Ming Dynasty Glazed Pottery Tomb Attendant

Ming Dynasty, c. 1550–1644, China

A 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.

Fahua 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.

Figures 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.

The 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.

Excellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 18,6cm x 9,5cm x 6,3cm. 

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)