Chinese Art - Sui Dynasty

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

Chinese Art

Sui Dynasty581 AD - 618 AD

Sui DynastyDespite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the T’ang Dynasty. Perhaps their most significant program was the construction of the Great Canal, a project that facilitated the movement of people and goods across great distances, leading to the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution. The rulers of the T’ang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui.

H.030Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 15.375" (39.1cm) high x 4.5" (11.4cm) wide

Sui Set of a Mil i tary Off ic ial and Two Tomb

Guardians

Collection: ChineseMedium: Glazed TerracottaLocation: United States

This set of one military official and two tomb guardian warriors, zhenmuyong in Chinese, typifies Sui period style which is characterized by the use of "straw colored" glaze over white pottery. Though dressed in military attire typical of the period, the tomb guardian warriors differ from ordinary soldiers by their exaggerated facial expressions which suit the purpose to fend off evil from the burial site. The kuxi ensemble of long-sleeved tunic and tied and pleated pants is covered by liangdang armour; an apron-like leather shield belted at the waist and buttoned over the shoulders. Upturned shoes and a fitted cap complete the ceremonial costume, which was probably modelled on that of palace guards rather than actual combat soldiers. The grimacing faces, with wrinkeled brow and large noses, suggest foreign status. This element is also present in the military officer whose broad nose, high cheekbones and narrow inset eyes also differ from typical Han Chinese features. The military officer wears ornate helmet that forms a conical peak and covers the crown, forehead, and ears with mail draping over the shoulders. The officer's outer chest armour is decorated with images of mythical beasts and tigers in relief on the shoulders, collar and chest plates. Also wearing a two piece ensemble tied at the waist, the officer sports buffon-like pantalons tied at the ankles over boots to facilitate battle readiness. These superb Sui pieces enhance any collection of Chinese art. - (H.030)

H.031Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 14" (35.6cm) high x 11" (27.9cm) wide

Sui Glazed Figure of a Horse and Rider


The chunky body, movement, and style of the horse characterizes Sui dynasty representations of the horse. There is a tendency toward naturalistic portrayals of the horse's structure and pose. The mane, ears, and face are moulded in detail--even the muscular striations in the face are shown. The horse leans backward with rounded hindquarters and hind legs slightly bent. The lady rider is gently modelled holding reins in hand and extending legs into the foot harness. Her delicate facial features and the soft lines in her body and clothing indicate her privileged position among the elite of society. Both figures are moulded from one piece and are covered with "straw colored" glaze--the horse bearing traces of pigmentation in the hooves. The Sui and Tang era was one of enlightened religious tolerance, expanded foreign trade, peaceful political rule, and curiosity about and exchange of ideas with peoples beyond China's own borders. In this context, Chinese art and culture were receptive to change and innovation, which brought the already well-established foundations of their civilization to new levels of refinement and sophistication. The changes of sculptural form and style evident in this piece which was designed to fulfill a purpose in the ancient Chinese burial practice convey the dynamism of this persevering tradition. - (H.031)

H.046cOrigin: ChinaCirca: 581 AD to 618 AD Dimensions: 11" (27.9cm) high x 3.25" (8.3cm) wide

Sui Pair of a Palace Guardian and an Off ic ia l

Collection: ChineseStyle: Sui DynastyMedium: Glazed TerracottaLocation: United States

Pottery figurines of the Sui Dynasty are characterized by the use of "straw" colored glaze and white pottery. This set exemplifies period production as well as subject matter. Depicting a standing soldier and court official, these figurines provide a glimpse of the complex world of Chinese burial art. Both figurines bear characteristics that appear to blend attributes of standard subjects. The soldier's suspecting eyes, sly grin and gross features liken him to an evil detecting tomb guardian yet his attire of a knee length tunic protruded by a comb patterned underskirt and tucked trousers or high boots gives him the appearance of a lower ranking foot soldier. A tight cap which rises in the center fits tightly around his head framing his incaptivating expression. Likewise, the accompanying figurine blends characteristics of a court functionnaire or a religious teacher. He appears contemplative, if not meditative, as he humbly holds an emblem of office. His mitre-like cap resembles those of Tibetan Lama priests and his long tunic covered by an unadorned cape and worn over a longer under garment reminds one of monastic attire. The subject of tomb figures is closely linked with Chinese religion and philosophy. The tomb signified a gate to the afterlife or a meeting place of the two worlds. Pottery figurines replaced the Eastern Zhou tradition of interring live persons, animals and actual objects. - (H.046c)

H.522Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 16" (40.6cm) high

A Pair of a Mil i tary Off icer and a Civi l Off icial

Catalogue: V17Collection: Chinese ArtMedium: Glazed Terracotta Location: UAE

Throughout Chinese history, the military officer and civil official had been among the most idealized personages of Chinese society. Often in conflict with one another as they vied for supremacy, the military officer and civil official became the object of scrutiny or praise for philosophers and artists, as characterizations of them figured prominently in parables and visual representations of social life.

These figures of the Sui Dynasty provide an accurate representation of the popular imaginations about these two archetypes. The military officers stands strong, heavily clad in protective garment with hands clenched as if attached to weapons. His ferocious face, protruding demon- like eyes, flared nostrils, and lips pulled back to reveal clenched teeth are indicative of prowess, enabling him to intimidate his foe. On the other hand, the scholarly civil official is a paragon of moral virtue and wisdom. His features are soft, rounded somewhat feminine accentuated by flowing silk robes draped over his body. He glows with equanimity--a sure sign of his benevolence in governing and supreme understanding of right and wrong.

Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned. These figurines, still bearing earthen residue, exemplify Sui tastes, as they too were made to accompany their lord in the afterlife. Abounded with the virtue of loyalty, the military officer and civil official lived to serve their master--a loyalty that did not end in this life but rather carried on into life after death. - (H.522)

H.723Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 13.25" (33.7cm) high

Sculpture of a Camel

Collection: ChineseMedium: Glazed TerracottaLocation: Great Britain

The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.

-Guo Pu, 3rd Century AD

Camels symbolized commerce and its associated wealth, largely concentrated on profits through trading on the Silk Road. Trade across this extensive network of trails brought prosperity, foreign merchants, and exotic merchandize into the heart of China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh desert of Central Asia that could only be traversed by the two humped Bactrian camel. The government kept vast herds of these invaluable creatures, presided over by civil officials, for hauling their precious commodities across the Silk Road. Camels were a common sight in the cosmopolitan cities of China, carrying both traders and their goods directly into the markets. Likewise, artist began to create charming representations of these prized creatures as mingqi in order to symbolize wealth and prosperity in the afterlife. Mingqi were works of art created in an ancient Chinese custom specifically for interment in the tombs of elite individuals in order to provide for their needs in the afterlife. Some of the most beautiful works of Chinese art were excavated from such tombs, and this crème-glazed sculpture of a camel is a perfect example of the refined artistry dedicated to such works, despite the facts that they were not intended to be viewed by the living. Most remarkable, this work still retains some of its original painted pigment, including red highlights on his ears and mouth, which heighten the naturalism. This majestic sculpture reveals China’s respect and admiration for this beast of burden, so essential to their prosperity. - (H.723)


Sui Glazed Sculpture of a Lady in Wait ing

Collection: ChineseMedium: Painted TerracottaLocation: Great Britain









Collection: ChineseStyle: Sui DynastyMedium: Painted TerracottaLocation: Great Britain



Collection: ChineseStyle: Sui DynastyMedium: Painted TerracottaLocation: Great Britain

Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancia-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of a female attendant is a gorgeous example of Sui Dynasty sculpture. While her long-sleeved dressed have been covered in a bright yellow glaze, her facial features and hair have been highlighted in black paint, with red for her lips. Such women may represent wives, princesses, or attendants. Her beauty inspires us as we transport back in time to another era, over a thousand years ago, where this woman once danced or sang for us, or awaited our beck and call. - (H.872) - (H.874) - (H.875) - (H.876) - (H.877)




Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancia-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of a female attendant is a gorgeous example of Sui Dynasty sculpture. While her long-sleeved dressed have been covered in a vibrant yellow glaze, she wears a blouse on top of her dress that has been painted bright red. In addition, her facial features and hair have been highlighted in black paint, with red for her lips. Such women may represent wives, princesses, or attendants. Her beauty inspires us as we transport back in time to another era, over a thousand years ago, where this woman once danced or sang for us, or awaited our beck and call. - (H.873)




Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancai-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of an attendant is a gorgeous example of Sui Dynasty sculpture. He has been covered in a bright yellow glaze, while his shoes, and a sash tied around his waist still bear traces of their original black pigment. Red highlights also decorate details of his robe. The beauty of this sculpture inspires us as we transport back in time to another era, over a thousand years ago, where this attendant awaited our command. - (H.931)


Sui Glazed Polychrome Sculpture of an

Attendant


Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancai-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of an attendant is a gorgeous example of Sui Dynasty sculpture. He has been covered in a bright yellow glaze, while his eyes, shoes, and a sash tied around his waist have been highlighted in painted black pigment. Red highlights also decorate details of his robe. A hole in between his hands suggests that he once held a staff or spear that has long since deteriorated over the centuries. The beauty of this sculpture inspires us as we transport back in time to another era, over a thousand years ago, where this attendant awaited our command. - (H.930)

PF.5167Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 10" (25.4cm) high

Sui Glazed Lady-in-Wait ing


Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancia-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of a female attendant is a gorgeous example of Sui Dynasty sculpture. Such women may represent wives, princesses, or attendants. Her beauty inspires us as we transport back in time to another era, over a thousand years ago, where this woman once danced or sang for us, or awaited our beck and call. - (PF.5167)

H.1039Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 11" (27.9cm) high

Sui Glazed Terracot ta Spir i t Guardian


Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians. A pair of such figures always stood guard at the tombs of Chinese rulers in order to ward off potential robbers or evil spirits in the next world that might try to infiltrate the tomb. This spirit guardian sculpture is a general type of Chinese art known as mingqi. Mingqi were any variety of objects specifically created for interment in the tombs of elite individuals in order to provide for their afterlife, in this case, to provide eternal protection and security. This figure is a composite creature composed of various animal traits, including a feline head and body, horse legs, a lizard-like spine, and the spiraling horn of a ram rising from the center of his head. The terracotta has been covered with a rich crème-colored glaze of a type that the Sui Dynasty has become famed for. The work was then highlighted by the application of red and black pigments, adding detail to the face and body, such as the eyes, red mouth, and the stripes that decorate the legs and breast, as if the artist was imitating the coat of a tiger. Although this sculpture was intended to repel us, its fascinating history and astounding beauty instead attracts our attention and admiration. - (H.1039)


Sui Glazed Terracot ta Spir i t Guardian


Originating during the Six Dynasties period (222-589 A.D.), these types of figures are known as spirit guardians. A pair of such figures always stood guard at the tombs of Chinese rulers in order to ward off potential robbers or evil spirits in the next world that might try to infiltrate the tomb. This spirit guardian sculpture is a general type of Chinese art known as mingqi. Mingqi were any variety of objects specifically created for interment in the tombs of elite individuals in order to provide for their afterlife, in this case, to provide eternal protection and security. This figure is a composite creature composed of both animal and human traits, including a feline body, horse legs, a lizard-like spine, and the bearded face of a man. Both in regards to its original warding function and its appearance, this spirit guardian is comparable to the sphinx of Ancient Egypt, albeit on a much more intimate scale. The terracotta has been covered with a rich crème-colored glaze of a type that the Sui Dynasty has become famed for. The work was then highlighted by the application of red and black pigments, adding detail to the face and body, such as the eyes, red lips, black beard, and the stripes that decorate the legs and breast, as if the artist was imitating the coat of a tiger. Although this sculpture was intended to repel us, its fascinating history and astounding beauty instead attracts our attention and admiration. - (H.1040)

X.0363Origin: ChinaCirca: 581 AD to 618 AD Dimensions: 10.25" (26.0cm) high x 7" (17.8cm) wide

Sui Ochre-Glazed Terracot ta Sculpture of a

Standing Man with European Features

Collection: ChineseStyle: Sui DynastyMedium: Glazed TerracottaLocation: Great Britain

Secular sculpture of the Sui dynasty is represented by tomb figurines that are slim and unadorned, characterized by a yellowish crème glazed that would be elaborated upon in the Sancai-glazed ware of the T’ang Dynasty. These figurines, still bearing earthen residue, exemplify Sui tastes, as they were made specifically to accompany their lord in the afterlife. This stunning sculpture of a standing man bears the physiognomy and costume of a European. His hair is curly and his eyes are wide open. He wears a robe that falls across his chest much like a toga. During the Golden Age of the T’ang Dynasty, which this Sui sculpture preceeded, China was a vibrant, multi-cultural society where foreign merchants lived and traded among the native Chinese populations. It is possible that this man represents a trader from the Byzantine west who settled in China. Considering that this sculpture was found inside it tomb, it is likely that the deceased was a trader himself who profited from dealing with his Western counterparts. In the next life, this sculpture would have awaited his resurrection, eager to continue trading in the great beyond. - (X.0363)

LA.525Origin: ChinaCirca: 580 AD to 618 AD Dimensions: 7.5" (19.1cm) high

Set of Two Glazed Pot tery Horses and a

Carr iage

Collection: Chinese ArtStyle: Sui DynastyMedium: TerracottaAdditional Information: Dimensions provided indicate the chart heightLocation: UAE

DK.159Origin: ChinaCirca: 581 AD to 618 AD

Sui Dynasty Painted White Pot tery 'Long Horn '

Player on Horse

Collection: ChineseMedium: TerracottaCondition: Very FineLocation: UAE

DK.160 (LSO)Origin: ChinaCirca: 581 AD to 618 AD

Sui Dynasty Painted White Pot tery Pipe Player

on Horseback

Collection: ChineseMedium: Terra CottaCondition: Very FineLocation: UAE

This outstanding horseman dates from the Sui period, which is stylistically intermediate between the dual paradigms of Han and T’ang styles. It therefore shows the exuberant line of the former and the anatomical certainty of the latter, to remarkable effect. The piece depicts a warhorse, with elongated legs, an arched neck and open mouth. The rendering is exquisite, with protuberant musculature on the shoulders and limbs, careful subtractive modelling of the facial features and linear detailing of the mane and other surface anatomy. The pose of the animal suggests exhaustion – albeit with perfect poise – which is strangely at odds with the horse’s evidently relaxed pace, and the behaviour of his rider. The warrior is depicted in a decidedly un- martial pose, with an ornate hairstyle, a long coat and a trouser tunic, playing a set of pipes. He is unarmed, and scarcely seems dressed for battle. His face and hair are carefully picked out and painted with dark paint, contrasting with the orangey-red of the background clay and the paler pigment. Something can perhaps be made of this piece’s significance in light of the Sui Dynasty’s history.The Sui Dynasty was founded in a series of bloody conflicts and retributions between the Northern Qi and Zhou Dynasties towards the end of the 6th century AD. In order to gain power, Wendi – the first emperor – had 59 other aspirants to the throne put to death, reclaiming his Han surname (Yang) and reversing many of the anti-Confucian doctrines that had been put in place after the Han supremacy. He also abolished the corrupt 9-rank system, introduced land equalisation, and instituted major social change out of all proportion to the dynasty’s short duration. The Dynasty was bent upon recapturing the southern portion of China (Chen Dynasty) that had broken away during the preceding periods, and reunifying it into a single China, and to this end raised an army of over half a million and the largest fleet ever seen in 588 AD. The Chen immediately collapsed and ceded power, upon which their capital was razed to the ground and its riches plundered and taken back to the north; these proved to be the basis of most of the Sui Dynasty’s stylistic conventions.Wendi and his successors were both humanitarian and ruthless. While admired for his efforts to build infrastructure and provide economic safety nets, he also introduced savagely arduous compulsory labour and taxation to fuel a set of highly ambitious military campaigns beyond China’s borders. His son Yangdi did not have any of his father’s diplomatic skills, however, and did not seek to appease any potentially powerful enemies. Military spending was phenomenal, and it was this that spelt the end of the dynasty. His forays into Vietnam, Goguryeo and Korea proved disastrous, with about 2.1 million casualties – many of them to malaria – while a series of ambitious development plans (such as the Grand Canal) bled the treasury dry. Perhaps their most lasting architectural achievement was the rebuilding of the Great Wall. Eventually, the agricultural base of China was being damaged by the ceaseless conscription, leading to a revolt that ushered in the T’ang Empire.The monarchs of the Sui Dynasty continued to practice Buddhism as the main state religion. It has been argued that it was Buddhism, in fact, that rescued China from its previous turmoil and social disparity; it, and the monarch who wielded it, proved to be the unifying force that made the Sui Dynasty work. The iconography of the period owes much to this religious tendency. Being in many respects a highly militarised state, Sui public art is usually somewhat austere (especially the Buddhas and Bodhisattvas) yet their smaller- scale works are usually less restrained. Social ordering was everything, as today, and people were anxious to assert their rank through extravagant shows which extended to the afterlife. Mingqi remained very important, and this is an excellent example of the genre in which one might glimpse something of the martial aspirations of the period from which it comes. Yet at the same time it is a charmingly informal piece of someone who is evidently a high-ranking member of Sui society, and a far gentler representation than might be expected from a Sui piece. This is a beautiful piece of ancient Chinese art. - (DK.160 (LSO))

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Chinese Art - Sui Dynasty