Ming Dynasty Glazed Pottery Processional Figure

Ming Dynasty, c. 1500–1550 AD, China

An 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.

In 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.

Such figures, known as mingqi (“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.

The tradition of including mingqi 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.

This 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.

Good 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.

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)