by Artist (3)
Open Access
Figure of a Soldier
Artist: Unknown Chinese Artist Primary
Date:
618-907
7th century to 10th century
Dimensions:
15 in. (38.1 cm)
Object Type:
Statue
Creation Place:
Asia, China
Medium and Support:
Painted earthenware
Credit Line:
Gift of Leo Swergold in honor of Jane Swergold, Adjunct Professor, Department of Interior Design (University College), 2011
Accession Number:
2011.01.02
On View:
Bellarmine Hall Galleries
This figure, in buff clay, boasts highly detailed painted armor, intended to replicate contemporary design. Straps secure the breastplates over the shoulders of the soldier, who wears a short split skirt with a “key” design. His simulated leather hat has a back flap, designed to protect his neck from the hot sun of arid Western China. His demeanor is stern but restrained, in contrast to the more fierce expressions of later Tang guards. The soldier stands in a natural pose, with his weight shifted to one leg. His hands likely would have originally held a weapon or banner. Military figurines appear in fewer numbers in Tang tombs compared with the preceding periods of disunion, although a wealthy person might have had his own military group.
Exhibitions
Fairfield University Art Museum, Fairfield, Connecticut, Immortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties, April 12- June 6, 2012
Keywords
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Tang
Refers to the culture, style, and period of a Chinese dynasty of the period 618 to 907 CE, a time considered one of the most brilliant in Chinese history. China flourished as a stable, consolidated empire and the resulting prosperity and patronage created a Golden Age of Chinese painting, metalwork, ceramics, music, and poetry. Chang'an, with its masterful urban planning, remained the main Tang capital and a world center. Taizong (reigned 626-649) and Xuanzong (reigned 712-756) were important Tang rulers and patrons. Buddhism remained influential although it suffered periods of persecution during the Tang dynasty. Paintings from the caves at Dunhuang and stone pagodas such as the Great Wild Goose Pagoda (ca. 652) and the Small Wild Goose Pagoda (ca. 707) in Chang'an have survived. Monumental stone sculpture of the northern provinces displays the new tendency toward fuller, more sensual figures. This tendency also found in secular Tang sculpture, both stone and ceramic. The merging of Indian and Chinese sculpture styles is seen at the cave at Mt. Tianlong, created under the patronage of Empress Wu Zetian (reigned 690-705). Painting, which flourished during the Tang, was dominated by the secular landscape tradition. Li Sixum and Li Zhaodao, father and son, and Wang Wei are three painters' names known to us; probable copies of their work exist. Wang Wei's work, influential for later artists, was intimate and melancholy while the work of Li Sixum and Li Zhaodao features the bright greens and blues of many Tang landscapes. Chinese portrait painting, begun in the Han dynasty, was refined in the Tang by such artists as Wu Daozi. Tang ceramics include sancai earthenware figurines and vessels, typically used as tomb objects, white porcellanous wares such as the well-known Xing ware of Henan province, and the jadelike Yue celadons of Zhejiang province. The use of metal oxides in underglaze decoration was developed in Hunan and Sichuanh provinces and porcelain, although not fully exploited until later, has its origins in the Tang period. Tang decorative arts were influenced by Middle Eastern and other foreign trends during the Tang dynasty, leading to new styles in ceramics and metalwork. For instance, colorful glazed earthenware objects such as ewers and rhytons were made to resemble Persian silverwork and Persian weft patterning were introduced to Chinese textiles. China, in turn, exported its pottery, silk, and printing and paper technology. The Tang dynasty was succeeded by the Later Liang dynasty.
Refers to the culture, style, and period of a Chinese dynasty of the period 618 to 907 CE, a time considered one of the most brilliant in Chinese history. China flourished as a stable, consolidated empire and the resulting prosperity and patronage created a Golden Age of Chinese painting, metalwork, ceramics, music, and poetry. Chang'an, with its masterful urban planning, remained the main Tang capital and a world center. Taizong (reigned 626-649) and Xuanzong (reigned 712-756) were important Tang rulers and patrons. Buddhism remained influential although it suffered periods of persecution during the Tang dynasty. Paintings from the caves at Dunhuang and stone pagodas such as the Great Wild Goose Pagoda (ca. 652) and the Small Wild Goose Pagoda (ca. 707) in Chang'an have survived. Monumental stone sculpture of the northern provinces displays the new tendency toward fuller, more sensual figures. This tendency also found in secular Tang sculpture, both stone and ceramic. The merging of Indian and Chinese sculpture styles is seen at the cave at Mt. Tianlong, created under the patronage of Empress Wu Zetian (reigned 690-705). Painting, which flourished during the Tang, was dominated by the secular landscape tradition. Li Sixum and Li Zhaodao, father and son, and Wang Wei are three painters' names known to us; probable copies of their work exist. Wang Wei's work, influential for later artists, was intimate and melancholy while the work of Li Sixum and Li Zhaodao features the bright greens and blues of many Tang landscapes. Chinese portrait painting, begun in the Han dynasty, was refined in the Tang by such artists as Wu Daozi. Tang ceramics include sancai earthenware figurines and vessels, typically used as tomb objects, white porcellanous wares such as the well-known Xing ware of Henan province, and the jadelike Yue celadons of Zhejiang province. The use of metal oxides in underglaze decoration was developed in Hunan and Sichuanh provinces and porcelain, although not fully exploited until later, has its origins in the Tang period. Tang decorative arts were influenced by Middle Eastern and other foreign trends during the Tang dynasty, leading to new styles in ceramics and metalwork. For instance, colorful glazed earthenware objects such as ewers and rhytons were made to resemble Persian silverwork and Persian weft patterning were introduced to Chinese textiles. China, in turn, exported its pottery, silk, and printing and paper technology. The Tang dynasty was succeeded by the Later Liang dynasty.
statues
Sculpture in the round, usually but not always depicting humans, animals, mythical beings, or small figure groups. Statues are relatively large in scale, being life-size, larger than life-size, or only slightly smaller than life-size. For small-scale representations of humans, animals, or mythical beings, use "figurines," "statuettes," or another appropriate term. For depictions of humans, animals, or mythical beings in media other than sculpture, use "figures (representations)."
Sculpture in the round, usually but not always depicting humans, animals, mythical beings, or small figure groups. Statues are relatively large in scale, being life-size, larger than life-size, or only slightly smaller than life-size. For small-scale representations of humans, animals, or mythical beings, use "figurines," "statuettes," or another appropriate term. For depictions of humans, animals, or mythical beings in media other than sculpture, use "figures (representations)."
public domain
Land owned and controlled by the state or federal government. Also, the status of publications, products, and processes that are not protected under patent or copyright.
Land owned and controlled by the state or federal government. Also, the status of publications, products, and processes that are not protected under patent or copyright.
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