An Exceptional Pair of Ming Dynasty Sancai-Glazed Pottery Figures of Attendants

China, 16th Century

This exceptional pair of Ming dynasty pottery figures represents a male and female attendant, each standing formally upon an elaborately modelled, tiered plinth. The female carries a large amber-glazed basin, while her companion holds a length of folded cloth, probably a towel. Together, these implements suggest their role as domestic or ceremonial attendants, ready to serve their master in the afterlife.

The figures are richly decorated in lustrous green, amber, cream and deep aubergine glazes. Their separately modelled heads retain finely painted features, while the male wears a tall black official-style hat and an emerald-green robe secured at the waist. The female is dressed in layered robes enlivened by strongly contrasting panels of amber, green and aubergine.

Particularly remarkable are the figures’ expressive faces. Their finely drawn eyes, delicately arched brows, softly modelled cheeks and subtly pursed lips convey a sense of quiet attentiveness. Each possesses a distinct character, with an almost portrait-like individuality rarely encountered in Ming funerary sculpture. Rather than appearing rigid or formulaic, they have an engaging human presence that reflects the exceptional skill and sensitivity of their modeller.

Equal attention has been given to the treatment of their garments. The deeply sculpted folds convey the weight and movement of the fabric, while the broad sleeves and spreading hems give each figure a commanding silhouette. The fluidity of the drapery, combined with the sophisticated distribution of the coloured glazes, distinguishes them from the more modest and conventionally modelled tomb figures commonly produced during the period.

The term sancai, meaning “three colours”, describes a tradition of brilliantly coloured ceramic glazes most closely associated with the Tang dynasty. Although the name suggests a fixed palette, sancai wares could incorporate a broader range of colours. The technique continued into later periods and enjoyed renewed prominence during the Ming dynasty, particularly in funerary sculpture, religious figures and architectural ceramics.

The substantial scale and unusually elaborate execution of the present figures indicate an important commission, probably connected with the burial of a person of considerable status. Preserved with much of their vibrant glaze and painted detail, they are exceptional examples of Ming funerary sculpture, combining technical accomplishment, expressive power and remarkable presence.