Art of Asia
- Tang dynasty (618–907), an introduction
- An Introduction to the Tang dynasty (618–906)
- A Tang silk brocade
- Tang Yue ware
- Tomb figurines, Tang dynasty
- Tomb figures of a man and woman on horseback
- Tomb figure of a groom
- Stele of the Buddha Maitreya
- Central Asian wine peddler
- Chinese Buddhist cave shrines
- Mogao caves at Dunhuang
- Jataka tales at Dunhuang
- Dunhuang Historical Art, Cave 323
- A silk painting of sacred Buddhist images from Dunhuang
- The paintings and manuscripts from cave 17 at Mogao (1 of 2)
- The paintings and manuscripts from cave 17 at Mogao (2 of 2)
- Hong Bian, the monk in the Library Cave, Mogao
- Zhou Fang, Ladies Wearing Flowers in Their Hair
- Taoism in the Tang and Song dynasties
- Admonitions Scroll, attributed to Gu Kaizhi
- Han Gan, Night-Shining White
- Zither (qin) inscribed with the name “Dragon’s Moan”
by Smithsonian's National Museum of Asian Art
The pair of pottery male and female horse riders are vividly depicted. The man wears a heart-shaped hat, wide-sleeved green coat, and black boots. His arms are raised as if holding the rein. The woman, with a high-top knot, sits up straight on her horse. She wears a colorful, short-sleeved jacket and a pair of green trousers. The horses are depicted in lively poses. We can almost read their facial expressions.
The pair is decorated in the , or “three color" technique. On areas where the figures are unglazed, such as the riders’ faces and hair, details are painted directly onto the fired clay.
The Tang dynasty (618–907) is famous for its sancai ceramics that prominently feature the colors white, green, and amber. The basic glaze is transparent, slightly white, and contains a mixture of lead oxide, silica, and alumina. It can be fired at temperatures between 650 and 1000 degrees centigrade. The color green was achieved by mixing copper oxide into this base glaze, and amber/yellowish brown was achieved by mixing in iron oxide. On rare occasions, expensive cobalt oxide was added as a glaze to generate blue. The clay body of many sancai wares is creamy white (sometimes enhanced by a white clay coating called , allowing the colored glazes to stand out vibrantly and thus making sancai ware one of the shining treasures of Chinese ceramics. Tang sancai wares are thought to have been reserved for burial use and were rarely, if ever, used in daily life.
Ancient Chinese believed in the existence of an afterlife. They made tomb figurines as replacements for real objects so that the deceased would enjoy their company or service in the afterlife. During the Tang dynasty, the use of sancai wares in tombs was restricted to people of a certain status. Furthermore, the number and size of the figures were determined by the rank of the deceased. As best we know, this pair of horse riders belong to a group of sixteen equestrian figures found in a tomb in northern China. They prove the high social status of the tomb owner and provide us with an intimate peek into certain aspects of the owner’s life.
This resource was developed for Teaching China with the Smithsonian, made possible by the generous support of the Freeman Foundation
For the classroom
- To what social class do you think the people riding the horses belonged? What makes you think that?
- In what ways are the figures and horses realistic? In what ways are the objects simplified?
- What do these objects tell us about the person they were buried with?
- Why do you think one figure is male and the other female