Ming Dynasty Sancai Glazed Pottery Tomb Figure of Horse

Ming Dynasty, c. 1500–1550 AD, China

This stunning sancai-glazed pottery horse is a remarkable representation of Ming Dynasty funerary art. The small-sized figure is modeled in a stylized manner, standing foursquare on a rectangular plinth. Its body is adorned with a lustrous brownish-orange glaze, while the halter, mane, and tail are rendered in a rich green glaze. The hooves are painted in black, with the underside of the legs and the base left unglazed, revealing the natural pale orange hue of the clay body.

Tomb figures, or mingqi, were integral to Ming Dynasty burial practices, serving as provisions for the deceased in the afterlife. These objects included models of animals, servants, and structures, symbolizing wealth, companionship, and protection. The inclusion of animals like horses reflects their status as symbols of power, mobility, and prestige, essential for ensuring the deceased’s journey in the afterlife.

The production of mingqi during the Ming period (1368–1644) was an esteemed craft, with skilled artisans employing sancai (three-color) glazing techniques to create vibrant and durable objects. The use of sancai glazing on this horse highlights the artistic sophistication and technical mastery of the period. The number and size of mingqi in a tomb varied widely, influenced by the social status and wealth of the deceased. Elite burials often included extensive assemblages of figurines, while simpler tombs contained fewer pieces. Horses, in particular, were a popular motif, embodying both practicality and luxury in the context of the afterlife.

This piece is a testament to the cultural and artistic legacy of the Ming Dynasty, combining elegance with historical significance. Its vivid glaze and meticulous craftsmanship make it an exceptional artifact, ideal for collectors and enthusiasts of ancient Chinese art and funerary traditions.

Very good condition. Intact. Finely preserved glaze with a nice gloss and fine age crackles. Minimal glazing flaws and fritting, with uncleaned deposits of dirt. Size approx. 13,0cm x 13,8cm x 4,1cm.

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)