China’s Tang Dynasty (618ce to 907ce) is among the greatest periods for art making in the world. The relative peace enjoyed by the people and its outward looking and accepting culture where art was highly valued, created the perfect environment for experimentation and growth by artists.
China hosted flourishing trade along the silk road, that brought foreigners, religions and goods into the country. Among these goods was more finely processed lead which facilitated improved low fire glazes for Sancai Ware. The word translates to “three colors” and refers to the brightly colored glaze combinations that grace the tomb guardians of the Period.
These objects were made as surrogates for human sacrifice and were intended to serve the dead in the afterlife. While the Tang is a time of great artistic innovation, these objects were not considered art, but much more functional forms.
The were called Ming chi which translates to spirit objects and were critical for the type of ancestor worship that was practiced at the time. The belief was, and still is for many Chinese, that the ancestor, after the appropriate mourning period, became an important intercessor between the surviving family and the world of the gods and spirits. Not taking the proper care of one’s ancestors would lead to disaster and cataclysm, so keeping these important family members well supplied and happy was a families greatest duty.
Like any highly stratified society, there were strict rules governing the placement on Ming chi. The number and sizes were governed by the persons station in life. The smallest were around 12″ and the largest were over 40″
They served a variety of purposed in the tomb, some, that blend human and animal characteristics and carry weapons were made to protect the ancestor from evil and tomb raiders. Others had more mundane tasks. The horse below is pictured alone but he would have been paired with a groom to care for the animal who would serve the ancestor.
Each figure had a specific name and duty within the tomb, and were often based off Taoist and Buddhist deities. One of these was a figure known as the Heavenly King. He was a fierce male figure placed near the entrance of the tomb. Many of the figures stood on vanquished demons, the Heavenly King is depicting standing on a bull or ox which represented his unchallenged spiritual majesty. It is important to remember here that the Chinese have a very different concept of heaved than we in the west. Heaven is more of a god, and it is from this god that the ruling elite derive their right to rule.
In addition to traditional images of Chinese culture, the tombs often featured influences from the outside world, camels and some foreigners were common additions to the groupings
The craft of the Ming chi was perfected during the rule of the Empress Wu, and represent a departure from earthenwares of the previous periods. These figures are made in molds, then assembled and modeled from the white stoneware of the time rather than the red earthenware seen during previous periods. The white body, while sometimes under fired, was seen as superior because of the brightness and clarity achieved in the glazes. Sometimes these figures were high fired before being refired at lower temps for the glazes, though its thought only pieces for export received this extra step.
The sancai glazes were composed of 3 parts lead, 2 parts loess clay or white clay and powdered quartz. This base was then colored with iron for amber, copper for green and though rarely, cobalt for blue and turquoise. The term sancai is a misnomer, in that there are 6 colors in this palate from the period, though the most common were amber, green and creamy white. Glazes were applied in a variety of ways including dipping, brushing and trailing.