Ming Dynasty Glazed Pottery Tomb Attendant with Zodiac Animal

Ming Dynasty, c. 1550–1644, China

This 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.

The 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.

As 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.

The 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.

A 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.

Excellent condition. Exceptional retention of the original pigment still visible. Mineral encrustation, soil and dust. Size approx. 19,1cm x 7,8cm x 6,7cm.

Provenance: Swedish private collection. Acquired abroad and brought to Sweden in the 1960s.

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)