its open mouth, sharp fangs, and beady eyes, this dragon was clearly
meant to frighten away any potential evildoers, be they human or otherworldly, which
might try to infiltrate the building it once adorned. This pair of tiles is but one part of a
larger frieze of glazed tiles that would have once decorated the interior or exterior of
the temple structure. When we imagine the entire temple structure covered in such
tiles, from the walls to the roof, the glory of Ming Dynasty China becomes apparent. -
(X.0267)
 P a i r o f G l a z e d Te r r a c o t t a A r c h i t e c t u r a l
Sculptures of Dragons

X.0268 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 18" (45.7cm) high x
23" (58.4cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind. Later, during
the Qing Dynasty, dragons would be replaced by stone lions and Fu dogs as the main
choice of guardian creatures. However, dragons continue to be revered, as they were
during the Ming era, for their infinite protective qualities. As architectural ornaments,
this pair of dragon sculptures is a masterpiece. Surely the building that these works
once adorned must have been quite spectacular. When we imagine the entire temple
structure covered in such ornaments, from the walls to the roof, the glory of Ming
Dynasty China becomes apparent. - (X.0268)
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g a D r a g o n

X.0269 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Dimensions: 15.25" (38.7cm) high x Location: Great Britain
48" (121.9cm) wide
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g a D r a g o n

X.0270 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind. Later, during
the Qing Dynasty, dragons would be replaced by stone lions and Fu dogs as the main
choice of guardian creatures. However, dragons continue to be revered, as they were
during the Ming era, for their infinite protective qualities.
This pair of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green, dark
brown and yellow ochre hues, these tiles depict a ferocious undulating dragon. With its
open mouth, sharp fangs, and beady eyes, this dragon was clearly meant to frighten
away any potential evildoers, be they human or otherworldly, which might try to
infiltrate the building it once adorned. This pair of tiles is but one part of a larger frieze
of glazed tiles that would have once decorated the interior or exterior of the temple
structure. When we imagine the entire temple structure covered in such tiles, from the
walls to the roof, the glory of Ming Dynasty China becomes apparent. - (X.0269) - (X.
0270)
P a i r o f M i n g G l a z e d Te r r a c o t t a A r c h i t e c t u r a l
Ti l e s D e p i c t i n g D r a g o n s a n d R i d e r s

X.0271 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 23.5" (59.7cm) high x
20" (50.8cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind. Later, during
the Qing Dynasty, dragons would be replaced by stone lions and Fu dogs as the main
choice of guardian creatures. However, dragons continue to be revered, as they were
during the Ming era, for their infinite protective qualities.
This pair of glazed terracotta sculptures would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green and
yellow ochre hues, these architectural sculptures depict a pair of riders atop of dragons.
With their open mouths, sharp fangs, and beady eyes, these dragons were clearly meant
to frighten away any potential evildoers, be they human or otherworldly, which might
try to infiltrate the building it once adorned. The fact that there are riders controlling
these beasts suggests that the emperor, or his close associate, who would have resided
in the palace these sculptures decorated, was so powerful as to hold these mighty
mythological creatures under his sway. When we imagine the entire temple structure
covered in such works, from the walls to the roof, the glory of Ming Dynasty China
becomes apparent. - (X.0271)
M i n g G l a z e d Te r r a c o t t a Te m p l e Ti l e i n t h e F o r m
of a D ragon' s H ead

X.0272 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 11" (27.9cm) high x
20.5" (52.1cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind. Later, during
the Qing Dynasty, dragons would be replaced by stone lions and Fu dogs as the main
choice of guardian creatures. However, dragons continue to be revered, as they were
during the Ming era, for their infinite protective qualities.
Brilliantly colored in rich dark blue and bright turquoise hues, this glazed terracotta
sculpture of a dragon’s head would have featured prominently in the decorative scheme
of a Ming Dynasty temple. With its open mouth, sharp fangs, and beady eyes, these
dragons were clearly meant to frighten away any potential evildoers, be they human or
otherworldly, which might try to infiltrate the building it once adorned. The shape of
this piece suggests that it was originally place atop the eaves of the roof. When we
imagine the entire temple structure covered in such works, from the walls to the roof,
the glory of Ming Dynasty China becomes apparent. - (X.0272)
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g Tw o D r a g o n s

X.0275 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind. Later, during
the Qing Dynasty, dragons would be replaced by stone lions and Fu dogs as the main
choice of guardian creatures. However, dragons continue to be revered, as they were
during the Ming era, for their infinite protective qualities.
This pair of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green, dark
brown and yellow ochre hues, these tiles depict a ferocious undulating dragon. With its
open mouth, sharp fangs, and beady eyes, this dragon was clearly meant to frighten
away any potential evildoers, be they human or otherworldly, which might try to
infiltrate the building it once adorned. This pair of tiles is but one part of a larger frieze
of glazed tiles that would have once decorated the interior or exterior of the temple
structure. When we imagine the entire temple structure covered in such tiles, from the
walls to the roof, the glory of Ming Dynasty China becomes apparent. - (X.0275)
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g P h o e n i x e s

X.0278 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 9.5" (24.1cm) high x
43.5" (110.5cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This group of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green, bright
turquoise, and yellow ochre hues, these tiles depict a pair of winged phoenixes flying
against a background of swirling foliage. One of the earliest known example of the
phoenix occurring in Chinese art dates back to the Warring States Period (475- 221
B.C.). Like the dragon, the phoenix is one of the most important motifs in Chinese
imperial art and architecture. A composite creature that features the head of the golden
pheasant, the beak of the parrot, the body of the mandarin duck, the wings of the roc,
the feathers of the peacock and the legs of the crane, the phoenix was the sovereign of
all birds and the ruler of the skies. This pair of tiles is but one part of a larger frieze of
glazed tiles that would have once decorated the interior or exterior of the temple
structure. When we imagine the entire temple structure covered in such tiles, from the
walls to the roof, the glory of Ming Dynasty China becomes apparent. - (X.0278)
M i n g G l a z e d Te r r a c o t t a Te m p l e S c u l p t u r e o f a
Dragon

X.0279 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
During the height of the Ming Dynasty, large sculptures of dragons, called guardian
dragons, were placed outside the main entrance of the imperial palace and the
mansions of wealthy magistrates. Later, during the Qing Dynasty, dragons would be
replaced by stone lions and Fu dogs as the main choice of guardian creatures.
However, dragons continue to be revered, as they were during the Ming era, for their
infinite protective qualities. This large glazed terracotta sculpture depicts a caparisoned
dragon. Glazed colors cover the whole of the work. Rich dark blue, bright turquoise,
and yellow ochre all decorate the sculpture and bring a sense of life and vibrancy to the
piece. There is a cylindrical boss that rises out of the creature’s back, suggesting that
another piece may have been attached to the work. Similar sculptures served as incense
burners, and it is possible that this may have been this sculpture’s purpose. This
gorgeous work is a stunning testament to the wealth and luxury of the Ming Dynasty. -
(X.0279)
P a i r o f M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l
Ti l e s D e p i c t i n g a D r a g o n

X.0280 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 15" (38.1cm) high x
48" (121.9cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind. Later, during
the Qing Dynasty, dragons would be replaced by stone lions and Fu dogs as the main
choice of guardian creatures. However, dragons continue to be revered, as they were
during the Ming era, for their infinite protective qualities.
This pair of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green, dark
brown and yellow ochre hues, these tiles depict a ferocious undulating dragon against a
background of foliage and flowers. With its open mouth, sharp fangs, and beady eyes,
this dragon was clearly meant to frighten away any potential evildoers, be they human
or otherworldly, which might try to infiltrate the building it once adorned. This pair of
tiles is but one part of a larger frieze of glazed tiles that would have once decorated the
interior or exterior of the temple structure. When we imagine the entire temple
structure covered in such tiles, from the walls to the roof, the glory of Ming Dynasty
China becomes apparent. - (X.0280)
 M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l Ti l e
Depicting a Phoenix

X.0281 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Dimensions: 16" (40.6cm) high x Location: United States
23" (58.4cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This glazed terracotta tile would have been one of the centerpieces in the decorative
scheme of a Ming Dynasty temple or palace. Brilliantly colored in rich green, off
white, and yellow ochre hues, this tile depicts a winged phoenix flying against a
background of swirling foliage. One of the earliest known example of the phoenix
occurring in Chinese art dates back to the Warring States Period (475-221 B.C.). Like
the dragon, the phoenix is one of the most important motifs in Chinese imperial art and
architecture. A composite creature that features the head of the golden pheasant, the
beak of the parrot, the body of the mandarin duck, the wings of the roc, the feathers of
the peacock and the legs of the crane, the phoenix was the sovereign of all birds and
the ruler of the skies. This tile is but one part of a larger frieze of glazed tiles that
would have once decorated the interior or exterior of the temple structure. When we
imagine the entire temple structure covered in such tiles, from the walls to the roof, the
glory of Ming Dynasty China becomes apparent. - (X.0281)
 P a i r o f M i n g G l a z e d Te m p l e Wa l l Ti l e s
Depicting a Dragon

X.0282 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: Great Britain
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the then end of the T’ang Dynasty. Even then, during the Song and
Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperials palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This pair of glazed terracotta tiles would have been one of the centerpieces in the
decorative scheme of a Ming Dynasty temple. Brilliantly colored in rich green and
yellow ochre hues, these tiles depict a ferocious dragon undulating across a
background of verdant foliage. During the height of the Ming Dynasty, large sculptures
of dragons, called guardian dragons, were placed outside the main entrance of the
imperial palace and the mansions of wealthy magistrates. Later, during the Qing
Dynasty, dragons would be replaced by stone lions and Fu dogs as the main choice of
guardian creatures. However, dragons continue to be revered, as they were during the
Ming era, for their infinite protective qualities. With its open mouth, sharp fangs, and
beady eyes, this dragon was clearly meant to frighten away any potential evildoers, be
they human or otherworldly, which might try to infiltrate the building it once adorned.
This pair of tiles is but one part of a larger frieze of glazed tiles that would have once
decorated the interior or exterior of the temple structure. When we imagine the entire
temple structure covered in such tiles, from the walls to the roof, the glory of Ming
Dynasty China becomes apparent. - (X.0282)
 M i n g G l a z e d Te r r a c o t t a Te m p l e Wa l l Ti l e
Depicting a Phoenix

X.0283 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 16" (40.6cm) high x
23" (58.4cm) wide
Glazed sculptural tile are today considered one of the hallmarks of classical Chinese
architecture. However, despite their popularity in modern times, they were relatively
scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan
Dynasties, they were still infrequently used. It was not until the rise of the Ming
Dynasty that glazed sculptural tiles became a popular decorative devise extensively
employed in temples, altars, imperial palaces, and gardens. Beijing became the center
of glazed architectural tile production during the Ming period, and colorfully decorated
pagodas began to sprout up around this region. Eaves and entryways were decorated
with vibrant sculptures that served both decorative and sometimes religious purposes.
On temples and palaces, representations of mounted warriors and snarling dragons
were meant to ward off evildoers, of both the physical and spiritual kind.
This glazed terracotta tile would have been one of the centerpieces in the decorative
scheme of a Ming Dynasty temple or palace. Brilliantly colored in rich green, off
white, and yellow ochre hues, this tile depicts a winged phoenix flying against a
background of swirling foliage. One of the earliest known example of the phoenix
occurring in Chinese art dates back to the Warring States Period (475-221 B.C.). Like
the dragon, the phoenix is one of the most important motifs in Chinese imperial art and
architecture. A composite creature that features the head of the golden pheasant, the
beak of the parrot, the body of the mandarin duck, the wings of the roc, the feathers of
the peacock and the legs of the crane, the phoenix was the sovereign of all birds and
the ruler of the skies. This tile is but one part of a larger frieze of glazed tiles that
would have once decorated the interior or exterior of the temple structure. When we
imagine the entire temple structure covered in such tiles, from the walls to the roof, the
glory of Ming Dynasty China becomes apparent. - (X.0283)
 Pair of Ming Red Sandstone Fu Dogs

X.0412 Collection: Chinese

Origin: China Medium: Sandstone
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 13" (33.0cm) high x
15" (38.1cm) wide x 21.625" (54.9cm) depth
The Fu Dog, or Fu Lion as it is also known, is a ubiquitous symbol that has been
employed repeatedly throughout the history of China. Sometimes referred to as the
“Dog of Happiness” or the “Celestial Dog,” the earliest traces of the Fu Dog in China
date to the Han Dynasty (206 B.C.-220 A.D.). Then it disappeared from Chinese art
until it was resurrected during the cultural revival experienced during the T’ang
Dynasty (618-906 A.D.). While lions are not native to China, works of art with lion
imagery from other civilizations were imported into China as gifts for the Emperor.
The Fu Lion was brought into China with the arrival of Buddhism, where it became
associated with the more familiar dog during assimilation. The lion is a sacred creature
in the Buddhist pantheon, and the Fu Lion was believed to be a companion of the
Buddha.
While sculptures of Fu Dogs originally stood guard outside of Buddhist temples, by the
time of the Ming Dynasty, when this work was created, the dogs had lost most of their
religious significance and were placed outside the entrances to homes and palaces out
of custom. Even today, many monumental public buildings are decorated with lion
figures standing guard at the base of the stairway. Here, in this pair of red sandstone Fu
Dogs dating from the Ming Dynasty, one of the dogs has his front paw resting atop a
ball while the other appears to be trampling a demon. A traditional depiction of these
creatures, these gestures symbolize the Dog’s authority and power over the evil spirits
that might have tried to infiltrate the temple or palace. Today, Fu Dogs continue to be a
popular symbol of luck and happiness. - (X.0412)
 M i n g G l a z e d Te r r a c o t t a C e r e m o n i a l
P r o ces s io n al S et C ons is ting of Ten F igures and
a Throne

X.0415 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 19.5" (49.5cm) high
Ming statuette art reflects the attempt to restore purely “Chinese” artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This glazed set is a product of
the artistic revival that occurred throughout the Ming. This Ming set of glazed figurines
depicts an aspect of Chinese political and social life. Tributary processions were
common protocol at this time, the emperor requiring provincial lords to pay tribute and
tax on a regular basis. Processions were also held for funerals, marriages, and rituals
differing in grandeur depending on the status of the individuals involved and nature of
the ceremony. The palanquin served as the primary form of transportation for the elite
who often traveled with several attendants.
This miniature procession consists of ten attendants and a palanquin that features a
representation of the emperor seated inside. The attendants wear green-glazed robes
with long flowing sleeves. Their tall rounded red caps accentuate their dignified
appearance. Two figures in particular are distinguished by their dress, for each wears a
unique robe and hat, and by the objects they carry in their arms (one holds a box, the
other a bowl). As Chinese statuette art prescribes, the faces are created individually
with uniquely painted features, owing to their distinctive expressions. Glazed in the
same rich forest green as the figures, the palanquin is elegantly constructed with a
black curved hip roof crowned with a red diamond ornament. - (X.0415)
M i n g P a i n t e d Te r r a c o t t a S e t C o n s i s t i n g o f F i v e
Figures and Four Horse and Riders

X.0418 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 14.125" (35.9cm) high
Ming statuette art reflects the attempt to restore purely “Chinese” artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This set is a product of the
artistic revival that occurred throughout the Ming. This Ming set of figurines and horse
and rider figures depicts an aspect of Chinese political and social life. Tributary
processions were common protocol at this time, the emperor requiring provincial lords
to pay tribute and tax on a regular basis. Processions were also held for funerals,
marriages, and rituals differing in grandeur depending on the status of the individuals
involved and nature of the ceremony.
This extraordinary tomb find consists of four horse and rider sculptures and five
smaller terracotta figures. The horses march forward, followed by the attendants,
arranged in a variety of stances and postures, some of which indicate that the figures
once held spears or staffs made from less durable materials such as wood that
deteriorated over the centuries. As Chinese statuette art prescribes, the faces are created
individually with uniquely painted features, owing to their distinctive expressions. The
pieces still retain much of their original polychrome paint, remarkable considering the
stresses of excavation and the delicate nature of the pigment. This astounding set is a
masterpiece of Ming art for its remarkable preservation of the original details and the
beauty of each piece as an individual work of art and united together as masterpiece. -
(X.0418)
 M i n g P a i n t e d Te r r a c o t t a Z o d i a c S e t

X.0419 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 7.5" (19.1cm) high
Ming statuette art reflects the attempt to restore purely “Chinese” artistic genres with a
healthy injection of Confucian aesthetic, political, and moral standards. Realistic
depictions of daily life became popular themes among artists who were often
patronized by the court. Under Xuande's reign (1426-35), the art industry flourished,
producing many exquisite porcelain and ceramic pieces. This painted terracotta set is a
product of the artistic revival that occurred throughout the Ming. This Ming set of
glazed figurines depicts an aspect of Chinese astrology.
This miniature procession consists of twelve standing attendants, each carrying an
effigy of the twelve Chinese animal zodiac signs, flanking a central seated figure who
is distinguished by his black headdress as opposed to the white caps the others wear.
According to the legend, the twelve animals were assigned to the twelve years of the
astrological calendar when Buddha prepared to depart the earth, he called on all the
animals to come and bid him fare well. However, only twelve showed up. To show his
appreciation, he named a year after each in the order that they arrive. First came the rat,
then the ox, then the tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog,
and finally, the boar. Here, each attendant holds a miniature representation of the
animals: a smiling monkey, a coiled snake, a feathered rooster, etc. The attendants
themselves are gorgeously decorated in white robes with black and red highlights. The
pillows upon which they lovingly carry the animals are colored red or green. Their
faces have also been painted with individualized features, including red lips and black
eyes and eyebrows. This charming procession was discovered buried inside a tomb,
alongside the remains of an elite member of the Ming hierarchy. Perhaps the deceased
was hoping in death to influence the same forces that control our fates in life, as
dictated through our zodiac readings. - (X.0419)
 M i n g R e d S a n d s t o n e Ti l e

X.0427 Collection: Chinese

Origin: China Medium: Sandstone
Circa: 1368 AD to 1644 AD Additional Information: possibly uae
Dimensions: 21.5" (54.6cm) high x Location: Great Britain
16.375" (41.6cm) wide
 Ming Jade Sculpture of a Shrimp

X.0640 Collection: Chinese

Origin: China Medium: Jade
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 1.75" (4.4cm) high x
2.625" (6.7cm) wide
 P a i r o f M i n g G l a z e d Te r r a c o t t a A t t e n d a n t s

X.0647 Collection: Chinese

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 19.25" (48.9cm) high x
5.5" (14.0cm) wide
 Pair of Ming Limestone Panels

H.1089 Collection: Chinese art

Origin: China Medium: Limestone
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 47" (119.4cm) high x
17.75" (45.1cm) wide
 Wo o d e n S c u l p t u r e o f B o d h i d h a r m a

X.0703 Collection: Chinese

Origin: China Style: Mid Ming- Early Qing
Circa: 15th Century AD to 17th Century AD Medium: Wood
Dimensions: 30.75" (78.1cm) high x Location: Great Britain
19" (48.3cm) wide x 18" (45.7cm) depth
The figure of the first patriarch of Zen Buddhism stands on a raised footed platform
decorated with geometric design against a red background, the body in a highly
controlled meditative padmasana posture, hands in dhyana mudra, the beard and long
moustaches pointing at the Indian origin of Bodhidharma, his bare chest betraying the
signs of ascetic fasting.
Bodhidharma in Sanskrit means virtuous and sagacious. It is also the name of a rare
tree in India, the bodhi tree which has become famous and known as the tree of
wisdom as Sakyamuni became enlightened under its shade. This luohan was born
under such a tree and was given the name of Bodhidharma. Legend has it that
Bodhidharma was responsible for spreading Buddhism to the East Indies and has since
been venerated as the first patriarch of Chan (Zen) Buddhism.
One of the most fascinating figures in the history of Buddhism, Bodhidharma is
credited with bringing Buddhism to China and founding Chan Buddhism (in China),
which later became known as Zen Buddhism in Japan. He was born in Southern India,
a son of a wealthy Brahmin. He later became a monk and, alongside the development
of his prodigious spiritual powers, he came to consider that the true value of the
religious experience lay in experience rather than scripture. With this conviction in his
mind perhaps he set out for China, arriving there in around 520 C.E.
The stories that have been passed down paint a rather larger than life figure. One such
story has it that to stop himself falling asleep in meditation he cut off his eyelids.
Another tells that his legs fell off after nine years of unceasing meditation. Though
these accounts are no doubt apocryphal, they are important in that they show the
significance of meditation to his religious practice. Indeed the word 'Zen' ultimately
derives from the Sanskrit word dhyana which means 'meditation'. Bodhidharma
emphasized direct methods rather than over-reliance on scriptures. Consequently, he
emphasized the importance of a teacher to help one realize the Buddha nature.
In addition to this renewed commitment to meditation as a way of gaining insight into
the true nature of reality, Bodhidharma taught that within all beings is the Buddha
nature. Unfortunately, the Buddha nature is obscured by the poisons of greed, hatred
and delusion. To see the Buddha nature, we must let go of desire. Paradoxically, it's not
something we can grasp. Once we try to grasp it we are caught up in the web of desire.
It's not something 'out there'. It's something here and now, to be uncovered through the
practice of meditation. The teachings of Bodhidharma are encapsulated in the
following verses, written after his death but attributed to him:
A special transmission outside the scriptures; Depending not on words and letters;
Pointing directly to the human mind Seeing into one's nature, one becomes a Buddha. -
(X.0703)
 P air o f S ancai Roof Tiles in the F o rm of
S t a n d i n g Wa r r i o r s

X.0718 Collection: Chinese Art

Origin: China Medium: Glazed Terracotta
Circa: 1366 AD to 1644 AD Location: Great Britain
Dimensions: 22.24" (56.5cm) high x
14.96" (38.0cm) wide
The figure of the first patriarch of Zen Buddhism stands on a raised footed platform
decorated with geometric design against a red background, the body in a highly
controlled meditative padmasana posture, hands in dhyana mudra, the beard and long
moustaches pointing at the Indian origin of Bodhidharma, his bare chest betraying the
signs of ascetic fasting.
Bodhidharma in Sanskrit means virtuous and sagacious. It is also the name of a rare
tree in India, the bodhi tree which has become famous and known as the tree of
wisdom as Sakyamuni became enlightened under its shade. This luohan was born
under such a tree and was given the name of Bodhidharma. Legend has it that
Bodhidharma was responsible for spreading Buddhism to the East Indies and has since
been venerated as the first patriarch of Chan (Zen) Buddhism.
One of the most fascinating figures in the history of Buddhism, Bodhidharma is
credited with bringing Buddhism to China and founding Chan Buddhism (in China),
which later became known as Zen Buddhism in Japan. He was born in Southern India,
a son of a wealthy Brahmin. He later became a monk and, alongside the development
of his prodigious spiritual powers, he came to consider that the true value of the
religious experience lay in experience rather than scripture. With this conviction in his
mind perhaps he set out for China, arriving there in around 520 C.E.
The stories that have been passed down paint a rather larger than life figure. One such
story has it that to stop himself falling asleep in meditation he cut off his eyelids.
Another tells that his legs fell off after nine years of unceasing meditation. Though
these accounts are no doubt apocryphal, they are important in that they show the
significance of meditation to his religious practice. Indeed the word 'Zen' ultimately
derives from the Sanskrit word dhyana which means 'meditation'. Bodhidharma
emphasized direct methods rather than over-reliance on scriptures. Consequently, he
emphasized the importance of a teacher to help one realize the Buddha nature.
In addition to this renewed commitment to meditation as a way of gaining insight into
the true nature of reality, Bodhidharma taught that within all beings is the Buddha
nature. Unfortunately, the Buddha nature is obscured by the poisons of greed, hatred
and delusion. To see the Buddha nature, we must let go of desire. Paradoxically, it's not
something we can grasp. Once we try to grasp it we are caught up in the web of desire.
It's not something 'out there'. It's something here and now, to be uncovered through the
practice of meditation. The teachings of Bodhidharma are encapsulated in the
following verses, written after his death but attributed to him:
A special transmission outside the scriptures; Depending not on words and letters;
Pointing directly to the human mind Seeing into one's nature, one becomes a Buddha. -
(X.0703)
 G i l d e d Wo o d e n H e a d o f B u d d h a

LA.514 Collection: Chinese Art

Origin: China Medium: Wood
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 13.25" (33.7cm) high
Here, the Buddha is portrayed as a youthful prince with a round, full face, suggestive
of his spiritual fullness and inner self-satisfaction. An inner calm and complacency is
visible on his face and in his sweet smile. The hair is twisted into tight curls incised
with spirals forming an usnisa, a swelling on the top of the head signifying the
Buddha's enlightenment. The swelling is usually covered with hair, as it is here, but
there is another smaller bump at the base of the larger protrusion that is bare, as if the
artist opted to utilize both types of ushnishas. His elongated earlobes droop down, the
sagging caused by wearing heavy earrings as an infant, reflecting his royal origins. The
urna, or “third eye,” is represented by a small bump in between his eyebrows, is also
symbolic of his nobility and enlightenment. This fragment of a head was most likely
originally part of a full-figured sculpture that once revered inside a temple or shrine.
The mystical energy and divine wisdom of the Buddha radiates from within this
sculpture. The contemplative wisdom of the Buddha shines through the stucco and
warms our spirits. - (LA.514)
G lazed P o ttery F igurine of a D aois t I mmortal on
a Phoenix

LA.520 Collection: Chinese Art

Origin: China Medium: Terracotta
Circa: 1368 AD to 1644 AD Location: UAE
Dimensions: 7.5" (19.1cm) high
Iridescent green lead glazed roof tile finial depicting a Daoist immortal riding a
phoenix, with hands gathered as to hold a tablet, his hair tied up under a four-petals
cap, his facial traits clearly delineated with long slanted eyes and pointed beard. The
phoenix with head turned to one side, wings spread and high tail.
In Chinese classical art and literature, phoenix often served as metaphor for people of
high virtue and rare talent, while in combination with the dragon often alluded to
blissful marriage and even to Imperial couple.
Furthermore in Daoist iconography, phoenix and immortals often are depicted together.
In this case the connubial composition might indeed allude to one of the four heavenly
ministers, specifically the South Pole Emperor of the South (chin.: Nanji Changsheng
Dadi) who would supervise all things and creatures of the southern cardinal pole.
According to traditional cosmogony, the south was associated with the phoenix and her
appearance in conjunction with the South Pole Emperor would seem to confirm this
metaphor. Images of the heavenly ministers are known from traditional folk paintings
and prints and they all feature a bearded high official portrayed frontally and holding
the tablets with both hands, in exactly the same posture of our figurine.
The shape of the tile would further suggest that it was possibly placed on the southern
corner of the temple roof. - (LA.520)
 Pair of Glazed Ceramic Panels Featuring a
Horse Rider Amidst Mountain Peaks

LA.527 Collection: Chinese Art

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Additional Information: Dimensions
Dimensions: 14.25" (36.2cm) high x refer to a single panel.
25.59" (65.0cm) wide Location: Great Britain
These remarkable ceramic polychrome panels date from the Ming Dynasty, which
ruled China between the mid 14th and mid 17th centuries AD and is widely believed to
be one of the most definitive and important in China’s long history. They are ultra high-
relief pieces, depicting a pair of galloping horsemen against a predominantly green
background. They are dressed in warrior’s clothing, and were presumably once part of
a larger narrative panel. The pieces are notable for their high colouring and glazed
finish.
The Ming Dynasty is remarkable for the peasant uprisings that ushered it in. A peasant
named Hong Wu founded the dynasty on the destruction of the Yuan Mongol Empire.
His background and the manner in which he seized power made him almost
pathologically cautious and even paranoid. His intention, influenced by Confucianism,
was to create a bureaucracy-free set of agriculturally-based communities that eschewed
commercial trade – which was abhorred by Confucius. Confucian perspectives on the
avoidance of military development went unheeded, however. He increased the standing
army to over one million, imposed what approximated to martial law on his people and
spent a fortune building defences, notably the Great Wall of China. He also founded
the Forbidden City, from which he governed China’s burgeoning population of around
200 million.
Arts and sciences flourished in the Ming Dynasty, though this was more to do with the
flow of unexpected wealth from agricultural surpluses than any particular
enlightenment on the part of Hong Wu or his descendents. Painters proliferated, and
were very well-paid for their works; Qiu Ying was once paid 2.8 kg (100 oz) of silver
to paint a long scroll. Advances were also made in wood/ivory carving, jade-working,
lacquerwork, and duotone (blue-white) ceramic design and decoration. Very strident
pieces such as this were made for temples and other public spaces, and illustrated
mythological and martial scenes from Chinese history.
These are powerful and impressive pieces of Chinese art. - (LA.527)
 Ming Dynasty Glazed Horse

SP.443 Collection: Chinese Art

Origin: China Medium: Glazed Terracotta
Circa: 1369 AD to 1644 AD Location: United States
Dimensions: 11" (27.9cm) high x
11.75" (29.8cm) wide
M i n g G l a z e d Te r r a c o t t a S c u l p t u r e s o f a F u D o g

PF.1536A Collection: Chinese Art

Origin: China Medium: Glazed Earthen ware
Circa: 1368 BC to 1644 AD Condition: Fine
Dimensions: 18" (45.7cm) high Location: United States
The Fu Dog, or Fu Lion as it is also known, is a ubiquitous symbol that has been
employed repeatedly throughout the history of China. Sometimes referred to as the
“Dog of Happiness” or the “Celestial Dog,” the earliest traces of the Fu Dog in China
date to the Han Dynasty (206 B.C.-220 A.D.). Then it disappeared from Chinese art
until it was resurrected during the cultural revival experienced during the T’ang
Dynasty (618-906 A.D.). While lions are not native to China, works of art with lion
imagery from other civilizations were imported into China as gifts for the Emperor.
The Fu Lion was brought into China with the arrival of Buddhism, where it became
associated with the more familiar dog during assimilation. The lion is a sacred creature
in the Buddhist pantheon, and the Fu Lion was believed to be a companion of the
Buddha. While sculptures of Fu Dogs such as thess outstanding blue and green-glazed
example soriginally stood guard outside of Buddhist temples, by the time of the Ming
Dynasty, when this work was created, the Dogs had lost most of their religious
significance and were placed outside the entrances to homes and palaces out of custom.
Even today, many monumental public buildings are decorated with lion figures
standing guard at the base of the stairway. Fu Dogs continue to be a popular symbol of
luck and happiness. - (PF.1536A)
 Ming Dynasty Painted Male Lion

DL.1002 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 1368 AD to 1644 AD Condition: Extra Fine
Dimensions: 12.4" (31.5cm) high x Location: UAE
11.4" (29.0cm) wide
The Fu Lion, or Fu Dog as it is also known, is a ubiquitous symbol that has been
employed repeatedly throughout the history of China. Sometimes referred to as the
“Dog of Happiness” or the “Celestial Dog,” the earliest traces of the Fu Dog in China
date to the Han Dynasty (206 B.C.-220 A.D.). Then it disappeared from Chinese art
until it was resurrected during the cultural revival experienced during the Tang Dynasty
(618-906 A.D.). While lions are not native to China, works of art with lion imagery
from other civilizations were imported into China as gifts for the Emperor. The Fu
Lion was brought into China with the arrival of Buddhism, where it became associated
with the more familiar dog during assimilation. The lion is a sacred creature in the
Buddhist pantheon and the Fu Lion was believed to be a companion of the Buddha.
While sculptures of Fu Dogs originally stood guard outside of Buddhist temples, by the
time of the Ming Dynasty, when this work was created, the dogs had lost most of their
religious significance and were placed outside the entrances to homes and palaces out
of custom. Even today, many monumental public buildings are decorated with lion
figures standing guard at the base of the stairway. This male lion has his front paw
resting on a ball. This traditional gesture symbolizes the lion’s authority over evil
spirits that might have tried to infiltrate the temple or palace. The delicate colouring, in
tones of red, blue and yellow is particularly fine. The lion’s wide open mouth and
protruding tongue have been expertly sculpted. The care lavished on this magnificent
creation is also apparent in the swirling motifs, achieved through the use of incised
lines, that decorate the plinth. (AM) - (DL.1002)
Ming Dynasty Sandstone Standing Bodhisattva

DL.2100 Collection: Chinese

Origin: Sichuan Province Medium: Sandstone
Circa: 1368 AD to 1644 AD Condition: Extra Fine
Dimensions: 33.26" (84.5cm) high x 11.81" Location: UAE
(30.0cm) wide x 11.41" (29.0cm) depth
Buddhism travelled to China from India along the Silk Road during the 1st Century
AD. By the period of the Tang Dynasty (618-906 AD) it had become central to Chinese
religious culture. This sculpture, dating to the Ming Dynasty, represents a bodhisattva
standing on a rectangular plinth. The figure is positioned with its weight resting on the
left leg, while the right is delicately extended to the front of the base. The left arm is
raised and a cloth has been expertly carved to fall between the figure’s fingers. The
right arm is extended across the body at waist level, with the drapery falling over the
front.
The elaborate headdress is typical of a bodhisattva. Buddhas, by contrast, were
typically depicted modestly clothed. A bodhisattva is an enlightened being who has
chosen to delay entry into Nirvana and remain in the world to help other sentient
beings achieve enlightenment. This mission is reflected in the figure’s sympathetic
visual expression; the rounded face, small mouth and well-defined chin suggest a child-
like appearance. This is also implied by the playful sense of movement. In contrast to
more static, meditative bodhisattvas, this figure is lively and enchanting. - (DL.2100)
M in g D y n as ty G r een and Yellow G lazed P ottery
Sedan Chair Set

DL.2104 Collection: Chinese

Origin: Shaanxi Province, Xi'an Medium: Terracotta
Circa: 1368 AD to 1644 AD Condition: Very Fine
Dimensions: 18.5" (47.0cm) high Additional Information: Height listed
refers to the tallest figure.
Location: UAE
This miniature procession consists of 8 attendants, a horse and palanquin and a couple
carrying offerings. The figures are dressed in emerald green robes, tied at the waist and
lined with amber cloth. Conical red caps add to the dignity of the procession. The set
reflects contemporary social practice; such processions were demanded by the emperor
when tribute was delivered. The screens of the elegant sedan chair are adorned with
diagonal hatching; this was the most common form of transport for the elite during this
period. According to the conventions of Ming statuette art, each figure has an
individual expression and it is likely that the attendants once carried banners or similar
ceremonial objects. The glazed bases add to the detail of this charming set. - (DL.2104)
Ming Chinese Figure Of A Celestial Guardian

DK.009 Collection: Chinese Art

Origin: China Condition: Very Fine
Circa: 15th Century AD to 16th Century AD Location: UAE
Dimensions: 12.5" (31.8cm) high
 M i n g Wo o d e n S e a t e d B u d d h a

OF.264 Collection: Asian Art

Origin: China Style: Ming
Circa: 15th Century AD to 16th Century AD Medium: Wood
Dimensions: 13.1" (33.3cm) high x Location: Great Britain
9.0" (22.9cm) wide
 Ming Dynasty Stone Seated Buddha

FF.001 Collection: Chinese Art

Origin: China Medium: Stone
Circa: 1500 AD to 1600 AD Location: Great Britain
Dimensions: 20" (50.8cm) high x
12.5" (31.8cm) wide
The current sculpture dates from this highly changeable and dynamic time. This stone
sculpture depicts the universal (Vairocana) Buddha seated in padmasanam (lotus
position) and the hands folded together, palms up, in a meditative position known as
dhyana mudra. The Buddha wears a pantaloon-like garment overlain with a loose,
flowing tunic. His face shows no signs of emotion, and has the appearance of one lost
in deep meditation. His hair is represented by a series of spiraled curls painted blue
with the supra-cranial eminence – believed to denote Buddha’s wisdom and learning –
protruding from the center of his head and highlighted with red paint. The earlobes are
long and pendulous, the result of wearing heavy earrings during his princely youth.
Unlike some early Chinese Buddha images, such as the Sakyamuni Buddha, the
Vairocana Buddha is shown in the standard meditating pose. This reflects the effort
made by the Chinese to reinterpret the Buddhist religion, which by the time of the Tang
Dynasty had become a central and important part of the Chinese culture. As Buddhism
continued to thrive in China, the tenets of the faith and its iconography were
continually reinterpreted by generations of religious philosophers and artesans, Soon,
the traditional appearance of the Buddha as promulgated by Indian artesans had been
changed almost beyond recognition, as this extremely fine figure testifies. - (FF.001)
 M i n g D y n a s t y S t o n e S c u l p t u r e o f G u a n Yu

FF.058 Collection: Chinese Art

Origin: China Medium: Stone
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 23.4" (59.4cm) high x
18.5" (47.0cm) wide
Guan Yu was a historical figure who lived during the end of the Eastern Han Dynasty
and the Three Kingdoms Era (late second-early third century AD). Serving as a general
under the warlord Liu Bei, he became famous for his military skills and personal
integrity. Over the centuries fact and fiction merged and he became a legendary figure
in Chinese folklore. The greatest celebration of his virtues appeared in the fourteenth-
century historical novel, the ‘Romance of the Three Kingdoms,’ and by the end of the
Sui Dynasty he had been deified. Guan Yu has been honoured by many different
religious groups in China ; in Buddhism he is revered as a bodhisattva, in Taoism he is
regarded as a guardian deity and even today he is still worshipped as an indigenous
Chinese deity. Successive Ming emperors claimed that the spirit of Guan Yu helped
them achieve success in battle and it was during this period that he acquired several
honorific titles, including that of 'Emperor.'
This remarkable stone sculpture is a testament to the popularity of Guan Yu during the
Ming era. Resting on a rocky mound, the general sits with his legs wide apart in a
gesture of invincibility. His right hand is tightly clenched and his left rests on his thigh,
pointing inwards at a sharp angle. The drapery has been finely carved, especially the
wide collar and the folds beneath his rotund belly. The fabric has been hitched up to
knee level so that the details of the armour beneath and the intricately modeled shoes
are evident. A long flowing beard and moustache, Guan Yu’s most defining
characteristics, hang down over the chest. The facial expression, especially the
furrowed brow, is the highlight of this sculpture, capturing the determination that led to
his military success. The folded cap, knotted at the reverse, is also customary. Although
the stone surface is now exposed, it is possible that the sculpture was once
polychromed. Guan Yu was famous for his red face and green robe, worn over his body
armour. (AM) - (FF.058)
 Large Ming Decorative Dish

FF.112 Collection: Chinese Art

Origin: China Medium: Glazed Earthenware
Circa: 15th Century AD to 16th Century AD Location: Great Britain
Dimensions: 3.5" (8.9cm) high x
15" (38.1cm) wide
 Bro nz e Zoomorphic figu re

LK.104 Collection: Chinese Art

Origin: China Medium: Bronze
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 3.75" (9.5cm) high x
3.75" (9.5cm) wide
 Pair of Bronze Snow Lions

SF.090 Collection: Chinese Art

Origin: China Medium: Bronze
Circa: 15 th Century AD to 16 AD Location: Great Britain
Dimensions: 4.5" (11.4cm) high x
4.5" (11.4cm) wide
 Ming Bronze Lion

SF.101 Collection: Chinese Art

Origin: China Medium: Bronze
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 4.15" (10.5cm) high x
3.50" (8.9cm) wide
 M i n g Wo o d e n F i g u r e

SF.104 Collection: Chinese Art

Origin: China Medium: Wood
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 12.75" (32.4cm) high x
4" (10.2cm) wide
 Ming Bronze Seated Buddha

SF.105 Collection: Chinese Art

Origin: China Medium: Bronze
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 3.50" (8.9cm) high x
2.25" (5.7cm) wide
M i n g Wo o d e n S c u l p t u r e o f t h e L a u g h i n g B u d d h a

AM.0322 (LSO) Collection: Chinese Art

Origin: China Medium: Wood
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 15.5" (39.4cm) high x
14.5" (36.8cm) wide
The Laughing Buddha has been connected with a historical figure, a Zen monk known
as Pu-Tai (Chinese) or Hotei (Japanese) who lived in the tenth century A.D. Pu-Tai
literally means cloth or hemp sack, a common attribute of this Buddha and a symbol of
wealth and prosperity. The sack is visible here clutched in the Buddha’s left hand.
According to tradition it was filled with rice plants (an indication of wealth), sweets for
children and – more notably – the woes of the world. He is the patron of children, the
poor and those unable to defend themselves against the rigours of life. In Chinese art
the Laughing Buddha is often depicted surrounded by children, attesting both to his
benevolence and Chinese family ideals. In Japanese versions he is depicted sitting in a
cart, often carries a fan (ogi), which is associated with the granting of wishes. He is
always depicted as a jolly, fat man; the stomach is considered to be the seat of the soul
in Chinese mythology, so a large displacement of this sort implies a generous and
giving personality. He is often accompanied by children, and also by a begging bowl;
charity is associated with his form of existence, although he is also said to take away
the cares of the worried. His appearance is also calculated to ease concern; it has
become customary to rub the belly of these figures to attract good fortune, although
this is a secular – not a religious – tradition. Pu-Tai is also believed to be a
manifestation of the Future Buddha, Maitreya, in the form of a bodhisattva.
Bodhisattvas, despite their ability to achieve enlightenment, deliberately delayed their
own entry to Nirvana to help others end the cycle of birth and rebirth.
The large, rotund belly, cheerful smile and general sense of bonhomie that
characterises these figures is very much at odds with representations of the historical
Buddha Shakyamuni, who was characterised by asceticism and the denial of worldly
pleasures. This particular specimen is a classical example of the genre, with a
chaotically-tied robe slipping from round shoulders, a protuberant belly and chest and
elongated ear lobes, surmounted by a rounded, bald head split by a carefree smile and
eyes half-closed in merriment. A set of prayer beads are held in the right hand which
rests on the figure’s knee. The size indicates that this was probably a domestically-
owned piece, which was presumably displayed in a wealthy household. Carved from
wood which was once polychromed, the sculptor has expertly captured Pu-Tai’s
relaxed posture and sense of contentment. This is a striking and confidently-carved
masterpiece from a dynamic and important time in Chinese history. - (AM.0322
(LSO))
This rotund Buddha has considerable religious and historical significance to Buddhists
and historians alike, as it is based upon a series of genuine and mythical personages
from Chinese and Buddhist history. It dates to the M’ing Dynasty, which ruled China
between the mid 14th and mid 17th centuries AD and is widely believed to be one of
the most definitive and important in China’s long history. This is partially due to the
fact that it was the last indigenous (Han) dynasty before the country fell into the hands
of the Qing Dynasty, and partly because it was led by one of only three peasants ever to
rise to Chinese imperial pre-eminence.
Hong Wu, the leader of the peasant revolt, founded the dynasty on the destruction of
the Y’uan Mongol Empire. His policies resulted in economic spin-offs that led to
untold wealth and a new elite of merchant families who went on to constitute China’s
first Middle Class. The arts and sciences also benefited from this largesse. In many
respects it was the strongest period in Chinese history, and it only collapsed because of
a series of natural and economic disasters – namely undermining of the economy by
Japanese trade withdrawal, a series of crop failures, and the appearance of the “Little
Ice Age” and the epidemics and other calamities it brought with it. The eventual
collapse of the M’ing Dynasty was brought about by ultra-conservative Manchurian
nomads (Manchu) who founded the Q’ing dynasty in 1644. Arts and sciences
flourished in the Ming Dynasty. Painters proliferated, and were very well-paid for their
works. Several written dramatic works, poems and musical works have come down to
us, in addition to notable wood/ivory carving, jade-working, lacquerwork, and duotone
(blue- white) ceramic design and decoration. It was also a high-point in the
development of Buddhist art, as can be seen from the current piece.
 M i n g L a c q u e r e d Wo o d G u a n y i n

TF.014 Collection: Chinese Art

Origin: China Medium: Wood
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 33" (83.8cm) high x
19.50" (49.5cm) wide
 Pair of Polychromed Stone Fu Dogs

TF.024 Collection: Chinese Art

Origin: China Medium: Stone
Circa: 1368 AD to 1644 AD Location: UAE
Dimensions: 15.25" (38.7cm) high x
8.60" (21.8cm) wide
 Pair of Stone Fu Dogs

TF.025 Collection: Chinese Art

Origin: China Medium: Stone
Circa: 1368 AD to 1644 AD Location: UAE
Dimensions: 23" (58.4cm) high x
23.25" (59.1cm) wide
 Ming Dynasty Bodhisattva Head

BF.001 (LSO) Collection: Chinese Art

Origin: China Medium: Wood
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 19.75" (50.2cm) high x
11.50" (29.2cm) wide
This striking polychrome head of a Bodhisattva dates to the M’ing Dynasty, one of
China’s most socially significant periods. It depicts a well-carved face with closed eyes
and a reflective expression, surmounted by hair piled up into a mound, and an
astonishingly ornate crown made up of foliate scrollwork and an assortment of
diadems. The face is very well rendered, with eyes that slant upwards towards the
edges under high, arched brows that join the nose in a T-bar format. The cheeks are
fleshy and rounded, with a pouchy arrangement that frames the base of the nose and the
small pouted lips. The bindi (or kum kum, or baihao) mark on the forehead is rendered
as a depression that was originally designed to hold an inlay, since lost. The ears are
pendulous, long and pierced. The crown is exceptional. It is attached to a cone-shaped
dome of hair, which is bound horizontally with ties. The crown elements are attached
to a band that circles the head at its apex, supporting a large foliate scrollwork diadem
that equals the height of the face, decorated with a small Buddha figure seated on a
plinth, and a lotus flower deflected inferiorly. The central element is balanced by lateral
sconces in the same general form.
The current piece represents a Bodhisattva – an enlightened being who chooses not to
enter Nirvana, preferring to help others attain the necessary enlightenment to do so.
Indeed, she is known to the West as the Goddess of Compassion. They are usually very
ornate, and in this sense all the Bodhisattvas differ from representations of Buddhas,
who eschew such worldly displays in favour of ascetic simplicity. Large sculptures
such as the one of which this is a part were usually displayed in centralised temples, or
in the homes of wealthy and presumably pious members of the M’ing social elites.
Established in 1368, the M’ing dynasty was founded by Hong Wu, one of only three
peasants ever to rise to imperial pre-eminence. His attitudes towards rule reflected his
own past, with considerable emphasis on agricultural production, an aversion to trade,
a massive expansion of military power and spending a fortune on defences (notably the
Great Wall). This philosophy, while partly reflexive, was based loosely upon
Confucianism, with which China had had a love-hate relationship for much of the
preceding millennium. Despite his prejudices, the inevitable effect of Hong Wu’s
policies was stability, and with it the rise and rise of the middle classes. While in many
respects a martially vigorous and ascetic time, the enormous wealth generated by
agricultural surpluses led to an unexpected flowering of arts under the patronage of
what was essentially the nouveau riche, who liked to surround themselves with
artworks including lacquer work, paintings, prestige ceramics and sculptures both for
this life and for the hereafter (mingqi). It is into the former category that the current
piece falls.
This is a beautiful and ornate piece of M’ing Dynasty art. - (BF.001 (LSO))
 Ming Dynasty Lohan Stone Head

AM.0336 Collection: Chinese Art

Origin: China Medium: Wood
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 8.50" (21.6cm) high x
6" (15.2cm) wide
The Ming Dynasty was the ruling dynasty of China from 1368 to 1644, following the
collapse of the Mongol-led Yuan Dynasty. The Ming was the last dynasty in China
ruled by ethnic Hans, before falling to the rebellion led in part by Li Zicheng and soon
after replaced by the Manchu- led Qing Dynasty. The last of the outstanding dynasties,
the Ming was vibrant during its first half but racked with internal discord during its
second. Scores of workers constructed the renowned Forbidden City, an imperial
palace of staggering proportions and opulence. Ming leaders revived a sense of cultural
identity and respect for traditional artifacts and craftsmanship.
Even today, when entering the main hall of a Buddhist temple in China, one will
discover two rows of sculpted figures, traditionally numbering eighteen in total. These
figures are known as the Eighteen Lohan. Lohan is the Chinese term, derived from the
Sanskrit word Arhan, for a disciple or follower of Buddha who has reached a state of
enlightenment. The Lohan had been a popular subject in Chinese art at least since the
cultural flourishing of the Tang Dynasty. Traditionally, they are always produced in sets
of sixteen or eighteen. The numerical difference is a result of discrepancies in Buddhist
texts. By the Song Dynasty, artists began to depict each Lohan with individualized
facial features. Having achieved enlightenment, Lohans were free from all earthly
desires and no longer subject to the cycle of rebirth. In this example serenity and
wisdom are conveyed through the creased forehead, absent gaze and smiling mouth.
The area around the eyes and brow is particularly well-modeled and overall the head is
in excellent condition. - (AM.0336)
 Ming Dynasty Lohan Stone Head

AM.0337 Collection: Chinese Art

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Stone
Dimensions: 9.15" (23.2cm) high x Location: Great Britain
5.50" (14.0cm) wide
The Ming Dynasty was the ruling dynasty of China from 1368 to 1644, following the
collapse of the Mongol-led Yuan Dynasty. The Ming was the last dynasty in China
ruled by ethnic Hans, before falling to the rebellion led in part by Li Zicheng and soon
after replaced by the Manchu- led Qing Dynasty. The last of the outstanding dynasties,
the Ming was vibrant during its first half but racked with internal discord during its
second. Scores of workers constructed the renowned Forbidden City, an imperial
palace of staggering proportions and opulence. Ming leaders revived a sense of cultural
identity and respect for traditional artifacts and craftsmanship.
Even today, when entering the main hall of a Buddhist temple in China, one will
discover two rows of sculpted figures, traditionally numbering eighteen in total. These
figures are known as the Eighteen Lohan. Lohan is the Chinese term, derived from the
Sanskrit word Arhan, for a disciple or follower of Buddha who has reached a state of
enlightenment. The Lohan had been a popular subject in Chinese art at least since the
cultural flourishing of the Tang Dynasty. Traditionally, they are always produced in sets
of sixteen or eighteen. The numerical difference is a result of discrepancies in Buddhist
texts. By the Song Dynasty, artists began to depict each Lohan with individualized
facial features. Having achieved enlightenment, Lohans were free from all earthly
desires and no longer subject to the cycle of rebirth. This example is particularly
expressive with the lips parted to reveal the upper row of teeth and the nostrils slightly
flared. The eyeballs are rendered in detail and the creased forehead and wrinkled brow
contribute to the slightly ferocious demeanor. The head is in excellent condition. -
(AM.0337)
 Ming Dynasty Lohan Stone Head

AM.0338 Collection: Chinese Art

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Stone
Dimensions: 8.40" (21.3cm) high x Location: Great Britain
6" (15.2cm) wide
The Ming Dynasty was the ruling dynasty of China from 1368 to 1644, following the
collapse of the Mongol-led Yuan Dynasty. The Ming was the last dynasty in China
ruled by ethnic Hans, before falling to the rebellion led in part by Li Zicheng and soon
after replaced by the Manchu- led Qing Dynasty. The last of the outstanding dynasties,
the Ming was vibrant during its first half but racked with internal discord during its
second. Scores of workers constructed the renowned Forbidden City, an imperial
palace of staggering proportions and opulence. Ming leaders revived a sense of cultural
identity and respect for traditional artifacts and craftsmanship.
Even today, when entering the main hall of a Buddhist temple in China, one will
discover two rows of sculpted figures, traditionally numbering eighteen in total. These
figures are known as the Eighteen Lohan. Lohan is the Chinese term, derived from the
Sanskrit word Arhan, for a disciple or follower of Buddha who has reached a state of
enlightenment. The Lohan had been a popular subject in Chinese art at least since the
cultural flourishing of the Tang Dynasty. Traditionally, they are always produced in sets
of sixteen or eighteen. The numerical difference is a result of discrepancies in Buddhist
texts. By the Song Dynasty, artists began to depict each Lohan with individualized
facial features. Having achieved enlightenment, Lohans were free from all earthly
desires and no longer subject to the cycle of rebirth. Serenity and wisdom are implied
by the smiling expression and well-defined facial creases. The head is in excellent
condition. - (AM.0338)
 Ming Dynasty Lohan Stone Head

AM.0339 Collection: Chinese Art

Origin: China Medium: Stone
Circa: 1368 AD to 1644 AD Location: Great Britain
Dimensions: 7.75" (19.7cm) high x
7" (17.8cm) wide
The Ming Dynasty was the ruling dynasty of China from 1368 to 1644, following the
collapse of the Mongol-led Yuan Dynasty. The Ming was the last dynasty in China
ruled by ethnic Hans, before falling to the rebellion led in part by Li Zicheng and soon
after replaced by the Manchu- led Qing Dynasty. The last of the outstanding dynasties,
the Ming was vibrant during its first half but racked with internal discord during its
second. Scores of workers constructed the renowned Forbidden City, an imperial
palace of staggering proportions and opulence. Ming leaders revived a sense of cultural
identity and respect for traditional artifacts and craftsmanship.
Even today, when entering the main hall of a Buddhist temple in China, one will
discover two rows of sculpted figures, traditionally numbering eighteen in total. These
figures are known as the Eighteen Lohan. Lohan is the Chinese term, derived from the
Sanskrit word Arhan, for a disciple or follower of Buddha who has reached a state of
enlightenment. The Lohan had been a popular subject in Chinese art at least since the
cultural flourishing of the Tang Dynasty. Traditionally, they are always produced in sets
of sixteen or eighteen. The numerical difference is a result of discrepancies in Buddhist
texts. By the Song Dynasty, artists began to depict each Lohan with individualized
facial features. Having achieved enlightenment, Lohans were free from all earthly
desires and no longer subject to the cycle of rebirth. In this superb example special
attention can be drawn to the Lohan's thick eyebrows, which dominate the entire piece.
Serenity and wisdom are implied by the well- defined facial creases and stoical
expression. The head is in excellent condition. - (AM.0339)
 Wo o d H e a d o f a L o h a n

LF.009 Collection: Chinese Art

Origin: China Medium: Wood
Circa: 15th Century AD to 16th Century AD Location: Great Britain
Dimensions: 13.50" (34.3cm) high x
9.50" (24.1cm) wide
The Ming Dynasty was the ruling dynasty of China from 1368 to 1644, following the
collapse of the Mongol-led Yuan Dynasty. The Ming was the last dynasty in China
ruled by ethnic Hans, before falling to the rebellion led in part by Li Zicheng and soon
after replaced by the Manchu- led Qing Dynasty. The last of the outstanding dynasties,
the Ming was vibrant during its first half but racked with internal discord during its
second. Scores of workers constructed the renowned Forbidden City, an imperial
palace of staggering proportions and opulence. Ming leaders revived a sense of cultural
identity and respect for traditional artifacts and craftsmanship.
Even today, when entering the main hall of a Buddhist temple in China, one will
discover two rows of sculpted figures, traditionally numbering eighteen in total. These
figures are known as the Eighteen Lohan. Lohan is the Chinese term, derived from the
Sanskrit word Arhan, for a disciple or follower of Buddha who has reached a state of
enlightenment. The Lohan had been a popular subject in Chinese art at least since the
cultural flourishing of the Tang Dynasty. Traditionally, they are always produced in sets
of sixteen or eighteen. The numerical difference is a result of discrepancies in Buddhist
texts. By the Song Dynasty, artists began to depict each Lohan with individualized
facial features. Having achieved enlightenment, Lohans were free from all earthly
desires and no longer subject to the cycle of rebirth. Serenity and wisdom are implied
by the smiling expression and well-defined facial creases. - (LF.009)
 Ming Stone Head of Guanyin

CK.0100 Collection: Chinese

Origin: China Medium: Stone
Circa: 1368 AD to 1644 AD Location: United States
Dimensions: 5" (12.7cm) high x
2.75" (7.0cm) wide
Noted for her kindness, Guanyin is an ancient Boddhisattva. In Buddhism,
Boddhisattvas are beings who have attained enlightenment, but renounce the goal of
Nirvana, a state characterized by freedom from pain, suffering and the external world.
Instead, these benevolent Boddhisattvas minister eternally to relieve the sufferings of
all creatures, like Archangels, passing from the remote heaven to the world of men. As
such, the Guanyin makes helping others toward enlightenment her mission. Originally
depicted as a male in early Chinese Buddhist forms, the Guanyin eventually became
associated with a local Chinese Mother Goddess, "bringer of children," and also
because the gentleness and compassion of the deity suggest feminine qualities. - (CK.
0100)
 Ming Dynasty Standing Buddha

AM.0430 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Wood
Dimensions: 54.5" (138.4cm) high Location: Great Britain
This superb monumental wooden statue of a standing Buddha dates from the Ming era.
The carving of the drapery is a tour-de-force, with layer upon layer of rippling fabric.
The hair is formed from tight snail-shell curls which also cover the prominent
ushnisha, symbolic of the Buddha’s spiritual wisdom. The facial expression is one of
deep mediation, with closed eyelids and small pursed lips. The left hand is held just
below the chest in a gesture of meditation. The right arm is held adjacent to the body,
pointing towards the earth with the palm side visible. This symbolises the Buddha’s
power to bestow supreme accomplishments on his disciples. This magnificent sculpture
is a testament to the high level of artistry prevalent among Ming craftsmen. - (AM.
0430)
 Pair of Glazed Ming Figures

LK.190 Medium: Terracotta

Origin: China Location: Great Britain
Circa: 14th Century AD to 17th Century AD
Dimensions: 5.8" (14.7cm) high
 M i n g G l a z e d Te r r a c o t t a C e r e m o n i a l
P r o c e s s i o n a l S e t C o n s i s t i n g o f Te n F i g u r e s

RP.158 Collection: Chinese Art

Origin: China Medium: Glazed Terracotta
Circa: 1368 AD to 1644 AD Location: UAE
Dimensions: 20.45" (51.9cm) high
 Ming Glazed Figure

RP.192 Collection: Chinese Art

Origin: China Medium: Terracotta
Circa: 15th Century AD to 16th Century AD Location: UAE
Dimensions: 23.2" (58.9cm) high x
11.25" (28.6cm) wide x 8.25" (21.0cm) depth
S e t o f T h r e e M i n g G l a z e d Te r r a c o t t a A t t e n d a n t s

NP.022 Collection: Chinese

Origin: China Style: Ming Dynasty
Circa: 1368 AD to 1644 AD Medium: Glazed Terracotta
Location: Great Britain
 M i n g D y n a s t y G l a z e d Te r r a c o t t a

NP.012 Collection: Chinese Art

Circa: 1368 AD to 1644 AD Medium: Terracotta
Dimensions: 17" (43.2cm) high x
9" (22.9cm) wide
Pillows in Ancient China were originally made of stone. Over time, other materials
began to be employed, including wood, bronze, and terracotta, which eventually
became the most popular. Porcelain pillows first appeared in the Sui Dynasty and
began to be mass- produced in the Tang Dynasty, reaching their height of popularity in
the following centuries that coincided with the Song, Jin, and Yuan Dynasties. Both the
form and the decorative elements varied greatly depending on the time period and
regional styles. Thus, we find a wide range from simple functional geometric shapes to
elaborately modeled forms imitating animals, architecture, and other natural forms.
Decorative motifs included patterns based on plants and animal hides, water and
mountains, and calligraphic characters. Generally, the sophistication of porcelain
pillows evolved in tow with the overall technical development of the porcelain industry
in China. While glazed terracotta pillows would have been used by the living, they
were also buried in tombs alongside other everyday items that belonged to the
deceased. - (NP.012)
 M i n g D y n a s t y G l a z e d Te r r a c o t t a

NP.013 Collection: Chinese Art

Circa: 1368 AD to 1644 AD Medium: Terracotta
Dimensions: 17" (43.2cm) high x
9" (22.9cm) wide
Pillows in Ancient China were originally made of stone. Over time, other materials
began to be employed, including wood, bronze, and terracotta, which eventually
became the most popular. Porcelain pillows first appeared in the Sui Dynasty and
began to be mass-produced in the Tang Dynasty, reaching their height of popularity in
the following centuries that coincided with the Song, Jin, and Yuan Dynasties. Both the
form and the decorative elements varied greatly depending on the time period and
regional styles. Thus, we find a wide range from simple functional geometric shapes to
elaborately modeled forms imitating animals, architecture, and other natural forms.
Decorative motifs included patterns based on plants and animal hides, water and
mountains, and calligraphic characters. Generally, the sophistication of porcelain
pillows evolved in tow with the overall technical development of the porcelain industry
in China. While glazed terracotta pillows would have been used by the living, they
were also buried in tombs alongside other everyday items that belonged to the
deceased. - (NP.013)
 THE BAKARAT GALLERY

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