Chinese Works of Art
A pair of Tang sancai-glazed earthenware lokapalas
Literature
Thorp, Robert L., and Virginia Bower. Spirit and Ritual: The Morse Collection of Ancient Chinese Art. New York: The Metropolitan Museum of Art, 1982, p. 51, cat. no. 27.
Watson, William. Tang and Liao Ceramics. London: Thames and Hudson, 1984, p. 179, pl. 198.
The Exhibition of Chinese Pottery Figures of Dynasties. Tokyo, 1984, cat. no. 84.
Mayuyama, Seventy Years. Tokyo: Mayuyama & Co., 1976, vol. I, pl. 209.
Medley, Margaret. T’ang Pottery and Porcelain. London: Faber and Faber, 1981, p. 53, pls. 43a–b.
An important pair of sancai-glazed earthenware lokapalas
Tang dynasty, circa 8th century, China
A pair of armoured guardian figures of particularly high quality, distinguished by their expressive faces, finely detailed armour and brilliant glazes. Each stands in a commanding pose with the head turned towards his companion. Their elaborate costumes comprise circular breastplates, animal-mask shoulder guards and overlapping panels of armour worn over flowing undergarments. Tassels, pendants, floral ornaments and the ribbed detailing of the shin guards are precisely modelled. Amber, green and cream glazes are enriched with extensive areas of deep blue, particularly across the armour and boots.
One guardian raises his right arm, with his left hand held at his waist, and stands upon a recumbent bull. His open mouth, bulging eyes and strongly arched brows convey a fierce expression, framed by a curled moustache and short beard. His elaborate helmet is surmounted by a phoenix with an upright tail.
His companion holds his left hand at chest height and rests his right hand at his hip, trampling a reclining demon with one hand raised to its face. His closed mouth, furrowed brow and staring eyes give him a contrasting expression of stern resolve. A bird with a tall, upright tail surmounts his helmet.
Both figures stand on substantial rockwork bases retaining painted decoration. Their unglazed heads and headdresses are decorated with cold-applied pigments, with traces of gilding.
The imagery of these figures draws on the Buddhist lokapalas, guardians of the four cardinal directions. Their fierce expressions, elaborate armour and trampling poses express their protective power and ability to subdue evil.
The extensive use of blue glaze is a significant feature of this pair. Coloured with costly imported cobalt, blue was a particularly prized addition to the Tang sancai palette. Its generous application here enriches the colour scheme and accentuates the intricate modelling of the armour.