6.1 Tang dynasty sculpture and tomb figurines
4 min read•august 5, 2024
The Tang dynasty was a golden age for Chinese sculpture, with funerary art and Buddhist figures taking center stage. Tomb figurines, guardians, and showcased the era's beliefs about the and social status.
, like bodhisattvas and luohans, reflected the spread of in China. These works, along with sancai glazed ceramics and imperial portraits, highlight the Tang's artistic mastery and cultural influences.
Funerary Art
Terracotta Figurines and Tomb Guardians
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- , funerary objects believed to provide for the deceased in the afterlife, were commonly placed in Tang dynasty tombs
- depicting servants, musicians, dancers, and animals were popular mingqi items that provided entertainment and service for the deceased (, camels, dogs)
- , fierce warrior figures placed near the entrance of the tomb, served to protect the deceased from evil spirits and tomb robbers ()
- Tang dynasty tomb guardians often featured exaggerated facial features, armor, and weapons to appear more intimidating and effective in their protective role
- Terracotta horses were frequently included in Tang tombs, reflecting the importance of horses in Tang society for transportation, warfare, and leisure activities (polo)
Spirit Path Sculptures and Horse Carvings
- Spirit path sculptures, also known as spirit way sculptures, lined the path leading to the entrance of high-ranking Tang tombs
- These sculptures typically depicted animals (lions, camels, horses) and mythical creatures (, ) that symbolized power, wealth, and protection for the deceased
- Horse sculptures were particularly prominent along the spirit path, showcasing the Tang dynasty's admiration for horses and their significance in daily life and military success
- Tang horse sculptures often exhibited realistic anatomical details, dynamic poses, and expressive features that captured the spirit and energy of the animals
- The inclusion of horse sculptures in the spirit path demonstrated the deceased's high social status and the importance of horses in Tang culture
Buddhist Sculpture
Bodhisattva Statues
- , representing enlightened beings who postpone their own buddhahood to help others attain enlightenment, gained popularity during the Tang dynasty as Buddhism spread
- Tang bodhisattva sculptures often depicted the figures in elegant, flowing robes with intricate drapery folds that showcased the era's artistic skill and attention to detail
- , the bodhisattva of compassion, was a particularly popular subject in Tang Buddhist sculpture and was often portrayed in a graceful, serene manner (Water-Moon Guanyin)
- Bodhisattva statues were crafted from various materials, including , wood, and , and were placed in temples and shrines for veneration
- The facial features and body proportions of Tang bodhisattva sculptures reflected the era's ideals of beauty and spirituality, with soft, gentle expressions and elongated, slender forms
Luohan Figures
- , representing the enlightened disciples of the Buddha, gained prominence in Tang Buddhist sculpture
- Tang luohan sculptures often depicted the figures as monks with individualized facial features, expressions, and poses that conveyed their unique personalities and spiritual attainments
- These sculptures were typically arranged in groups of 16 or 18, each luohan representing a specific aspect of Buddhist teachings or practice
- Luohan figures were often portrayed in meditation poses or engaging in daily activities, such as reading scriptures or holding Buddhist implements (, staff)
- The realistic and expressive qualities of Tang luohan sculptures reflected the era's emphasis on capturing the human form and conveying spiritual essence through art
Glazed Ceramics
Sancai Glaze Techniques
- Sancai, meaning "three colors," refers to a glazing technique that became popular during the Tang dynasty, featuring a vibrant combination of green, yellow, and white glazes
- The sancai glaze was achieved by applying different colored glazes to the ceramic body and firing them at high temperatures, resulting in a mottled, multi-colored effect
- Sancai glazed ceramics were used for a variety of purposes, including burial wares (tomb guardians, figurines), architectural decorations (roof tiles), and functional objects (bowls, vases)
- The vibrant colors and striking patterns of sancai glaze made it a highly prized and sought-after ceramic style during the Tang dynasty
- influenced ceramic production in other regions, such as the Islamic world and East Asia, through trade and cultural exchange along the Silk Roads
Imperial Sculpture
Imperial Portraiture in the Tang Dynasty
- Imperial portraiture in the Tang dynasty served to legitimize and glorify the ruling emperors and their families
- Tang imperial portraits often depicted the emperors in formal, frontal poses wearing elaborate robes and headdresses that symbolized their power and authority
- These portraits were typically carved in stone or cast in bronze and were displayed in imperial palaces, ancestral temples, and other important public spaces
- Tang imperial portraiture often incorporated symbolic elements, such as dragons, phoenixes, and auspicious clouds, to reinforce the emperor's divine right to rule and connection to the celestial realm
- The facial features and body proportions of Tang imperial portraits were often idealized to convey the emperors' wisdom, benevolence, and strength of character
Key Terms to Review (31)
Afterlife: The afterlife refers to the concept of existence following death, where individuals believe their souls continue to live in a different realm. This idea is central to many cultures and religions, shaping practices around death, burial, and memorialization. In the context of art and sculpture, especially during the Tang dynasty, representations of the afterlife reflect the beliefs about spiritual journeys and the importance of preparing for life beyond this one.
Alms Bowl: An alms bowl is a vessel traditionally used by Buddhist monks to collect food offerings from the lay community as part of their daily almsgiving ritual. This practice embodies the relationship between monks and laypeople, emphasizing generosity and spiritual nourishment. In the context of Tang dynasty sculpture and tomb figurines, alms bowls often symbolize the virtue of charity and the interconnectedness of different social roles within Buddhist practice.
Ancestor Worship: Ancestor worship is a religious practice that involves honoring and venerating deceased family members, believing that their spirits continue to influence the living. This practice is deeply rooted in many East Asian cultures, where rituals and offerings are made to maintain a connection with ancestors and seek their guidance or blessings.
Bodhisattva Statues: Bodhisattva statues are sculptural representations of bodhisattvas, beings who have attained enlightenment but choose to remain in the cycle of rebirth to help others achieve enlightenment. These statues are significant in Buddhist art, particularly during the Tang dynasty, where they reflect a blend of religious devotion and intricate artistic techniques, showcasing the cultural and spiritual values of the time.
Bronze: Bronze is a metal alloy made primarily of copper and tin, recognized for its durability and resistance to corrosion. Its significance in East Asian art is highlighted by its use in a variety of artistic and functional objects, including sculptures, tools, weapons, and ritual vessels, reflecting the technological advancements and cultural practices of different historical periods.
Buddhism: Buddhism is a spiritual and philosophical tradition founded on the teachings of Siddhartha Gautama, known as the Buddha, emphasizing the path to enlightenment through practices such as meditation, ethical conduct, and mindfulness. It spread across East Asia, influencing various cultural regions and artistic expressions, including sculpture, painting, and decorative arts.
Buddhist sculptures: Buddhist sculptures are three-dimensional representations of Buddhist figures, deities, and motifs, primarily created to inspire devotion and convey spiritual teachings. These sculptures can vary widely in style, material, and size, and often depict important figures like the Buddha, bodhisattvas, and other religious symbols. They serve both artistic and religious purposes, playing a crucial role in the practice and spread of Buddhism across different cultures.
Clay: Clay is a natural material composed of fine-grained minerals that become plastic when wet and harden upon drying or firing. This versatile substance has been pivotal in creating art and functional objects throughout history, especially in sculpture and pottery, serving as the primary medium for many ancient cultures.
Daoism: Daoism is an ancient Chinese philosophical and religious tradition that emphasizes living in harmony with the Dao, which is understood as the fundamental principle that underlies and unites the universe. It encourages a deep connection to nature, simplicity, spontaneity, and the importance of balance in life, influencing various aspects of art, architecture, and cultural practices in East Asia.
Expressiveness: Expressiveness refers to the ability of an artwork, particularly in sculpture, to convey emotions, ideas, and narratives through its forms and details. In the context of Tang dynasty sculpture and tomb figurines, expressiveness is evident in the dynamic poses, intricate facial features, and individualized characteristics of the figures, which together create a sense of life and personality that resonates with viewers.
Guanyin: Guanyin, also known as Avalokiteshvara, is the Bodhisattva of compassion in East Asian Buddhism, often depicted as a female figure embodying mercy and kindness. This deity is central to Buddhist practice and is revered for her ability to hear the cries of suffering beings, offering solace and protection. Guanyin is frequently represented in various art forms, especially during the Tang dynasty, where she appears in sculpture and tomb figurines, showcasing her significance in both religious and cultural contexts.
Guardian figures: Guardian figures are sculptural representations that serve a protective role, often found at entrances of temples, tombs, or other significant sites. In the context of Tang dynasty sculpture and tomb figurines, these figures were crafted to safeguard the deceased in the afterlife, reflecting the belief in spiritual guardianship and the importance of proper burial practices during this period.
High relief: High relief is a sculptural technique where the figures project significantly from the background, creating a strong sense of depth and dimension. This method is characterized by the prominent and detailed portrayal of figures, often giving them a lifelike appearance. In art from certain dynasties, including the Tang, high relief was often used to enhance narrative storytelling in sculptures and tomb figurines.
Horses: Horses were significant animals in Tang dynasty sculpture and tomb figurines, symbolizing power, status, and mobility. In this era, horses were often depicted in various forms of art, highlighting their importance in both military and civilian life. These representations not only showcase the aesthetic qualities of horses but also reflect their role in Chinese society as vital companions to human endeavors.
Li xue: Li xue, often translated as 'the study of principles' or 'principle learning,' is a philosophical concept rooted in Confucianism that emphasizes understanding the underlying principles and moral order of the universe. It seeks to harmonize human behavior with these universal principles, influencing various aspects of culture, including art and architecture, particularly during the Tang dynasty, where it shaped the aesthetic and spiritual dimensions of sculpture and tomb figurines.
Lokapala: Lokapala refers to the protective deities in Buddhist tradition, often depicted as guardians of the cardinal directions. These figures hold significant importance in Buddhist art and architecture, particularly during the Tang dynasty, where they were often integrated into sculptures and tomb figurines to symbolize protection for the deceased in their afterlife journey.
Luohan figures: Luohan figures are sculptural representations of arhats, or enlightened beings, in Buddhist tradition. These figures were particularly prominent during the Tang dynasty, reflecting the blending of religious and artistic practices at the time. They served not only as devotional objects but also as significant artistic expressions that highlight the intricate craftsmanship and spirituality of the period.
Mausoleum of the General: The Mausoleum of the General is a monumental tomb from the Tang dynasty, specifically designed to honor a military leader and showcase the power and prestige associated with their status. These structures are characterized by elaborate decorations, sculptures, and figurines, reflecting both the artistic achievements of the Tang period and the importance of burial practices for the elite class. The mausoleum served not only as a final resting place but also as a representation of the general's legacy and contributions to the state.
Mingqi: Mingqi, or 'spirit objects', refer to the grave goods and funerary items made during the Han dynasty and beyond, intended to accompany the deceased in the afterlife. These items were believed to provide comfort and utility to the spirits of the departed, reflecting the cultural beliefs around death and the afterlife in ancient China. Mingqi often included figurines, pottery, and various household items that symbolized wealth, status, and the everyday life of the deceased.
Modeling: Modeling refers to the technique in sculpture that creates the illusion of three-dimensional form through the manipulation of material. This process involves shaping and detailing surfaces to convey depth, texture, and light, allowing the viewer to perceive figures and objects as if they are real and substantial. In the context of sculptural practices, particularly during the Tang dynasty, modeling became essential for capturing the human figure and its intricate features, contributing significantly to the lifelike representation found in tomb figurines and other artworks.
Pixiu: Pixiu is a mythological creature in Chinese culture, often depicted as a winged lion with a dragon-like head. Known as a protector and a bringer of wealth, pixiu is commonly associated with tomb figurines from the Tang dynasty, serving both decorative and symbolic purposes in funerary contexts. These figures were believed to ward off evil spirits and attract prosperity for the deceased in the afterlife.
Qilin: The qilin is a mythical hooved chimerical creature found in Chinese culture, often described as a good omen promising prosperity and serenity. It is commonly depicted with dragon-like features, such as antlers and a scaly body, embodying a blend of various animals, including the deer and horse. The qilin is particularly significant in the context of Tang dynasty sculpture and tomb figurines, where it serves as a symbol of good fortune and protection in the afterlife.
Realism: Realism is an artistic movement that aims to represent subjects as they appear in everyday life, avoiding idealization and focusing on the mundane or ordinary aspects of existence. This approach emphasizes accuracy and truthfulness in the depiction of people, objects, and scenes, which often reflects social issues or the human condition. Realism connects with various art forms, allowing artists to capture the essence of their time and environment without embellishment.
Sancai glaze techniques: Sancai glaze techniques refer to a distinctive ceramic glazing method that uses three primary colors—typically green, yellow, and white—originating during the Tang dynasty. This technique became famous for its vibrant, multi-colored glazes applied to earthenware and porcelain, often used in the creation of tomb figurines and sculptures. The name 'sancai' translates to 'three colors' in Chinese, highlighting its characteristic use of color to enhance the visual appeal of the artworks from this period.
Sancai ware: Sancai ware, meaning 'three colors' in Chinese, refers to a distinctive type of pottery that flourished during the Tang dynasty, characterized by its vibrant glazes of green, yellow, and white. This ceramic art form was primarily used for creating tomb figurines and other decorative objects, showcasing the advanced techniques and aesthetic sensibilities of the time. The use of these rich colors not only added beauty but also indicated status and cultural sophistication.
Spirit path sculptures: Spirit path sculptures are funerary art pieces placed along the 'spirit path' leading to a royal tomb in ancient Chinese burial sites, particularly during the Tang dynasty. These sculptures often include life-sized figures of animals and attendants, symbolizing protection and serving as guides for the deceased in the afterlife. The intricate design and large scale of these sculptures reflect the importance of the afterlife in Tang society and the belief in maintaining a connection with ancestors.
Stone: Stone refers to the hard, solid material that has been used extensively in art and architecture, particularly in the creation of sculptures and tomb figurines during the Tang dynasty. This natural material was favored for its durability and ability to be finely carved, allowing artists to create intricate details that could withstand the test of time. In the context of Tang dynasty sculpture and tomb figurines, stone signifies not just a physical medium but also embodies cultural and spiritual beliefs, representing the afterlife and honoring deceased individuals.
Terracotta Figurines: Terracotta figurines are small sculptural works made from fired clay, commonly used in ancient funerary practices. These figurines served as representations of human figures, animals, and deities, often placed in tombs to accompany the deceased in the afterlife. They reflect the artistry and cultural beliefs of the time, particularly during the Tang dynasty, where they were crafted to convey status and accompany the deceased in their burial sites.
Tomb guardians: Tomb guardians are sculptural figures placed in or near tombs in ancient Chinese burial practices, particularly prominent during the Tang dynasty. These figures served as protective spirits, believed to guard the deceased and their resting place from evil spirits and intruders. They often represented warriors, animals, or mythical beings, reflecting both the social status of the buried individual and the cultural beliefs surrounding death and the afterlife.
Tomb of Emperor Gaozu: The Tomb of Emperor Gaozu is the burial site of the founder of the Tang Dynasty, Li Yuan, who reigned from 618 to 626 CE. This tomb is significant as it reflects the artistic and architectural styles of the Tang era, showcasing intricate sculptures and figurines that embody the grandeur and spiritual beliefs of the period. The tomb serves as a vital representation of how art was used to honor the deceased and provide for their afterlife in accordance with the beliefs of the time.
Zhang sengyao: Zhang Sengyao is a term that refers to a specific style of Tang dynasty tomb figurines, notable for their vivid colors and intricate detailing. These figurines were crafted to accompany the deceased in their afterlife and often represented various aspects of life, including attendants, animals, and everyday activities. The zhang sengyao style is characterized by its expressive poses and detailed expressions, reflecting the artistry and cultural values of the Tang dynasty.