Ming Dynasty Glazed Pottery Armed Soldier

Ming Dynasty, c. 1550–1644, China

An 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.

He 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.

The 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.

Such figures were known as mingqi (“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.

The 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.

A 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.

Excellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 22,8cm x 8,9cm x 6,8cm. 

Provenance: Swedish private collection

References and further reading:

The Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen & Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.

Dream 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.

Antecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.

Mingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https://gotheborg.com/glossary/mingqi.shtml)

Immortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci & Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https://digitalcommons.fairfield.edu/immortality_ephemera/1)

The 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)