Ming Dynasty Glazed Pottery Female Tomb Attendant with Offering

Ming Dynasty, c. 1500–1550 AD, China

An exquisite and elegant hollow-molded pottery figure, this female court attendant embodies the refined artistry of Ming Dynasty funerary sculpture. Standing gracefully on a sloping circular base, she is depicted in deep bluish-black and turquoise robes, with matching shoes. Her left hand holds an offering, while her right hand remains concealed within the long sleeve—a gesture of reverence and ritual.

Her dark hair is arranged in a tall top-knot, secured with a thick red band, while a green circlet with a large central gem adorns her forehead. The delicately engraved facial features—with darkly pigmented eyes and eyebrows, pinkish-red lips and ears—convey a serene and dignified expression. The head and feet were left unglazed and would have been cold-painted after firing, enhancing the contrast with the vibrant sancai-glazed robes.

Figurines such as this were placed in tombs to guide and serve the deceased in the afterlife, reflecting Ming Dynasty beliefs in an afterworld mirroring earthly life. These mingqi, or “spirit objects”, were crafted in clay, wood, or bronze and included not only human figures but also animals, mythical creatures, and architectural models, ensuring wealth, comfort, and protection beyond death.

The production of mingqi flourished during the Ming Dynasty (1368–1644 AD), with elite tombs housing hundreds or even thousands of such figures. Their quantity and quality depended on the social status of the deceased—elaborate assemblages accompanied emperors and nobility, while more modest burials contained only a few. The earlier Ming period (1368–1425 AD) saw grander tombs with abundant mingqi, whereas later periods (1550–1644 AD) exhibited smaller tombs with fewer artifacts.

This exceptional piece is a testament to the artistic mastery and cultural significance of Ming Dynasty funerary traditions. Its graceful form, vivid glazing, and intricate detailing make it an outstanding addition to any collection of Chinese antiquities and ancient burial artifacts.

Excellent condition. Finely preserved glaze and pigment. Intact. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 22,5cm x 8,9cm x 7,8cm.

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)