{"title":"Mingqi — Items for the next world","description":"\u003cp class=\"p1\"\u003eStep into the realm of ancient Chinese burial traditions with this exceptional collection of mingqi, or “spirit goods”—funerary objects made to accompany the deceased into the afterlife. Crafted from clay, wood, or bronze, these artifacts reflect the rich spiritual beliefs and artistic brilliance of early Chinese civilization.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMingqi included human attendants, warriors, animals, mythical beings, and models of daily life—each offering protection, status, and comfort for the soul's journey beyond. The tradition peaked during the Han, Sui, and Tang Dynasties, and continued into the Ming Dynasty, evolving in style and scale. Every item in this collection is unconditionally guaranteed authentic, both in period and condition.\u003c\/p\u003e","products":[{"product_id":"song-dynasty-miniature-tomb-house","title":"Song Dynasty Brown-Glazed Miniature Stoneware House","description":"\u003ch3 class=\"p1\"\u003eSouthern Song Dynasty, 1127–1275 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn absolutely fascinating and exceedingly rare miniature stoneware house or granary, charmingly modeled in the whimsical form of a vegetable—possibly an eggplant. Coarsely hand-built with a flat base and four vertical ridges along the sides, the vessel features a boldly carved doorway and a small window on opposing walls, evoking the architecture of rustic dwellings. The top is surmounted by a stylized stem, completing its organic form.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe surface is coated in a rich brownish-black glaze that envelops the exterior, leaving the underside and base unglazed. Miniature models such as this one were often placed in tombs as symbolic offerings, representing sustenance and shelter for the afterlife. Its imaginative design and rustic charm perfectly capture the spirit of Southern Song craftsmanship—an artistry that balanced playful naturalism with deep cultural symbolism.\u003c\/p\u003e\n\u003cp\u003eGood condition. Intact. Minor surface wear and abrasions consistent with age. Attractive encrusted patina and rich earthen deposits across the surface.\u003cspan class=\"Apple-converted-space\"\u003e Glazing flaws and fritting.\u003c\/span\u003e Size approx. 4,9cm x 5,0cm x 5,2cm. Old label at the bottom \"Song Gallery - Chinese Art\". \u003c\/p\u003e\n\u003cp\u003eProvenance: Dani\u003cspan\u003esh private collection \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSong to Yuan dynasties 960–1350, National Palace Museum, Taipei.(https:\/\/www.npm.edu.tw\/exh99\/ceramics\/en\/page-3.html#main)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Enchantment of Song, Ying Jang \u0026amp; Annika Waenerberg, 2002, Academia.(https:\/\/www.academia.edu\/10582197\/The_Enchantment_of_Song)\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44222080024841,"sku":"1042968","price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/c1_f7c3ef55-90fe-4c6b-a625-06b84c420fee.jpg?v=1677511897"},{"product_id":"ming-dynasty-terracotta-palanquin","title":"Ming Dynasty Sancai Glazed Pottery Sedan Chair or Palanquin","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis breathtaking mingqi (spirit good) is a pottery model of a sedan chair or palanquin, designed to accompany the deceased in burial as a symbol of aristocratic status and privilege. Crafted from terracotta and adorned with vibrant sancai (three-color) glazes in black, bright ochre, and green, this piece showcases the opulence and artistry of the Ming dynasty.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe palanquin features a meticulously designed everted flange roof crowned with a lotus bud-shaped ornament, symbolizing purity and nobility. Its sides and rear are adorned with intricately hatched screens, while the open-front façade reveals a stepped seat, emphasizing both its ceremonial and utilitarian aspects. Such palanquins were used as luxurious transport for the Chinese elite, a practice reflected in this burial offering meant to serve the deceased in the afterlife. The Ming dynasty (1368–1644) revitalized the ancient tradition of mingqi, which originated in the Han dynasty and evolved through the Tang dynasty. These spirit goods were crafted to reflect the earthly life and status of the deceased, ranging from everyday items to representations of servants, musicians, animals, and transportation like this palanquin. Tombs of the era often featured grand assemblages of glazed and unglazed terracotta figures, showcasing the rank and wealth of the buried individual.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sancai glazing technique, characterized by its vivid green, amber, and cream hues, was developed to mimic the appearance of costlier bronze and jade artifacts. The Ming artisans mastered this medium, creating works of both utility and artistry that endure as timeless representations of their cultural and spiritual significance. This rare and captivating palanquin model not only reflects the technical and artistic excellence of the Ming dynasty but also provides a vivid glimpse into the ceremonial practices and societal hierarchy of ancient China.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 32,5cm x 14,5cm x 14,0cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eModel of sedan chair, Asian Civilisations Museum, National Heritage Board, Singapore, Accession Number: 1993-00112 (https:\/\/www.roots.gov.sg\/en\/collection-landing\/listing\/1063026)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44236341575945,"sku":"1085290","price":1550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_3964e78a-3f30-4a8f-8fc2-02ed7217a443.jpg?v=1677754598"},{"product_id":"ming","title":"Ming Dynasty Sancai Glazed Miniature Offering Vase","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis lovely miniature sancai-glazed vase is a remarkable example of Ming Dynasty funerary art, crafted as a mingqi, or \"spirit object,\" intended to accompany the deceased into the afterlife. Finely shaped and coated in a lustrous sancai glaze, this piece embodies the rich artistic traditions of Ming burial customs, which sought to furnish tombs with objects reflecting wealth, status, and daily life.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Ming Dynasty (1368–1644) revived and expanded upon the ancient Chinese tradition of mingqi, which had first gained prominence during the Han Dynasty (206 BC – 220 AD) and continued through the Tang (618–907 AD) and Song Dynasties (960–1279 AD). These tomb figurines and vessels provided valuable insights into the belief systems and daily lives of ancient Chinese society, illustrating their concept of the afterlife and funerary rituals. Mingqi varied in form and function, ranging from human attendants, musicians, dancers, and soldiers to animals such as horses and camels, as well as architectural models, furniture, and vessels. The number, size, and glaze of the mingqi depended on the rank and wealth of the deceased—elaborate tombs of high-ranking individuals featured hundreds of such objects, carefully arranged inside the burial chamber.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis miniature offering vase, created specifically as a funerary object, is beautifully glazed in a moss-green sancai lead glaze. The sancai palette, meaning \"three colors,\" typically featured green, amber, and cream hues, with the green glaze likely inspired by imported Roman glass and bronze objects. The lustrous, low-fired glaze seen here was developed to mimic more expensive materials, making these pieces both visually striking and symbolically significant.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA rare and exquisite artifact, this sancai-glazed vase stands as a testament to the refined artistry and spiritual beliefs of the Ming Dynasty, making it an exceptional addition to any collection of Chinese antiquities.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Intact. Age-related wear and abrasion. Glazing defects and firing flaws. Size approx. 6,8cm x 2,4cm x 2,6cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Dutch private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44339347390729,"sku":"1019273","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_c76c8eca-4419-4d7d-99c0-1e235193a84d.jpg?v=1680972931"},{"product_id":"ming-1","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis charming \u003ci\u003emingqi\u003c\/i\u003e (spirit good) is a sancai-glazed miniature model of an offering plate, adorned with five peaches—a symbol of longevity and immortality in Chinese culture. Designed as a funerary object, it would have been placed in a tomb to provide sustenance and blessings for the deceased in the afterlife. The plate, glazed in the traditional sancai palette of green, amber, and cream, showcases the Ming dynasty's mastery of pottery and its deep-rooted cultural symbolism. The peaches, molded with exquisite detail, reflect the high regard for nature and its connection to health, prosperity, and eternal life.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Ming dynasty (1368–1644) revitalized the tradition of \u003ci\u003emingqi\u003c\/i\u003e, which originated during the Han dynasty. These items were integral to burial practices, symbolizing the earthly possessions and aspirations of the deceased. Tombs often featured elaborate displays of pottery figures, animals, and offerings, with the number and quality determined by the individual's status and wealth. The sancai glazing technique, prized for its vibrant colors and lustrous finish, was developed to mimic luxurious materials like bronze and jade. It became a hallmark of the Ming dynasty's funerary art, imbuing objects with both aesthetic appeal and spiritual significance.This miniature offering plate, with its delicate form and rich symbolism, not only exemplifies the artistry and craftsmanship of the Ming dynasty but also offers a glimpse into the beliefs and customs surrounding death and the afterlife in ancient China.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Intact. Age-related wear and abrasion. Glazing defects and firing flaws. Size approx. 6,8cm x 2,4cm x 2,6cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Dutch private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eModel of food offering, Asian Civilisations Museum - National Heritage Board, Singapore, Accession Number: 1993-00063                  (https:\/\/www.roots.gov.sg\/en\/collection-landing\/listing\/1060453)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44339377275145,"sku":"1010438","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_ef056098-19e3-426d-86f6-91e6e1ec2130.jpg?v=1680973951"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA beautiful \u003ci\u003emingqi\u003c\/i\u003e (spirit good), this sancai-glazed miniature model of a food offering plate exemplifies the artistry and cultural traditions of the Ming dynasty. Intended as a funerary object, it would have been placed in a tomb to accompany the deceased, symbolizing offerings of sustenance and blessings for the afterlife. The plate features a stunning application of bright green and amber sancai glaze, a hallmark of Ming funerary pottery. This technique utilized lead-based glazes to create vibrant, lustrous finishes that mimicked the appearance of more luxurious materials like bronze or jade. The sancai palette, typically combining green, amber, and cream, reflects the aesthetic sophistication of the era.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Ming dynasty (1368–1644) marked a resurgence of \u003ci\u003emingqi\u003c\/i\u003e production, continuing a tradition that began during the Han dynasty. These spirit goods were integral to burial rituals, representing the possessions, aspirations, and status of the deceased. Tombs often included pottery figures, animals, and models of daily life, arranged to ensure comfort and protection in the afterlife. The glaze on this piece, applied over low-fired pottery, not only highlights the technical skill of the artisans but also provides a glimpse into the spiritual beliefs of the Ming period. Green symbolized renewal and vitality, while amber conveyed warmth and protection. This offering plate, with its radiant glaze and cultural significance, serves as a timeless testament to the artistic and spiritual heritage of ancient China.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Intact. Age-related wear and abrasion. Glazing defects and firing flaws. Size approx. 5,6cm x 5,3cm x 4,2cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Private collection from Denmark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eModel of food offering, Asian Civilisations Museum - National Heritage Board, Singapore, Accession Number: 1993-00069                (https:\/\/www.roots.gov.sg\/en\/collection-landing\/listing\/1060263)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44444214558985,"sku":"1100525","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_1323.jpg?v=1685717514"},{"product_id":"tang-dynasty-figure","title":"Tang Dynasty Court Lady Tomb Figure","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis absolutely fascinating tomb figure depicts a court lady, a stunning example of Tang dynasty artistry. Standing gracefully, she is dressed in an untailored, flowing gown with long sleeves that delicately conceal her clasped hands. Her elaborate coiffure, with hair styled in a cloud-like arrangement and piled toward the left, epitomizes the elegance and fashion of the Tang court. The figure’s plump, rounded face, combined with her poised and regal expression, reflects the aesthetic ideals of mid-8th century China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEarlier Tang-era female figurines showcased tall and slender forms, but the period's shifting preferences for fuller, more voluptuous figures were influenced by Emperor Xuanzong’s infatuation with his famously beautiful and curvaceous concubine, Yang Guifei (Yang Yuhuan). This evolution in fashion and art highlights the cultural dynamism of the Tang dynasty, where personal tastes at court often shaped broader artistic trends.The Tang dynasty, a golden age of Chinese civilization, is renowned for its cosmopolitan culture, innovation, and artistic achievements. Earthenware figures like this one, known as \u003ci\u003emingqi\u003c\/i\u003e (spirit goods), were placed in tombs to serve the deceased in the afterlife. The size, number, and quality of such figurines depended on the rank and wealth of the tomb’s occupant. Alongside other \u003ci\u003emingqi\u003c\/i\u003e—musicians, attendants, and animals such as horses and camels—figures like this court lady served as vivid depictions of the vibrant life enjoyed during the Tang dynasty. This court lady figure is not only an exquisite work of art but also a tangible link to one of China’s most celebrated historical periods.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Remains of polychrome (white, black, yellow and red). Intact. Age-related wear and abrasion. Small chip at the base. Heavy encrustation. Size approx. 20,8cm x 7,2cm x 5,2cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Finnish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eTomb figure of a court lady, Queensland Art Gallery | Gallery of Modern Art, \u003cmeta charset=\"utf-8\"\u003eAccession Number: \u003cmeta charset=\"utf-8\"\u003e2012.013 (https:\/\/collection.qagoma.qld.gov.au\/objects\/16179)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eCourt lady, The Metropolitan Museum of Art, Accession Number: \u003cmeta charset=\"utf-8\"\u003e1979.108 (https:\/\/www.metmuseum.org\/art\/collection\/search\/44808)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44539940962569,"sku":"1034710","price":755.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_c1fd498f-d8d6-43b5-bbb1-9723f623a3aa.jpg?v=1690972195"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate-3","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fine sancai-glazed miniature model of a food offering plate, designed as a funerary object, this plate was intended to accompany the deceased, embodying blessings for a long and prosperous afterlife. The piece features a lustrous sancai glaze, with vivid green tones characteristic of the Ming dynasty’s burial pottery. The technique, using lead-based glazes in hues of green, amber, and cream, was perfected during this era, imitating the appearance of luxurious materials like jade and bronze. This glaze enhances the visual appeal of the offering plate while reflecting the skilled craftsmanship of Ming artisans. Peaches, revered in Chinese symbolism, represent vitality and the divine promise of eternal life. Their depiction on this plate underscores the cultural emphasis on health, prosperity, and spiritual continuity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Ming dynasty, the production of \u003ci\u003emingqi\u003c\/i\u003e (spirit goods) flourished, continuing traditions that originated in the Han dynasty and evolved through subsequent periods. These burial objects were carefully arranged in tombs to replicate aspects of daily life, ensuring the deceased’s comfort and status in the afterlife. The number and quality of such items often reflected the rank and wealth of the individual. This miniature food offering plate stands as a remarkable testament to the artistic innovation and cultural richness of the Ming dynasty, preserving a legacy that bridges the material and spiritual realms.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. \u003c\/span\u003eSurface wear and abrasions commensurate with age, nicks and chip, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. \u003cspan\u003eGlazing defects and firing flaws. Size approx. 5,0cm x 5,0cm x 4,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Private collection from Sweden.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eModel of food offering, Asian Civilisations Museum - National Heritage Board, Singapore, Accession Number: 1993-00066            (https:\/\/www.roots.gov.sg\/en\/collection%20landing\/listing\/1147112)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44555012636937,"sku":"1100606","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4384.jpg?v=1691752923"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate-4","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA lovely sancai-glazed miniature model of a food offering plate, designed as a funerary object, this plate was intended to accompany the deceased, embodying blessings for a long and prosperous afterlife. The piece features a lustrous sancai glaze, with vivid green tones characteristic of the Ming dynasty’s burial pottery. The technique, using lead-based glazes in hues of green, amber, and cream, was perfected during this era, imitating the appearance of luxurious materials like jade and bronze. This glaze enhances the visual appeal of the offering plate while reflecting the skilled craftsmanship of Ming artisans. Peaches, revered in Chinese symbolism, represent vitality and the divine promise of eternal life. Their depiction on this plate underscores the cultural emphasis on health, prosperity, and spiritual continuity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Ming dynasty, the production of \u003ci\u003emingqi\u003c\/i\u003e (spirit goods) flourished, continuing traditions that originated in the Han dynasty and evolved through subsequent periods. These burial objects were carefully arranged in tombs to replicate aspects of daily life, ensuring the deceased’s comfort and status in the afterlife. The number and quality of such items often reflected the rank and wealth of the individual. This miniature food offering plate stands as a remarkable testament to the artistic innovation and cultural richness of the Ming dynasty, preserving a legacy that bridges the material and spiritual realms.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. Glazing defects and firing flaws. \u003cspan\u003eSize approx. 6,1cm x 6,2cm x 6,6cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eModel of food offering, Asian Civilisations Museum - National Heritage Board, Singapore, Accession Number: 1993-00062            (https:\/\/www.roots.gov.sg\/en\/collection-landing\/listing\/1061121)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44555040162057,"sku":"1100607","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4438.jpg?v=1691753561"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate-6","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA superb sancai-glazed miniature model of a food offering plate, designed as a funerary object, this plate was intended to accompany the deceased, embodying blessings for a long and prosperous afterlife. The piece features a lustrous sancai glaze, with vivid green tones characteristic of the Ming dynasty’s burial pottery. The technique, using lead-based glazes in hues of green, amber, and cream, was perfected during this era, imitating the appearance of luxurious materials like jade and bronze. This glaze enhances the visual appeal of the offering plate while reflecting the skilled craftsmanship of Ming artisans. Peaches, revered in Chinese symbolism, represent vitality and the divine promise of eternal life. Their depiction on this plate underscores the cultural emphasis on health, prosperity, and spiritual continuity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Ming dynasty, the production of \u003ci\u003emingqi\u003c\/i\u003e (spirit goods) flourished, continuing traditions that originated in the Han dynasty and evolved through subsequent periods. These burial objects were carefully arranged in tombs to replicate aspects of daily life, ensuring the deceased’s comfort and status in the afterlife. The number and quality of such items often reflected the rank and wealth of the individual. This miniature food offering plate stands as a remarkable testament to the artistic innovation and cultural richness of the Ming dynasty, preserving a legacy that bridges the material and spiritual realms.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. Glazing defects and firing flaws. \u003cspan\u003eSize approx. 5,7cm x 5,8cm x 4,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Danish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eModel of food offering, Asian Civilisations Museum - National Heritage Board, Singapore, Accession Number: 1993-00064              (https:\/\/www.roots.gov.sg\/en\/collection-landing\/listing\/1062349)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44555054711049,"sku":"1100609","price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4393.jpg?v=1691754667"},{"product_id":"tang-dynasty-extremely-rare-sancai-pottery-money-chest","title":"Tang Dynasty Extremely Rare Sancai Glazed Pottery Money Chest Gui","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, Xi'an (Chang'an), Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent and exceedingly rare earthenware money chest exemplifies the mastery of Tang dynasty artisans. Fashioned in imitation of a metal or wood prototype, the rectangular chest rests on four bracket feet, each adorned with cream and amber-glazed bosses resembling decorative metal studs. The sides, glazed in vibrant green, rise to crescent-shaped tops secured with further stud-like adornments, evoking the intricate craftsmanship of functional chests. The elaborately decorated top features a repeating triangle pattern in green and cream glaze, adding an elegant geometric touch. Amber-glazed lion-mask or palmette motifs embellish the sides, with a loop for a padlock at the center. Though its small ‘hinged’ removable lid is now missing, the piece retains its remarkable grandeur.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSancai (three-color) glazed wares were a hallmark of Tang funerary art, admired for their vibrant hues of green, amber, and cream. Models of money chests like this one were symbolic treasures, often placed in tombs as \u003ci\u003emingqi\u003c\/i\u003e (spirit goods) to ensure the deceased's prosperity in the afterlife. While such chests are incredibly rare, they reflect the Tang dynasty's cosmopolitan spirit, technological innovation, and devotion to cultural and artistic excellence. The Tang dynasty, celebrated as a golden age of Chinese civilization, brought forth unparalleled achievements in art, trade, and governance, with objects like this chest serving as enduring legacies of its sophisticated material culture.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Original glazing are still \u003cmeta charset=\"utf-8\"\u003evibrant and luminous. Age-related wear and abrasion. Chip on one of the top corners. Missing lid. Glazing flaws and fritting. Rich encrusted earthen deposits. Size approx. 15,5cm x 10,9cm x 13,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Swedish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eCasket (gui) and Lock, Saint Luis Art Museum, accession number: 931:1940a,b (https:\/\/www.slam.org\/collection\/objects\/18439\/)\u003c\/p\u003e\n\u003cp\u003eCompare to a similar sancai-glazed pottery money chest (15,6 cm), sold at Sotheby's, New York, 22 September 2021, Important Chinese Art, lot 166. (https:\/\/www.sothebys.com\/en\/buy\/auction\/2021\/important-chinese-art-5\/an-extremely-rare-blue-and-sancai-glazed-pottery)\u003c\/p\u003e\n\u003cp\u003eCompare to a similar sancai-glazed pottery money chest (15,0 cm), sold at Christie’s Hong Kong, 28 May 2021, Important Chinese Ceramics and Works of Art, lot 2926. (https:\/\/www.christies.com\/en\/lot\/lot-6318542)\u003c\/p\u003e\n\u003cp\u003eCompare to a slightly larger sancai pottery money chest (23,3 cm), sold at Christie’s New York, 21 September 2000, lot 267 (fig. 1).\u003c\/p\u003e\n\u003cp\u003eClosely related example in the Shaanxi History Museum, Xi'an, accession number: 511.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44556940673289,"sku":"1100616","price":14500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4458.jpg?v=1692021505"},{"product_id":"tang-dynasty-amber-glazed-pottery-miniature-horse-and-rider-figurine","title":"Tang Dynasty Stoneware Figure of a Horse and Rider","description":"\u003ch3 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTang dynasty, 618-907 AD, \u003cmeta charset=\"utf-8\"\u003eXi'an (Chang'an), \u003cmeta charset=\"utf-8\"\u003eShaanxi province, China\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eDiscover this unrefined, absolutely charming miniature Tang Dynasty tomb figurine of a horse and rider, crafted during China's golden age of the Tang Dynasty (618-907 AD).  Hand-modeled from buff-colored stoneware (changsha ware) and finished with a rich amber glaze, this piece is a lovely example of ancient Chinese pottery.\u003c\/p\u003e\n\u003cp\u003eTang Dynasty pottery is celebrated for its mingqi or \"spirit goods,\" tomb figures that were symbols of status and protection for the afterlife. Figures like this one were meticulously arranged inside tombs, with their size and number reflecting the rank of the deceased. This rare find, featuring a noble rider and horse, embodies the spirit of Tang funerary art, where the horse and Bactrian camel symbolized strength, while attendants and soldiers often accompanied the deceased.\u003c\/p\u003e\n\u003cp\u003eGood condition. Age-related wear and abrasion. Small chip in the ear. Glazing flaws and fritting. Rich encrusted earthen deposits. Size approx. 8,0cm x 7,5cm x 3,0cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp\u003eHorse and rider, Indianapolis Museum of Art at Newfields,  Accession Number: 1991.195 (https:\/\/collections.discovernewfields.org\/art\/artwork\/23102)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":48428086034697,"sku":"100100331","price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8720.jpg?v=1726657445"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMing Dynasty, \u003cmeta charset=\"utf-8\"\u003ec. 1550-1644, China.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eAn extraordinary glazed ceramic tomb figure from the Ming Dynasty, this piece represents a human tomb attendant holding a rabbit, one of the twelve animals of the Chinese zodiac. The attendant is clad in a long, draping gown rendered in vivid cobalt blue, sky blue, and white hues, showcasing a rare and beautifully preserved hand-applied glaze and pigment. The figure's refined detailing and vibrant colors reflect the high-quality craftsmanship typical of tomb goods commissioned for the wealthy and elite during this period.\u003c\/p\u003e\n\u003cp\u003eThe Chinese zodiac—rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig—was deeply significant in Ming funerary traditions. These animals corresponded to the twelve earthly branches and symbolized the passage of time and cosmic order. The inclusion of zodiac animals in tombs was believed to ensure protection, guidance, and harmony for the deceased in the afterlife.\u003c\/p\u003e\n\u003cp\u003eThese figures, known as mingqi (spirit objects), were essential in ancestral burial practices. They were arranged in a north-south orientation within the tomb to symbolize the progression of time and to invoke the deities’ protection. The quality, style, and number of such figures were determined by the wealth and status of the family commissioning them, embodying the cultural emphasis on ancestor worship and filial piety.\u003c\/p\u003e\n\u003cp\u003eDespite its centuries-long burial, this piece remains in good condition, retaining much of its original pigment. Some paint and slip losses reveal the underlying red clay, a testament to its age and authenticity. This remarkable figure not only showcases the artistic sophistication of the Ming Dynasty but also provides a window into the spiritual beliefs and practices of ancient China. A captivating artifact, it would make a superb addition to any collection of Chinese antiquities or cultural history.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Mineral encrustation, soil and dust. Size approx. 19,3cm x 8,2cm x 6,6cm.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":48789175795977,"sku":"100100349","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_2410.jpg?v=1733250055"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal-copy","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMing Dynasty, \u003cmeta charset=\"utf-8\"\u003ec. 1550-1644, China.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis exceptional glazed ceramic tomb figure from the Ming Dynasty features a human attendant holding a sheep, symbolizing one of the twelve animals of the Chinese zodiac. The figure is dressed in a gracefully flowing gown painted in vibrant cobalt blue, sky blue, and white tones, with hand-applied glaze and pigment that remains remarkably well-preserved. Such detailed craftsmanship and rich coloration indicate the piece was created for an individual of high social status, reflecting the importance placed on funerary art in Ming China.\u003c\/p\u003e\n\u003cp\u003eThe Chinese zodiac—comprising the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig—was integral to Chinese cosmology and funeral practices. These animals were believed to guide and protect the deceased, offering harmony and balance in the afterlife. Zodiac figures like this one were often included in tombs to represent the passage of time and to provide spiritual guardianship.\u003c\/p\u003e\n\u003cp\u003eKnown as \u003cem\u003emingqi\u003c\/em\u003e (spirit objects), such tomb figures played a vital role in ancestral burial traditions. Their placement in the tomb, often in a north-south alignment, symbolized the cycles of time and life. The quality and variety of these figures reflected the family’s wealth and devotion, highlighting the cultural importance of ancestor worship and filial responsibility in ensuring the comfort and security of the departed.\u003c\/p\u003e\n\u003cp\u003eThis piece retains significant pigment and glaze despite its centuries-long interment, with minor losses exposing the underlying red clay. The detailed expression of the attendant, the flowing lines of the robe, and the delicate rendering of the sheep all speak to the artistic excellence of Ming-era ceramic production. A rare and culturally significant artifact, this tomb attendant embodies the artistry and spiritual depth of Ming Dynasty burial customs. It is an outstanding addition for collectors and enthusiasts of Chinese history and antiquities.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Mineral encrustation, soil and dust. Size approx. 19,1cm x 8,0cm x 6,5cm.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":48789466218761,"sku":"100100350","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_2390.jpg?v=1733253438"},{"product_id":"ming-dynasty-sancai-glazed-pottery-tomb-figure-of-horse","title":"Ming Dynasty Sancai Glazed Pottery Tomb Figure of Horse","description":"\u003ch3\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMing Dynasty, c. 1500–1550 AD, China\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp\u003eThis stunning sancai-glazed pottery horse is a remarkable representation of Ming Dynasty funerary art. The small-sized figure is modeled in a stylized manner, standing foursquare on a rectangular plinth. Its body is adorned with a lustrous brownish-orange glaze, while the halter, mane, and tail are rendered in a rich green glaze. The hooves are painted in black, with the underside of the legs and the base left unglazed, revealing the natural pale orange hue of the clay body.\u003c\/p\u003e\n\u003cp\u003eTomb figures, or mingqi, were integral to Ming Dynasty burial practices, serving as provisions for the deceased in the afterlife. These objects included models of animals, servants, and structures, symbolizing wealth, companionship, and protection. The inclusion of animals like horses reflects their status as symbols of power, mobility, and prestige, essential for ensuring the deceased’s journey in the afterlife.\u003c\/p\u003e\n\u003cp\u003eThe production of mingqi during the Ming period (1368–1644) was an esteemed craft, with skilled artisans employing sancai (three-color) glazing techniques to create vibrant and durable objects. The use of sancai glazing on this horse highlights the artistic sophistication and technical mastery of the period. The number and size of mingqi in a tomb varied widely, influenced by the social status and wealth of the deceased. Elite burials often included extensive assemblages of figurines, while simpler tombs contained fewer pieces. Horses, in particular, were a popular motif, embodying both practicality and luxury in the context of the afterlife.\u003c\/p\u003e\n\u003cp\u003eThis piece is a testament to the cultural and artistic legacy of the Ming Dynasty, combining elegance with historical significance. Its vivid glaze and meticulous craftsmanship make it an exceptional artifact, ideal for collectors and enthusiasts of ancient Chinese art and funerary traditions.\u003c\/p\u003e\n\u003cp\u003eVery good condition. Intact. Finely preserved glaze with a nice gloss and fine age crackles. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 13,0cm x 13,8cm x 4,1cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":48791634542857,"sku":"100100351","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_2432.jpg?v=1733307615"},{"product_id":"tang-dynasty-sancai-glazed-pottery-mandarin-duck","title":"Tang Dynasty Sancai Glazed Pottery Mandarin Duck","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent small-sized, molded pottery figure portrays a sleeping mandarin duck in a serene pose. Resting on a tubular base, the duck is shown with its head turned back, gently preening its tail, while its neatly tucked wings add to the harmonious composition.The figure is coated with a thick, lustrous amber glaze, a hallmark of Tang dynasty sancai pottery. The glaze stops unevenly near the lower portion of the body, revealing the natural buff-colored pottery beneath, enhancing its rustic charm and authenticity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe depiction of ducks in Chinese art dates back at least to the Han dynasty, symbolizing grace, tranquility, and marital harmony. Mandarin ducks (\u003ci\u003eyuanyang\u003c\/i\u003e), in particular, are cherished in Chinese culture as emblems of love and fidelity. These motifs are celebrated in various art forms, including the embroidered textiles discovered in the renowned Dunhuang Caves from the Tang dynasty. A captivating piece, this figure exemplifies the Tang dynasty’s artistic brilliance and their deep appreciation for nature and symbolism. It serves as a testament to the sophisticated craftsmanship and cultural values of one of China’s most celebrated historical periods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Age-related wear, glazing flaws, fritting. Size approx. 6,2cm x 7,5cm x 4,1cm. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigure, Victoria and\u003cspan class=\"s1\"\u003e \u003c\/span\u003eAlbert Museum, Accession Number: C.965-1922\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O180994\/figure-unknown\/\"\u003ehttps:\/\/collections.vam.ac.uk\/item\/O180994\/figure-unknown\/\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49046116499721,"sku":"100100370","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3023.jpg?v=1737477654"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant","title":"Ming Dynasty Glazed Pottery Tomb Attendant","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis exquisite \u003ci\u003eFahua\u003c\/i\u003e ware figure portrays an elderly bearded court official or dignitary, meticulously crafted to convey authority and wisdom. Seated gracefully on a wide pedestal with a footstool, he wears flowing robes detailed with vibrant overglazes in turquoise, deep aubergine, and ink blue—hallmarks of \u003ci\u003eFahua\u003c\/i\u003e ceramics. His official cap and dignified posture, with one hand resting on his belt and the other on his knee, lend the piece an air of solemnity and refinement.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe \u003ci\u003eFahua\u003c\/i\u003e technique, defined by its palette of low-fired glazes, flourished during the Ming dynasty, highlighting the era's artistic innovation. Such figures, known as \u003ci\u003emingqi\u003c\/i\u003e or \"spirit goods,\" were crafted as burial offerings, reflecting the belief in an afterlife where the deceased required attendants and symbols of their earthly rank and lifestyle. The Ming dynasty (1368–1644), regarded as one of China’s cultural and economic pinnacles, saw a revival and enhancement of the tradition of tomb figurines that had its roots in the Han and Tang dynasties.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eMing tombs often featured an array of glazed and unglazed terracotta figurines, showcasing the deceased's wealth and social status. The vivid green and amber glazes, reminiscent of more costly bronze artifacts, were crafted using lead-based techniques inspired by earlier Roman imports. This dignitary figure not only embodies the craftsmanship of the Ming era but also serves as a window into the spiritual beliefs, societal structures, and artistic achievements of one of China’s most illustrious dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 18,6cm x 9,5cm x 6,3cm. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49046485336329,"sku":"100100371","price":325.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3078.jpg?v=1737484644"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal-1","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 class=\"p2\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThis fabulous tomb figure from the Ming Dynasty portrays a tomb attendant holding a monkey, one of the twelve animals of the Chinese zodiac. The figure is exquisitely crafted, draped in a long, flowing gown adorned with vibrant brownish-orange, green, black, and white hues, achieved through meticulously applied hand-glazing and pigment work. Despite the passage of centuries, the figure retains much of its original color, a testament to the superior craftsmanship of Ming artisans.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe monkey, a symbol within the Chinese zodiac, represents intelligence, agility, and curiosity. In Ming funerary traditions, zodiac animals were integral to the spiritual symbolism of burial practices. They were believed to provide protection, guidance, and cosmic harmony for the deceased, ensuring their safe journey to the afterlife. The twelve animals of the zodiac correspond to the earthly branches and played a significant role in marking the passage of time and invoking celestial blessings.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eMingqi, or spirit objects, like this tomb attendant, were essential components of Chinese burial rituals, reflecting the era's rich cultural heritage. These figures were carefully arranged within the tomb, often oriented to symbolize the flow of time and align with cosmological principles. Their presence served to honor ancestors and demonstrate filial piety, emphasizing the deceased's social status and the family's devotion. This remarkable artifact retains much of its original charm, with minimal paint and slip loss that reveals the underlying red clay—a hallmark of its authenticity and antiquity. The finely modeled details and the vibrant glaze speak to the artistic sophistication of Ming dynasty tomb goods, crafted to honor the elite and provide spiritual security in the afterlife. A captivating piece, this tomb attendant with its zodiac animal companion is not only an extraordinary example of Ming dynasty artistry but also a tangible link to the spiritual and cultural practices of ancient China. An exceptional addition to any collection of Chinese antiquities, it offers a profound glimpse into the rituals and beliefs of one of history's most celebrated dynasties.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eExcellent condition. Intact. Mineral encrustation, soil and dust. Size approx. 19,5cm x 7,5cm x 6,6cm.\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49048474288393,"sku":"100100372","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3054.jpg?v=1737540086"},{"product_id":"sui-dynasty-pottery-tomb-figure","title":"Sui Dynasty Pottery Tomb Figure","description":"\u003ch3 class=\"p1\"\u003eSui Dynasty, c. 581–618 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA magnificent and rare mold-made pottery figure of a male attendant, standing in reverence with hands clasped across his chest. He wears a distinctive protective head covering draped over his shoulders, along with a belted tunic and long trousers reaching his feet.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Sui Dynasty (581–618 AD) played a pivotal role in shaping imperial China, unifying the Northern and Southern dynasties while reinstating Han Chinese rule. Though short-lived, the Sui laid the foundations for the cultural and political golden age of the Tang Dynasty. Tomb figures like this were created as funerary objects, based on the belief that they would serve the deceased in the afterlife. Crafted from molded white earthenware, these figures were often painted or glazed, though much of the color has faded over time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDespite the Sui Dynasty's brevity, its artistic legacy is evident in its refined funerary sculpture, characterized by slender, unembellished forms with a soft yellowish crème glaze—a precursor to the more elaborate Tang Dynasty sancai-glazed ware. Retaining traces of its original earthen patina, this exceptional Sui tomb attendant is a testament to the era’s artistic achievements.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eGood condition. Wear commensurate with age and use. Chip. Mineral encrustation, stains and rich earthen deposits. Size approx. 18,9cm x 5,8cm x 5,3cm.\u003c\/p\u003e\n\u003cp class=\"p6\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p6\"\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49155410723081,"sku":"100100381","price":485.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3529.jpg?v=1739104365"},{"product_id":"ming-dynasty-sancai-glazed-pottery-tomb-figure-of-ram","title":"Ming Dynasty Sancai Glazed Pottery Tomb Figure of a Ram","description":"\u003ch3 class=\"p2\"\u003eMing Dynasty, c. 1500–1550 AD, China\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eAn exquisite sancai-glazed pottery figure of a ram, an exceptional example of Ming Dynasty funerary art. This stylized sculpture stands foursquare on a rectangular plinth, its body adorned with a rich, lustrous brownish-orange glaze, while its horns and tail are highlighted in deep green. The hooves are painted black, and the underside of the legs and base remain unglazed, revealing the natural pale orange hue of the clay.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eTomb figures, or mingqi, played a vital role in Ming Dynasty burial customs, serving as provisions for the afterlife. These objects—ranging from animals and servants to architectural models—symbolized wealth, companionship, and spiritual protection. The inclusion of animals like sheep, horses, and oxen reflected their cultural and economic importance, ensuring the deceased’s comfort and prosperity in the next world.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDuring the Ming period (1368–1644 AD), the production of mingqi was an esteemed craft, with artisans employing the sancai (three-color) glazing technique to create vibrant, long-lasting ceramics. This sancai-glazed sheep exemplifies the technical mastery and artistic sophistication of the time, with its harmonious color palette and lifelike modeling.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe number and quality of mingqi varied according to the status and wealth of the deceased. Elite burials featured elaborate assemblages, while simpler tombs contained fewer, yet still meaningful, figures. The presence of this beautifully crafted sheep underscores its symbolic and ritual significance in Ming Dynasty funerary traditions.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eA remarkable testament to Chinese artistic heritage, this piece embodies historical elegance and cultural depth—a must-have artifact for collectors and enthusiasts of ancient Chinese art and burial customs.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Finely preserved glaze with a nice gloss. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 13,9cm x 11,4cm x 4,8cm.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":49155475767561,"sku":"100100382","price":325.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3406.jpg?v=1739127275"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate-9","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550-1600, North China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA stunning turquoise and dark blue glazed miniature offering plate, featuring a delicately sculpted fish, created as a funerary object for the afterlife. In ancient China, mingqi or “spirit goods” were placed in tombs to reflect daily life and beliefs about the afterlife, offering insight into Chinese traditions spanning over a thousand years.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Ming Dynasty (1368-1644), this practice flourished, with pottery figurines and models—ranging from servants and attendants to animals and food offerings—lining tombs to accompany the deceased. The brilliant glaze and intricate craftsmanship of this piece exemplify the artistic achievements of the period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA rare and authentic glimpse into Ming Dynasty burial traditions—perfect for collectors of ancient Chinese artifacts.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. Size approx. 9,0cm x 6,7cm x 4,2cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":50167603626249,"sku":"100100390","price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3695.jpg?v=1740671013"},{"product_id":"ming-dynasty-sancai-glazed-pottery-horseshoe-back-chair","title":"Ming Dynasty Sancai Glazed Pottery Horseshoe-Back Chair","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550-1600, North China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and exquisite Ming Dynasty pottery model of a horseshoe-back armchair (jiao yi), dating to circa 1550-1600. This finely crafted burial ware (mingqi) is adorned with a vibrant green and ocher lead glaze, a hallmark of Ming ceramic artistry.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe elegantly curved backrest, terminating in outwardly sweeping ends, is delicately adorned with a floral motif, while the gracefully arched armrests enhance the chair’s refined silhouette. The openwork base, complete with an integral footrest, showcases the craftsmanship typical of high-status furniture. Intricately incised cross-hatching on the seat suggests soft upholstery, reflecting the luxurious materials used in full-scale counterparts of the era.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe horseshoe-back chair traces its origins to the Song Dynasty (960-1279), evolving from the folding stool into an iconic symbol of status and refinement. By the Ming period, it had become the seat of honor for aristocrats, often positioned at the center of a formal reception hall. While many life-sized wooden examples have survived, pottery models like this were placed in tombs to accompany the deceased in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exceptional miniature replica is a testament to the grandeur of Ming Dynasty furniture design, making it a prized addition to any collection of Chinese antiques, funerary art, or historical ceramics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Surface wear and abrasions commensurate with age and use, fading to glaze pigment in scattered areas, and light earthen deposits, otherwise intact. Size approx. 18,0cm x 11,4cm x 8,6cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of armchair, Asian Civilisations Museum, Accession Number: 1993-00115\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1148519)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eChair, The Minneapolis Institute of Art, Accession Number: 99.85.3\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/collections.artsmia.org\/art\/9737\/chair-china)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":50174481629449,"sku":"100100393","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3736.jpg?v=1740745063"},{"product_id":"ming-dynasty-turquoise-glazed-pottery-horseshoe-back-chair","title":"Ming Dynasty Glazed Pottery Horseshoe-Back Chair","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550-1600, North China\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThis rare and exquisite Ming Dynasty pottery model of a horseshoe-back armchair (jiao yi), dating to circa 1550–1600, showcases the refined elegance of imperial Chinese furniture design. Crafted as a burial ware (mingqi), the chair is adorned with rich pigments, with deep blue covering most of the frame and legs, while vibrant turquoise highlights the gracefully curved spine and footrest, adding further decorative contrast.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe elegantly arched backrest, which terminates in outwardly sweeping ends, enhances the chair’s distinguished form, while the gracefully curved armrests contribute to its refined silhouette. The openwork base, complete with an integral footrest, reflects the meticulous craftsmanship associated with high-status furniture. The intricately incised cross-hatching on the seat suggests soft upholstery, mirroring the plush materials used in full-sized Ming-era chairs.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe horseshoe-back chair originated during the Song Dynasty (960–1279), evolving from the traditional folding stool into a symbol of status and refinement. By the Ming period, it had become the seat of honor for aristocrats, often placed at the center of a formal reception hall. While full-scale wooden versions have survived, pottery models such as this were specifically created as funerary objects, intended to accompany the deceased into the afterlife.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis exceptional miniature replica serves as a testament to the grandeur of Ming Dynasty furniture design, making it a prized addition to any collection of Chinese antiques, funerary art, or historical ceramics.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eExcellent condition. Surface wear and abrasions commensurate with age and use, fading to glaze pigment in scattered areas, and light earthen deposits, otherwise intact. Size approx. 17,8cm x 11,3cm x 8,6cm.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eModel of armchair, Asian Civilisations Museum, Accession Number: 1993-00115 (https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1148519)\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eChair, The Minneapolis Institute of Art, Accession Number: 99.85.3 (https:\/\/collections.artsmia.org\/art\/9737\/chair-china)\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":50199803625737,"sku":"100100398","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3713.jpg?v=1741092016"},{"product_id":"han-dynasty-pottery-footsoldier","title":"Han Dynasty Pottery Footsoldier ","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis impressive pottery model of a footsoldier is crafted from underlying grey pottery, with much of its original painted pigments still intact. The soldier is dressed in plate armor worn over a thigh-length tunic and shortened white trousers, with black high boots protecting his feet. His padded garments, especially the thick collars and sleeves, provided additional defense against arrows and melee weapons.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis stern expression is meticulously detailed, featuring thin eyebrows, slender eyes, a broad nose, a neatly sculpted mustache, and firmly closed lips. He wears a hooded cap, securing his tightly styled hair bun, a common feature of Han military personnel. His clenched hands contain central holes, which originally held miniature bronze weapons such as spears or swords. His tunic is further adorned with colorful green and red ribbons, possibly indicating rank or status within the military hierarchy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, figures like this replaced human sacrifices, serving instead as burial goods (mingqi) for wealthy and influential individuals. These funerary objects were believed to accompany the deceased into the afterlife, ensuring protection and prestige. Large-scale pottery armies, such as those excavated at the Yangjiawan site in northeastern Xianyang, Shaanxi province, closely resemble this figure and date to 179–141 BC, offering a rare glimpse into Han-era military traditions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis remarkable warrior is not just a testament to Han craftsmanship but also a historical record of military attire and burial customs in one of China's most influential dynastic periods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear and abrasions commensurate with age, minimal nicks and chip, and some paint loss. Rich encrusted patina and earthen deposits throughout. Size approx. 26,0cm x 8,3cm x 8,8cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoldier (Tomb Figure), Herbert F. Johnson Museum of Art, Cornell University, Accession Number: 2000.045.001\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/emuseum.cornell.edu\/objects\/36569\/soldier-tomb-figure)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurine of retinue-warrior, Asian Civilisations Museum, Accession Number: 1996-01495\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1110948)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":54948322181385,"sku":"100100406","price":1850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4037.jpg?v=1741783960"},{"product_id":"han-dynasty-pottery-footsoldier-1","title":"Han Dynasty Pottery Footsoldier","description":"\u003ch3 class=\"p2\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis exceptional pottery model of a Han Dynasty footsoldier exemplifies the artistry and military traditions of one of China's most influential dynasties. Crafted from underlying grey pottery, the figure retains much of its original painted pigments, offering a rare glimpse into the vibrant colors that once adorned these warriors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDressed in plate armor over a thigh-length tunic and shortened trousers, the soldier is depicted with high boots for protection, and thickly padded collars and sleeves, which would have provided additional defense against arrows and melee weapons. His stern, resolute expression is meticulously rendered, featuring thin arched eyebrows, slender eyes, a broad nose, a finely sculpted mustache, and firmly closed red lips. A pointed cap with ear flaps secures his tightly styled hair bun, a common feature of Han military personnel. His clenched hands contain central holes, originally designed to hold miniature bronze weapons, such as spears or swords. Adding a touch of prestige, red ribbons adorn his tunic, likely signifying rank or status within the military hierarchy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, such figures replaced human sacrifices, serving as mingqi—burial goods meant to protect and accompany the deceased in the afterlife. Elaborate pottery armies, such as those excavated from the Yangjiawan site in Shaanxi province, closely resemble this warrior and date to 179–141 BC, further underscoring its historical significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis remarkable warrior is more than just an artifact—it is a tangible piece of history, reflecting Han-era military attire, craftsmanship, and funerary customs. A rare and significant addition to any collection of Chinese antiquities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Repaired leg. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 25,5cm x 8,9cm x 4,4cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoldier (Tomb Figure), Herbert F. Johnson Museum of Art, Cornell University, Accession Number: 2000.045.001\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/emuseum.cornell.edu\/objects\/36569\/soldier-tomb-figure)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurine of retinue-warrior, Asian Civilisations Museum, Accession Number: 1996-01495\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1110948)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":54978828304649,"sku":"100100408","price":985.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4053.jpg?v=1742146475"},{"product_id":"han-dynasty-pottery-footsoldier-2","title":"Han Dynasty Pottery Footsoldier","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent pottery model of a Han Dynasty footsoldier is a rare and compelling representation of China's military and funerary traditions. Crafted from underlying grey pottery, this figure retains much of its original painted pigments, providing a glimpse into the vibrant hues that once adorned Han warriors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe soldier is dressed in plate armor over a thigh-length tunic and light green trousers, with thickly padded collars and sleeves that would have offered additional protection against arrows and melee weapons. His stern, resolute expression is exquisitely detailed, featuring thin arched eyebrows, slender eyes, a broad nose, a finely sculpted mustache, and firmly closed red lips. He wears a pointed cap with ear flaps, securing his tightly styled hair bun, a distinct feature of Han military personnel. His clenched hands contain central holes, originally intended to hold miniature bronze weapons such as spears or swords. Adding a touch of prestige, red ribbons adorn his tunic, likely denoting rank or status within the military hierarchy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, such figures replaced human sacrifices, serving as mingqi—burial goods intended to protect and accompany the deceased in the afterlife. Elaborate pottery armies, such as those excavated from the Yangjiawan site in Shaanxi province, closely resemble this warrior and date to 179–141 BC, highlighting its historical significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exceptional warrior is more than just an artifact—it is a tangible testament to Han-era military attire, craftsmanship, and funerary customs. A rare and significant addition to any collection of Chinese antiquities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Repaired arm. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 24,1cm x 8,4cm x 5,9cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSoldier (Tomb Figure), Herbert F. Johnson Museum of Art, Cornell University, Accession Number: 2000.045.001\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/emuseum.cornell.edu\/objects\/36569\/soldier-tomb-figure)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurine of retinue-warrior, Asian Civilisations Museum, Accession Number: 1996-01495\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1110948)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55083385946377,"sku":"100100411","price":855.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4072.jpg?v=1743239956"},{"product_id":"han-dynasty-pottery-mountain-shaped-incense-burner-boshan-lu","title":"Han Dynasty Pottery Mountain-Shaped Incense Burner (Boshan Lu)","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, likely Guangdong or Guangxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exquisite and rare earthenware incense burner, this extraordinary vessel is of the boshan lu type—censers modeled in the shape of the universal mountain, believed to represent the mystical peaks where immortals resided. The conical lid, sculpted as a craggy, undulating mountain, is adorned with animated hunting scenes and wild beasts, evoking a vivid narrative in clay. Among the creatures depicted are the cosmic emblems central to early Han iconography: the White Tiger, Elephant, Ram, Red Bird, and the Dark Warrior—the latter often symbolized by a turtle entwined with a snake, but here strikingly embodied by a camel, a nod to Han China's deepening contact with the western steppes and nomadic cultures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEach peak flows into the next like the rolling crests of waves, with a base that often resembles a floating island rising from a cosmic sea. These vessels were closely tied to the spiritual worldview of the Western Han, reflecting beliefs in sacred mountains—especially Mount Penglai, the fabled island of immortals believed to lie off the eastern coast of China. As incense burned in the inner cup, fragrant smoke would rise through the openwork lid, bringing the miniature mountain landscape to life and transforming the space into a realm of transcendence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile some boshan lu were functional, used in life for burning incense, this particular example is believed to have served a funerary purpose, as a mingqi or \"spirit object.\" The absence of vents in the lid suggests it was not meant for actual use, but rather intended to accompany the deceased in the afterlife. In Han burial practices, the afterlife was viewed as a continuation of earthly life, requiring the deceased to be surrounded by familiar objects—spiritual stand-ins for their possessions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than a ceremonial accessory, this mountain censer would have played a key role in soul continuity, helping the po (body-bound soul) and hun (spiritual soul) reunite at the horizon—the symbolic meeting point of heaven and earth—thus allowing the deceased to achieve the state of a hsien, or immortal. In this way, the boshan lu was not merely an object of beauty, but a portal to immortality itself.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 15,5cm x 17,5cm x 17,8cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55149953876233,"sku":"100100418","price":1050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4421.jpg?v=1744030098"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate-10","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003e\u003cb\u003eMing Dynasty, c. 1550-1600, North China\u003c\/b\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eA stunning turquoise and dark blue glazed miniature offering plate, featuring a delicately sculpted chicken, created as a funerary object for the afterlife. In ancient China, mingqi or “spirit goods” were placed in tombs to reflect daily life and beliefs about the afterlife, offering insight into Chinese traditions spanning over a thousand years.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDuring the Ming Dynasty (1368-1644), this practice flourished, with pottery figurines and models—ranging from servants and attendants to animals and food offerings—lining tombs to accompany the deceased. The brilliant glaze and intricate craftsmanship of this piece exemplify the artistic achievements of the period.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eA rare and authentic glimpse into Ming Dynasty burial traditions—perfect for collectors of ancient Chinese artifacts.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. Size approx. 6,5cm x 6,4cm x 5,7cm.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eProvenance: British private collection\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55159580950793,"sku":"100100420","price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4196.jpg?v=1744101074"},{"product_id":"han-dynasty-pottery-mountain-shaped-incense-burner-boshan-lu-1","title":"Han Dynasty Pottery Mountain-Shaped Incense Burner (Boshan Lu)","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, likely Guangdong or Guangxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exquisite and rare earthenware incense burner, this extraordinary vessel is of the boshan lu type—censers modeled in the shape of the universal mountain, believed to represent the mystical peaks where immortals resided. The conical lid, sculpted as a craggy, undulating mountain, is adorned with animated hunting scenes and wild beasts, evoking a vivid narrative in clay. Among the creatures depicted are the cosmic emblems central to early Han iconography: the White Tiger, Elephant, Ram, Red Bird, and the Dark Warrior—the latter often symbolized by a turtle entwined with a snake, but here strikingly embodied by a camel, a nod to Han China's deepening contact with the western steppes and nomadic cultures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEach peak flows into the next like the rolling crests of waves, with a base that often resembles a floating island rising from a cosmic sea. These vessels were closely tied to the spiritual worldview of the Western Han, reflecting beliefs in sacred mountains—especially Mount Penglai, the fabled island of immortals believed to lie off the eastern coast of China. As incense burned in the inner cup, fragrant smoke would rise through the openwork lid, bringing the miniature mountain landscape to life and transforming the space into a realm of transcendence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile some boshan lu were functional, used in life for burning incense, this particular example is believed to have served a funerary purpose, as a mingqi or \"spirit object.\" The absence of vents in the lid suggests it was not meant for actual use, but rather intended to accompany the deceased in the afterlife. In Han burial practices, the afterlife was viewed as a continuation of earthly life, requiring the deceased to be surrounded by familiar objects—spiritual stand-ins for their possessions.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than a ceremonial accessory, this mountain censer would have played a key role in soul continuity, helping the po (body-bound soul) and hun (spiritual soul) reunite at the horizon—the symbolic meeting point of heaven and earth—thus allowing the deceased to achieve the state of a hsien, or immortal. In this way, the boshan lu was not merely an object of beauty, but a portal to immortality itself.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 15,0cm x 19,3cm x 19,1cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55218093359369,"sku":"100100423","price":1050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4441.jpg?v=1744544444"},{"product_id":"ming-dynasty-glazed-pottery-horseshoe-back-chair","title":"Ming Dynasty Glazed Pottery Horseshoe-Back Chair","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550-1600, North China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and refined example of Ming Dynasty funerary art, this exquisite glazed pottery model represents a jiao yi, or horseshoe-back armchair—an iconic symbol of elegance and authority in imperial China. Created as a burial ware (mingqi), the chair is richly adorned with deep cobalt blue glaze across the frame and legs, contrasted with luminous turquoise highlights that accentuate the gracefully curved backrest and footrest.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sweeping horseshoe-shaped crest rail, ending in outward flared terminals, lends the chair a commanding yet graceful silhouette. Sculpted armrests curve downward in elegant arcs, while the x-form legs evoke the portability of traditional folding “hunter’s chairs,” complete with a cross-braced footrest. The incised cross-hatching on the seat suggests cushioned upholstery, echoing the luxurious textiles used in life-sized Ming-era furniture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThough small in scale, this model embodies the aesthetic ideals and hierarchical values of Ming furniture design. Originally conceived as a travel chair for the elite, the jiao yi evolved into a formal seat of honor, prominently featured in reception halls and reserved for figures of authority. Miniature ceramic versions like this were placed in tombs to accompany the deceased, ensuring comfort and status in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWith its harmonious proportions and vivid glazes, this remarkable object offers both artistic beauty and cultural insight. It is an exceptional piece for collectors of Chinese antiquities, funerary art, or Ming ceramics—an enduring tribute to the craftsmanship and ceremonial traditions of imperial China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Surface wear and abrasions commensurate with age and use, fading to glaze pigment in scattered areas, and light earthen deposits, otherwise intact. Size approx. 18,2cm x 11,8cm x 8,5cm.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eModel, The British Museum, Accession Number: 1937,0716.135 (https:\/\/www.britishmuseum.org\/collection\/object\/A_1937-0716-135)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eModel of armchair, Asian Civilisations Museum, Accession Number: 1993-00115 (https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1148519)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003cem\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55282926027017,"sku":"100100430","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4537.jpg?v=1745053373"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-1","title":"Ming Dynasty Glazed Pottery Processional Figure","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1500–1550 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn absolutely captivating hollow-molded glazed pottery figure, this processional attendant reflects the refined artistry and rich funerary traditions of the Ming Dynasty. The figure stands confidently on a square base, feet apart in a poised, forward-facing stance, dressed in traditional Ming court attire. He wears a long black cross-over robe, cinched at the waist, with vibrant turquoise side panels and matching round buttons. A folded collar and heavy black boots complete his ensemble, while a distinctive red conical hat with a wide brim adds further character. Once held in the figure’s hands was likely a trade object or offering—now missing—suggesting his role as a merchant or servant within a ceremonial procession.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe face is rendered with remarkable delicacy: almond-shaped eyes and curved brows in black pigment, lips and cheeks touched with soft pinks, and ears carefully defined. The expression is one of quiet dignity, evoking calm and devotion. Figures like this one, known as mingqi (“spirit objects”), were produced to accompany the deceased in tombs—part of elaborate processional sets that mirrored the living world and ensured the soul’s comfort and prestige in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMingqi served not only as attendants but also as guardians, entertainers, tradespeople, and courtiers. They formed a symbolic retinue, a miniature realm that reflected the deceased’s social standing and earthly life. The practice flourished particularly during the Ming Dynasty (1368–1644), when burials of the elite often contained extensive assemblages of such figures. While grand tombs of earlier periods featured hundreds or thousands of mingqi, later Ming burials often showed more modest offerings—still rich in symbolism and craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure stands as a remarkable testament to the aesthetic sophistication and deeply spiritual worldview of Ming funerary art—an ideal addition for collectors of Chinese antiquities, tomb sculpture, or historical representations of ceremonial life.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eGood condition. Finely preserved glaze and pigment. Intact. Small chip in the hat's brim. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 24,0cm x 10,1cm x 7,1cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55301380571401,"sku":"100100432","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4633.jpg?v=1745225116"},{"product_id":"ming-dynasty-glazed-pottery-processional-figure","title":"Ming Dynasty Glazed Pottery Processional Figure","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1500–1550 AD, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eAn absolutely captivating hollow-molded glazed pottery figure, this Ming Dynasty processional attendant exemplifies the elegance and ceremonial artistry of imperial funerary tradition. The figure stands in a poised, forward-facing stance upon a square base, legs slightly apart, exuding a quiet sense of presence. Dressed in traditional Ming court attire, he wears a long black cross-over robe tied at the waist, accented with vibrant turquoise side panels, puffy sleeves, and round matching buttons. A neatly folded collar and heavy black boots complete the ensemble, while a distinctive red conical hat with a wide brim lends further character and individuality.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eIn his right hand, the figure holds a small pouch or offering, likely symbolizing trade or service, suggesting his role as a merchant or attendant within a larger ceremonial procession. The facial features are rendered with remarkable finesse: almond-shaped eyes and delicately arched brows in black pigment, softly blushed cheeks, gently defined lips, and carefully sculpted ears, all combining to evoke a sense of calm reverence and loyal devotion.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eSuch figures, known as \u003ci\u003emingqi\u003c\/i\u003e (“spirit objects”), were made to accompany the deceased into the afterlife. These figures were not mere decorations—they were deeply symbolic, forming part of a miniature entourage meant to mirror earthly life, providing service, comfort, and status for the soul beyond death. Often produced in extensive sets, these processional figures included officials, musicians, guards, animals, and servants, all arranged to recreate the grandeur and societal structure of the living world.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe tradition of including \u003ci\u003emingqi\u003c\/i\u003e in elite tombs flourished during the Ming Dynasty (1368–1644), reflecting beliefs in an afterlife that paralleled the material realm. While earlier Ming burials might have included hundreds of such figures, later tombs, such as this example from the mid-16th century, often featured more intimate yet exquisitely crafted groupings.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis figure is a beautiful testament to the Ming Dynasty's artistic refinement and deeply held spiritual convictions. A museum-quality piece that would enhance any collection of Chinese antiquities, tomb sculpture, or ceremonial art.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eGood condition. Finely preserved glaze and pigment. Intact. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 23,5cm x 9,2cm x 7,1cm.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55302687949065,"sku":"100100434","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4651.jpg?v=1745234240"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-2","title":"Ming Dynasty Glazed Pottery Tomb Attendant","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA stately and evocative Fahua ware tomb figure depicting an elderly court official or dignitary, superbly modeled to convey wisdom, gravitas, and social prestige. Seated with dignity atop a broad pedestal with footstool, the figure wears voluminous, sweeping robes, brilliantly glazed in characteristic Fahua colors—vivid turquoise, deep aubergine, and inky cobalt blue. His calm expression, framed by a finely incised beard, and his composed posture—with one hand resting on his belt and the other on his knee—communicate authority and contemplative poise. His official cap further denotes rank and status.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFahua ceramics are distinguished by their use of low-fired, brightly colored lead-based glazes bordered by raised slip lines—a technique that came into full flourish during the Ming dynasty. This piece is a particularly fine example, exemplifying the period's innovation and technical refinement in tomb sculpture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigures such as this were produced as mingqi (\"spirit goods\")—funerary sculptures intended to serve the deceased in the afterlife. They reflected the continued influence of Confucian ideals and the belief in an afterlife that mirrored the social order of the living world. During the Ming dynasty, the production of such tomb figures reached new heights, both in variety and technical sophistication, reviving and building upon traditions established during the Han and Tang dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe richly glazed surface, reminiscent of more opulent bronze or cloisonné wares, was achieved using lead-based enamels—a method possibly inspired by ancient trade with the Roman world. This figure is more than a testament to Ming ceramic artistry; it offers a compelling glimpse into the ritual life, cosmology, and hierarchical values of imperial China at its cultural zenith.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 18,6cm x 9,5cm x 6,3cm. \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55517151658249,"sku":"100100447","price":325.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4991.jpg?v=1747745426"},{"product_id":"han-dynasty-female-court-attendant","title":"Han Dynasty Pottery Female Court Attendant","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional hollow-moulded terracotta figure of a female court attendant from the Western Han Dynasty, sensitively modeled in a poised and reverent stance. The figure is rendered in the characteristic slender proportions of early Han figural sculpture, standing with arms at her sides and dressed in an elegant full-length robe with long, swagged sleeves and a cross-lapel design, fastened at the right. The robe and tight-fitting skirt—flaring dramatically at the hem—are richly adorned with flowing red and black brushstroke patterns, applied after firing.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer facial features—gently arched brows, almond-shaped eyes, delicate nose, and softly smiling lips—are painted with finesse. The skin is painted white, reflecting contemporary ideals of beauty, while her hair is styled in a high, elegant chignon. The original pigments, applied post-firing, were fragile and are prone to flaking, though much of the coloration remains.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the Han Dynasty, female court attendants—known as gōngnǚ (\u003cspan class=\"s1\"\u003e宫女\u003c\/span\u003e)—played vital roles within the imperial household. Selected for their beauty, refinement, or talent, they served the emperor, empress, and high-ranking nobility in various capacities, from ceremonial service to personal assistance and entertainment.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure would have functioned as a mingqi, or tomb attendant figure, intended to accompany the deceased into the afterlife. These burial objects mirrored the daily life and social structures of the living, providing for the needs of the deceased in the next world. The Han Dynasty marked a flourishing of the arts, driven by prosperity, innovation, and a shift from ritual to more decorative and expressive forms. This figure exemplifies that transformation, embodying both artistic refinement and spiritual purpose within one of China’s most culturally significant dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Intact. Surface wear and abrasions commensurate with age, encrusted patina and rich earthen deposits throughout. Size approx. 25,5cm x 8,5cm x 4,5cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTomb figure of a female attendant, Asian Civilisations Museum, Accession Number: C-1263 (https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1088201)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55553527415049,"sku":"100100449","price":525.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5051.jpg?v=1748255755"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal-2","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis remarkable Ming Dynasty tomb figure portrays an attendant holding a rooster, one of the twelve animals of the Chinese zodiac. Exquisitely modeled in terracotta, the figure is draped in a long, flowing robe decorated with vibrant hues of brownish-orange, green, black, and white—achieved through skillful hand-applied glaze and pigment. Remarkably, much of the original coloration has been preserved, testifying to the superior craftsmanship of Ming artisans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe rooster, as one of the zodiac’s twelve symbolic animals, embodies vigilance, fidelity, and protection. In Chinese cosmology, the zodiac not only structured the passage of time but also held deep spiritual and metaphysical significance. In the context of Ming funerary tradition, such zodiac figures were believed to offer cosmic protection and guidance to the deceased, ensuring harmony and safe passage in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure belongs to the category of mingqi—“spirit objects” or “spirit goods”—which were placed in tombs to serve the deceased in the next world. These figures reflect both the social standing of the individual and the enduring Confucian virtue of filial piety. Ming tombs were often carefully arranged in alignment with cosmological principles, and zodiac figures like this one played a symbolic role in harmonizing the spiritual environment of the tomb.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure retains exceptional detail, with only minor areas of pigment and slip loss revealing the underlying red clay body—a hallmark of authentic Ming terracotta. The finely sculpted features, combined with the rich, expressive glaze, exemplify the artistic sophistication of Ming funerary sculpture. A rare and captivating piece, this tomb attendant holding a rooster offers not only a stunning example of late imperial Chinese artistry but also a powerful connection to the spiritual beliefs and cultural traditions of one of China’s most illustrious dynasties.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Mineral encrustation, soil and dust. Size approx. 19,5cm x 7,1cm x 6,6cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55553606680841,"sku":"100100450","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5014.jpg?v=1748256948"},{"product_id":"ming-dynasty-glazed-pottery-armed-soldier","title":"Ming Dynasty Glazed Pottery Armed Soldier","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and richly detailed hollow-moulded pottery figure of an armed soldier from the Ming Dynasty, masterfully crafted as part of an elite funerary ensemble. The figure stands in a firm, forward-facing stance atop a square base, legs slightly apart, conveying disciplined readiness and quiet authority.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHe is attired in the full regalia of a Ming infantryman, with a long black and turquoise tunic belted at the waist and accented by sweeping turquoise side panels, puffed sleeves, and a prominent yellow harness. A thick, high collar and heavy black boots complete his ensemble, while a distinctive helmet crowns the figure, adding an air of martial dignity. In his left hand, he holds a large axe, likely symbolizing military protection and power—an emblem of strength to guard the tomb’s occupant in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s face is rendered with remarkable nuance: almond-shaped eyes, delicately arched brows, softly rouged cheeks, and subtly defined lips, all finely painted in black and red pigments. This expression, simultaneously serene and alert, reflects the Confucian virtues of loyalty, order, and reverence. The craftsmanship suggests that this piece was commissioned for a high-ranking military official or a noble family, underscoring its ceremonial significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch figures were known as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), tomb furnishings intended to serve and protect the deceased in the afterlife. By the Ming period, the tradition of mingqi had reached new levels of artistic and technical sophistication, echoing the grandeur of earlier Han and Tang funerary art while adapting it to contemporary Ming aesthetics and values. These tomb figures provided both spiritual protection and a symbolic continuation of the earthly social hierarchy, illustrating a deeply rooted belief in an afterlife that mirrored the material world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe surface of the figure is coated in vibrant lead-based glazes—turquoise, cream, yellow, and black—that have survived remarkably well. These colorful, luminous finishes, reminiscent of cloisonné and luxury bronze wares, not only enhanced the visual impact but also reflected the cosmopolitan spirit of the Ming court, which was shaped by both native tradition and foreign influence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA superb example of Ming funerary art, this glazed pottery soldier figure offers a vivid window into the ritual life, military structure, and cosmological beliefs of imperial China at the height of its cultural and artistic achievement.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExcellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 22,8cm x 8,9cm x 6,8cm. \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55603368919305,"sku":"100100456","price":445.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5218.jpg?v=1748856065"},{"product_id":"tang","title":"Ming Dynasty Sancai-Glazed Miniature Offering Vases","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA superb matched pair of miniature sancai-glazed vases, crafted as \u003ci\u003emingqi\u003c\/i\u003e—“spirit objects”—intended to accompany the deceased into the afterlife. Finely modeled in the form of a half-\u003ci\u003egu\u003c\/i\u003e vessel, each vase features a flaring trumpet neck, double ring handles, and a compact, elegant body coated in a rich sancai glaze. Their vivid hues and graceful form evoke the splendor of Ming Dynasty funerary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sancai (“three-color”) glaze, with its amber, green, and cream tones, was developed to emulate more precious materials such as jade, bronze, and imported Roman glass. The lead-based, low-fired glaze technique, perfected during the Tang and revived in the Ming, imbues these miniature vessels with a luminous, almost ethereal quality. These pieces were not meant for practical use but were symbolically charged objects, reflecting the wealth, status, and cultural ideals of the deceased.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tradition of \u003ci\u003emingqi\u003c\/i\u003e dates back to the Han Dynasty (206 BC–220 AD) and evolved through the Tang and Song periods before reaching renewed prominence during the Ming. Intended to replicate elements of daily life and societal order in the afterlife, \u003ci\u003emingqi\u003c\/i\u003e took the form of attendants, warriors, musicians, animals, furniture, and ritual vessels like these vases. The number and quality of mingqi within a tomb were directly related to the social rank of the individual, with wealthier elites commissioning highly detailed and elaborately glazed models.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThese rare and exquisitely preserved vases exemplify the aesthetic refinement and spiritual beliefs of late imperial China. Their miniature scale, brilliant glaze, and ritual function make them an exceptional addition to any serious collection of Chinese antiquities.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eGood condition. Intact. Age-related wear and abrasion. Glazing defects and firing flaws. Size approx. 11,3cm x 5,8cm x 4,8cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: British private collection\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55960839848201,"sku":"100100477","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5754.jpg?v=1753947060"},{"product_id":"northern-wei-dynasty-pottery-figure-of-a-standing-official","title":"Northern Wei Dynasty Pottery Figure of a Standing Official","description":"\u003ch3 class=\"p1\"\u003eNorthern Wei Dynasty, c. 386–534 AD, Henan Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and finely modeled hollow-moulded terracotta figure of a standing official from the Northern Wei Dynasty, sensitively rendered with a poised and reverent stance. The figure stands upright with hands positioned along the sides of the body, dressed in a close-fitting tunic with long sleeves and voluminous trousers gathered at the knees, flaring gracefully at the bottom. His face is delicately sculpted with gently arched brows, almond-shaped eyes, a refined nose, moustache and softly smiling lips—imbued with a serene and composed expression. He wears a black court cap, indicative of his official status.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraces of original post-firing pigments—red, black, pink, and white—remain visible across the surface, despite the fragile nature of these ancient colors. A small hole in the right hand suggests the figure may have once held a now-lost bronze weapon such as a spear or sword, reinforcing his identity as an attendant or guard.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis figure functioned as a mingqi, a funerary object created to serve the deceased in the afterlife. Mingqi figures reflected the societal hierarchy, daily life, and ceremonial roles of the living, ensuring continuity and comfort in the next world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigurines of this type are notably rare. The Northern Wei Dynasty (386–534 AD), founded by the Tuoba, a nomadic people from northern China, was a relatively short-lived but culturally transformative era. It played a pivotal role in the sinicization of northern tribes and left behind a distinctive artistic legacy, including remarkable funerary art like this example.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA historically significant and elegantly sculpted artifact, offering a glimpse into the complex spiritual and social structures of early medieval China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout. Size approx. 25,9cm x 7,0cm x 5,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWarrior with Shield, The Metropolitan Museum of Art, Accession Number: 25.228\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/44796\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAttendant, 386–535, Minneapolis Institute of Art, Accession Number: 50.46.167.2\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/collections.artsmia.org\/art\/17559\/attendant-china\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigure, The British Museum, Accession Number: 1947,0712.6.a-b\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1947-0712-6-a-b\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":55980961136905,"sku":"100100479","price":1450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5816.jpg?v=1754301740"},{"product_id":"ming-dynasty-sancai-glazed-miniature-offering-vases","title":"Ming Dynasty Sancai-Glazed Miniature Offering Vases","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA superb matched pair of miniature sancai-glazed vases, crafted as mingqi—“spirit objects”—to accompany the deceased into the afterlife. Each vase is finely modeled with a waisted neck rising to a foliate-shaped rim adorned with five small pellets, flanked by double ring handles, and a compact inverted pear-shaped body set on a tall conical foot. The rich amber and green sancai glaze stops just above the unglazed base, accentuating the elegant form and masterful craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sancai (“three-color”) palette, perfected during the Tang Dynasty and revived in the Ming, was designed to evoke the beauty of precious materials such as jade, bronze, and imported glass. Applied in a lead-based, low-fired glaze, these tones flow and pool across the surface, giving the vessels a luminous, almost ethereal quality. Though too small for practical use, their symbolic purpose was profound—serving as ritual offerings that reflected the wealth, status, and cultural ideals of the tomb’s occupant.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tradition of mingqi dates back to the Han Dynasty (206 BC–220 AD) and endured through the Tang and Song before achieving renewed prominence in the Ming. These funerary objects could take the form of attendants, animals, furniture, and vessels, replicating the luxuries of earthly life to ensure comfort and order in the afterlife. The quantity and refinement of mingqi placed in a tomb were directly tied to social rank, making elaborately glazed examples like these rare and significant.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBeautifully preserved, with vivid glaze and elegant form, this pair stands as a testament to the aesthetic refinement and spiritual beliefs of late imperial China. An exceptional addition for collectors of Chinese antiquities, funerary art, or Ming Dynasty ceramics.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eExcellent condition. Intact. Age-related wear and abrasion. Glazing defects and firing flaws. Size approx. 12,5cm x 5,5cm x 4,4cm \u0026amp; 12,6cm x 5,4cm x 4,4cm. Sell as a pair.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: British private collection\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56007883358473,"sku":"100100486","price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5961.jpg?v=1754994168"},{"product_id":"ming-dynasty-pottery-miniature-food-offering-plate-11","title":"Ming Dynasty Pottery Miniature Food Offering Plate","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1600, North China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA beautifully glazed Ming Dynasty miniature offering plate, featuring a finely sculpted recumbent bird—possibly a mandarin duck—resting at its center. The bird is modeled with an elaborate crest, rounded beak, and carefully detailed wings tucked close to the body, while its surface is decorated in reddish-brown and dark blue glazes over a turquoise base. A whimsical ridge runs along its back, enhancing the charm of this small yet elegant piece.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch objects were created as mingqi, or “spirit goods,” intended for placement in tombs to accompany the deceased into the afterlife. Representing food offerings, attendants, animals, and elements of daily life, mingqi reflected both the spiritual and material concerns of the living. During the Ming Dynasty (1368–1644), this funerary tradition flourished, and the artistry reached remarkable levels of refinement.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe intricate modeling and brilliant glazing of this example embody the sophistication of Ming ceramic craftsmanship, while also offering a rare glimpse into the beliefs and customs of ancient China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA rare and authentic survival of Ming burial traditions—perfect for collectors of early Chinese artifacts and funerary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Surface wear and abrasions commensurate with age, nicks and chip, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. Size approx. 8,8cm x 7,2cm x 6,3cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56080393142537,"sku":"100100496","price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6133.jpg?v=1756467301"},{"product_id":"han-dynasty-pottery-figure-of-a-dancer","title":"Han Dynasty Pottery Figure of a Dancer","description":"\u003ch3 class=\"p1\"\u003eWestern Han Dynasty, c. 206 BC – 220 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and rare hollow-moulded pottery figure of a dancer, crafted in a greyish-brown clay and once decorated with red and black pigments. The figure is captured mid-movement, gracefully extending her long sleeves as she performs an elegant, measured dance. She wears a tunic with flowing sleeves and flaring trousers, her posture embodying both poise and movement.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFigures of entertainers—musicians, dancers, singers, and even acrobats—were frequently placed in Han tombs, forming lively scenes of performance to accompany the deceased into the afterlife. Sometimes spectators were also included, emphasizing the festive atmosphere of funerary banquets. These groups of pottery figures, known as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), served not only to provide entertainment for the departed but also as displays of wealth, refinement, and social status.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis rare survival offers a vivid glimpse into Han dynasty ritual practice, artistry, and courtly culture—an evocative representation of both daily life and the eternal celebration of the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Repairs to the neck and arm, otherwise intact. Surface wear and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Presented on a custom-made wooden stand. Size approx. 12,3cm x 9,8cm x 4,8cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFor a similar examples see:\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFigure of dancer, Asian Civilisations Museum, Accession Number: C-1677 (https:\/\/www.roots.gov.sg\/Collection-Landing\/listing\/1004658)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eDancer and Musicians, The Metropolitan Museum of Art, Accession Number: 1994.605.85a–c\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/44386\u003c\/span\u003e)\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eFigure, The British Museum, Accession Number: 1936,1012.9\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(\u003cspan class=\"s1\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1936-1012-9\u003c\/span\u003e)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56096651673865,"sku":"100100502","price":725.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6220.jpg?v=1756910634"},{"product_id":"tang-dynasty-pottery-figure-of-a-guard","title":"Tang Dynasty Pottery Figure of a Guard","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, c. 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fine hollow-moulded terracotta guardian soldier from the Tang Dynasty, depicted standing in a commanding pose. The figure wears a long-sleeved hooded robe, cinched at the waist with a horizontal band, over long trousers. His hands are positioned as if once grasping a weapon—the longitudinal piercing through the right hand confirming that the statuette originally held an armament, now lost.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe garment is carefully rendered, its rims and thickened collar crisply detailed, reflecting the refinement of Tang terracotta craftsmanship. The waist sash is a distinctive feature of court attire, a sartorial marker that, along with specific hat forms, distinguished official ranks during the Tang and subsequent Song Dynasty.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s face is modelled with remarkable precision in a naturalistic yet imposing manner: almond-shaped eyes, a defined nose, prominent moustaches, and raised brows combine to convey a stern, intimidating presence—befitting his role as protector.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGuardian figures such as this were placed in tombs to safeguard the deceased, reflecting Tang beliefs in the afterlife and the importance of rank, order, and ritual protection. This evocative example embodies both the artistry and symbolism of one of China’s most celebrated dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. There are small traces of the original pale orange pigment. Mineral encrustation, soil and dust. Size approx. 23,0cm x 5,4cm x 5,0cm.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eProvenance: Swedish private collection. Acquired abroad and brought to Sweden in the 1960s.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56118832922889,"sku":"100100508","price":525.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6499.jpg?v=1757444408"},{"product_id":"ming-dynasty-green-glazed-pottery-offering-chest","title":"Ming Dynasty Green Glazed Pottery Offering Chest","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative pottery model of a storage chest, originally made as part of a Ming Dynasty tomb group. The piece is almost entirely covered in a brilliant green glaze, its edges neatly outlined in black. The base remain unglazed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe miniature chest is finely detailed, complete with hinges, and a clasp—closely imitating the functional storage chests used in life. Such chests were essential household furnishings, often used at court to store officials’ robes and hats. This model likely represents a clothes chest, created as a \u003ci\u003emingqi\u003c\/i\u003e (“spirit good”) to accompany the deceased into the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe custom of burying the dead with pottery models of everyday objects was deeply rooted in Chinese funerary tradition, reflecting both the belief that such items were required in the next world and the social status of the tomb’s occupant. Lead-glazed funerary wares first appeared during the Han Dynasty (206 BC–220 AD), developed into the celebrated \u003ci\u003esancai\u003c\/i\u003e (“three-colour”) glazes of the Tang period, and continued into the Ming, where bold single-color glazes such as green became highly characteristic.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis finely crafted and well-preserved model chest is not only a fascinating reflection of daily life and funerary practice in the Ming Dynasty but also a striking example of the enduring Chinese tradition of glazed tomb wares.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Surface wear, small chip and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 13,9cm x 7,6cm x 9,6cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of chest, Asian Civilisations Museum, Accession Number: 1993-00107\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1062148)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56124242264329,"sku":"100100509","price":585.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6556.jpg?v=1757524816"},{"product_id":"ming-dynasty-green-glazed-pottery-female-tomb-attendant","title":"Ming Dynasty Green Glazed Pottery Female Tomb Attendant","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn elegant and finely crafted Ming Dynasty terracotta female court attendant, richly adorned with an original green glaze and traces of polychromy. The figure stands gracefully upon a square base, her hair arranged in a high chignon framing her composed expression. She wears a long, traditional robe that partially reveal her delicately upturned, pointed shoes. With hands held before her chest, she clasps an object—possibly a fan or dustpan—suggesting her role in service and ceremony.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis statuette belongs to the category of \u003ci\u003emingqi\u003c\/i\u003e—“spirit objects” or “spirit goods”—created as tomb furnishings to accompany and serve the deceased in the afterlife. Such attendants not only reflected the social standing and refinement of the tomb’s occupant but also embodied the Confucian ideals of loyalty, service, and filial piety. Their placement within carefully arranged tomb complexes, often aligned with cosmological principles, reveals the deep symbolic and ritual significance of these figures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe striking green glaze, a hallmark of Ming funerary wares, enhances the figure’s elegance and imbues it with both vibrancy and spiritual resonance. Together with the finely sculpted details of her attire and serene facial features, this figure exemplifies the technical mastery and aesthetic sophistication of Ming mortuary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA beautiful survival, this tomb attendant offers both artistic appeal and profound cultural insight into the rituals, beliefs, and values of late imperial China.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. A minor chip to the base, otherwise intact. Mineral encrustation, soil and dust. Size approx. 17,2cm x 4,5cm x 4,6cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBurial figure of a female attendant with a dustpan, Royal Ontario Museum, Accession Number: 918.21.152\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56127934267657,"sku":"100100511","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6346.jpg?v=1757606088"},{"product_id":"ming-dynasty-green-glazed-pottery-offering-chest-1","title":"Ming Dynasty Green Glazed Pottery Offering Chest","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative pottery model of a storage chest, crafted as part of a Ming Dynasty tomb group. The piece rests on a rectangular base and is almost entirely covered in a lustrous deep green glaze with black undertones, while the lock plate, handles, and back rings are highlighted in a lighter green. The unglazed top suggests something may once have been placed above it, while the underside is pierced with five small holes. Carefully modeled to imitate the functional storage chests used in daily life—often for clothing, robes, or official regalia—this miniature example was created as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”) to accompany the deceased into the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch funerary models were central to Chinese burial traditions, symbolizing the comforts and necessities the departed would require in the next world. While lead-glazed wares originated in the Han Dynasty and reached vivid artistic expression in Tang \u003ci\u003esancai\u003c\/i\u003e ceramics, Ming tomb wares often employed striking single-color glazes, with rich green tones especially prized.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis offering chest, finely detailed and beautifully preserved, is both a testament to the craftsmanship of Ming potters and a window into the beliefs and material culture of one of China’s greatest dynasties.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear, and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 14,0cm x 10,6cm x 10,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of chest, Asian Civilisations Museum, Accession Number: 1993-00107\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1062148)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56146777833737,"sku":"100100513","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6596.jpg?v=1758101158"},{"product_id":"ming-dynasty-glazed-pottery-tomb-attendant-with-zodiac-animal-3","title":"Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eThis exceptional Ming Dynasty tomb figure represents an attendant holding a rat, one of the twelve animals of the Chinese zodiac. Hand-molded in terracotta, the figure is richly adorned with a long flowing robe decorated in turquoise and black glazes, applied with remarkable precision. Much of this original coloration has survived, a testament to the technical mastery and enduring artistry of Ming potters.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe rat, first in the zodiac cycle, is revered in Chinese culture as a symbol of intelligence, adaptability, and resourcefulness. In folklore, it is praised for its cleverness and ability to overcome challenges. Zodiac imagery carried both protective and auspicious qualities—thought to bring prosperity in life and, in the funerary context, to guide and safeguard the spirit in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAs a piece of mingqi—“spirit goods” created for tombs—this attendant reflects both the wealth and status of the deceased as well as the Confucian value of filial devotion. Ming burials were carefully planned in accordance with cosmological principles, with zodiac figures like this serving as powerful emblems of cosmic order and harmony.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe figure itself is modeled with great refinement: delicate facial features, finely arranged hair, and a confident stance, paired with the naturalistic rendering of the animal. Minor areas of glaze and pigment loss reveal the warm red clay beneath, further affirming its authenticity and age.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eA rare survival of Ming funerary art, this attendant with zodiac rat combines spiritual symbolism with superb craftsmanship. It is not only a striking work of late imperial Chinese artistry but also a tangible link to the cosmological beliefs and ritual practices of one of China’s greatest dynasties.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eExcellent condition. Exceptional retention of the original pigment still visible. Mineral encrustation, soil and dust. Size approx. 19,1cm x 7,8cm x 6,7cm.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: Swedish private collection. Acquired abroad and brought to Sweden in the 1960s.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56220990669065,"sku":"100100516","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6748_994938a8-b30b-4fa6-a487-3934266e6021.jpg?v=1758966077"},{"product_id":"ming-dynasty-green-glazed-pottery-standing-screen","title":"Ming Dynasty Green Glazed Pottery Standing Screen","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative Ming Dynasty pottery model of a miniature standing table screen, crafted with remarkable attention to detail and intended as part of a tomb group. Rectangular in form and resting on bracketed feet, the screen is modeled to mimic wooden construction, its surface richly adorned with relief panels. The recessed panels are accentuated with a matte red pigment and bordered by impressed decorative motifs, while the majority of the piece is enveloped in a lustrous deep green glaze with subtle black undertones. The reverse remains unglazed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn Ming and Qing households, screens were essential furnishings, used not only for privacy but also as windbreaks and contemplative ornaments within the scholar’s studio. Table screens—sometimes called spirit screens—embodied both utility and aesthetic refinement, their imagery and decoration designed to inspire reflection and harmony.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs a funerary object, this piece belongs to the category of \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), symbolic provisions placed in tombs to ensure the deceased’s comfort and status in the afterlife. From the Han Dynasty onward, lead-glazed and sancai wares evolved into the elegant monochrome glazes so characteristic of Ming burial art, with vivid greens especially esteemed. Mingqi assemblages could range from architectural models and domestic furnishings to attendants, animals, and entertainers—miniature worlds meant to accompany the departed beyond death.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis standing screen, with its rich glaze and finely worked relief decoration, is not only an exceptional example of Ming funerary ceramics but also a deeply evocative object, bridging the practical world of the scholar’s studio with the eternal domain of the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVery good condition with minor old wear, some firing irregularities such as glaze crackling, glaze recesses, pitting, and expected scratches to the feet. Intact.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eSize approx. 19,2cm x 18,8cm x 7,9cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56249516065033,"sku":"100100522","price":645.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6823.jpg?v=1759398997"},{"product_id":"ming-dynasty-green-glazed-pottery-offering-chest-2","title":"Ming Dynasty Green Glazed Pottery Offering Chest","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative Ming Dynasty pottery model of a storage chest, finely crafted as part of a tomb group and covered in a lustrous deep bluish-green glaze with almost black undertones. The piece rests on a rectangular base, with the lock plate, side handles, and back rings highlighted in a warm amber tone, offering a striking contrast to the dark surface. The top remains unglazed—perhaps once supporting another object—while the underside bears five small perforations.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCarefully modeled after the wooden chests used in daily life for storing robes, textiles, or official regalia, this miniature example served as \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”), created to accompany the deceased into the afterlife. Such objects reflected the belief that the comforts and necessities of earthly life would be required in the world beyond, while also symbolizing social rank and wealth.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLead-glazed ceramics had their origins in the Han Dynasty and reached vivid artistic expression in the \u003ci\u003esancai\u003c\/i\u003e (“three-color”) wares of the Tang. By the Ming period, funerary models often featured bold monochrome glazes—rich green tones being especially admired for their depth and vitality.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis finely detailed offering chest, with its elegant form and remarkable preservation, stands as a testament to the artistic sophistication of Ming potters and the enduring spiritual traditions that shaped China’s funerary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear, and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 15,2cm x 12,5cm x 11,7cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of chest, Asian Civilisations Museum, Accession Number: 1993-00107\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e(https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1062148)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56268826870025,"sku":"100100526","price":595.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6955_357244a4-6058-41b2-b1fa-494d20e21bc3.jpg?v=1759829231"},{"product_id":"tang-dynasty-pottery-figure-of-a-guard-1","title":"Tang Dynasty Pottery Figure of a Guard","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, c. 618–907 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn evocative and finely modelled terracotta guardian figure from the Tang Dynasty, powerfully rendered in a commanding stance. Heavily potted and hollow-moulded from reddish-brown clay, the figure is depicted standing erect, dressed in a long-sleeved hooded robe cinched at the waist with a broad sash over voluminous trousers. His hands are positioned as if grasping a weapon—the longitudinal perforation through the right hand confirming that the original armament, now lost, was once inserted there.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe garment’s detailed modelling, with thickened collar and crisply defined hems, reflects the technical mastery of Tang ceramic sculpture. The waist sash is characteristic of Tang court and military attire, a marker of rank and status, echoed in the figure’s composed yet formidable presence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe face, though softened by age, remains expressive and authoritative, with almond-shaped eyes, defined nose, and arched brows conveying vigilance and resolve. Such guardian figures, or mingqi, were placed in tombs to ward off malevolent forces and ensure the protection of the deceased in the afterlife.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis piece stands as a striking testament to Tang beliefs in ritual guardianship and to the era’s remarkable sculptural realism—an exceptional example of early Chinese funerary art.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eGood condition. Intact. Small hole and some nicks and pitting in areas, all commensurate with age. There are traces of the original cold painted white, red and black pigments. Mineral encrustation and earthen deposits. Size approx. 22,0cm x 4,6cm x 4,4cm.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56271178531081,"sku":"100100528","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7018.jpg?v=1759912705"},{"product_id":"ming-dynasty-sancai-glazed-pottery-altar-table","title":"Ming Dynasty Sancai Glazed Pottery Altar Table","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative Ming Dynasty pottery model of an altar table, exquisitely crafted as part of a tomb group and adorned with a lustrous amber and green \u003ci\u003esancai\u003c\/i\u003e (“three-colour”) glaze, enriched with areas of dark pigment. The tabletop remains unglazed, likely from contact with offerings once placed above it.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis rectangular table, standing on four elegantly modeled legs, would have formed part of a larger assemblage of \u003ci\u003emingqi\u003c\/i\u003e (“spirit goods”)—objects created to accompany the deceased into the afterlife. Such funerary furnishings reflected the belief that the comforts and symbols of earthly status were required beyond death, ensuring both continuity and protection in the spiritual realm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLead-glazed ceramics first appeared in the Han Dynasty and achieved their most vivid artistic expression in the Tang \u003ci\u003esancai\u003c\/i\u003e tradition. By the Ming period, the technique evolved toward refined, often monochrome or dual-colour glazes, with rich green and amber tones especially prized for their depth and vibrancy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exceptional model, with its harmonious form and glowing glaze, stands as a testament to the enduring sophistication of Ming funerary craftsmanship and the spiritual ideals that shaped one of China’s greatest artistic legacies.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear, and minor abrasions consistent with age, with areas of encrusted patina and rich earthen deposits across the surface. Size approx. 26,7cm x 16,2cm x 13,0cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: British private collection.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of table, Asian Civilisations Museum, Accession Number:1994-00472  (https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1069178)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAltar Table with Six Offerings, University of Michigan Museum of Art, Accession Number: 2008\/2.277 (https:\/\/umma.umich.edu\/objects\/altar-table-with-six-offerings-2008-2-277\/)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eModel of table, Asian Civilisations Museum, Accession Number: 1993-00105  (https:\/\/www.roots.gov.sg\/Collection-landing\/listing\/1064849)\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56277987918089,"sku":"100100530","price":1650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6855_915ae6ea-4889-48d6-b8bc-4824680654e9.jpg?v=1760096604"},{"product_id":"ming-dynasty-glazed-pottery-processional-figures","title":"Ming Dynasty Glazed Pottery Processional Figures","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1500–1550 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eMagnificent pair of hollow-molded glazed pottery processional figures from the Ming Dynasty, beautifully exemplifying the refined funerary art of imperial China. Each figure stands upright on a square base with legs slightly apart, dressed in traditional Ming court attire: a long black cross-over robe tied at the waist, accented with turquoise-glazed side panels and voluminous sleeves, finished with heavy black boots. Both wear distinctive red conical hats with wide brims, lending strong visual presence and individuality.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figures hold offerings in their hands, likely symbolizing service, tribute, or trade, and suggesting their role as attendants within a ceremonial procession. Their faces are sensitively modeled, with almond-shaped eyes beneath arched brows, softly blushed cheeks, defined lips, and carefully shaped ears, conveying calm dignity and reverence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch figures are known as mingqi (“spirit objects”), created specifically for burial to accompany the deceased into the afterlife. Rather than mere decoration, mingqi formed symbolic entourages that mirrored earthly life, providing service, protection, and status in the spiritual realm. During the Ming Dynasty, tombs often contained carefully arranged groups of officials, servants, guards, animals, and attendants, reflecting a belief in an afterlife that closely paralleled the world of the living.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBy the mid-16th century, funerary assemblages became more restrained yet increasingly refined, as seen in this elegant and well-balanced pair. A museum-quality example of Ming ceramic sculpture, offering exceptional presence and historical depth—an outstanding addition to any serious collection of Chinese antiquities or funerary art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Finely preserved glaze and pigment. Intact. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 18,0cm x 6,3cm x 5,5cm and 18,0cm x 5,5cm x 4,9cm. Sell as a pair.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eReferences and further reading:\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e\u003ci\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/i\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":56675942105353,"sku":"100100553","price":585.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7774.jpg?v=1765384257"}],"url":"https:\/\/gotasworld.com\/collections\/mingqi.oembed?page=6","provider":"Göta's World","version":"1.0","type":"link"}