Guardian Figure
Guardian Figure
Guardian Figure
ca. 907 – 1125 CE
Earthenware
24.5 in x 7.5 in x 5 in
Tang Dynasty, China
2000.115
Process, Materials, Format, and Scale
Upon looking at this figure, one first notices the vibrant colors decorating the clay. This guardian figure is characteristic of the sancai, or three-color glaze, tradition. Sancai is a type of Chinese earthenware that is covered in three or more different colors of glaze.1 The sancai tradition in ceramics began in the Tang dynasty (618-907 CE) but continued to thrive through the Liao dynasty (907-1125 CE)2 as well. As we can see, the figure has three distinct glaze colors—green, cream, and black— over orange-red clay earthenware. Tang sancai glazes were traditionally made with metal oxides, including iron, copper, antimony, and manganese, which made the glaze very fluid and thin,3 which shows in the splashes of glaze seen on this figure.
The clay used for the ceramic itself also provides information about the piece. Scholars can use the chemical composition of the clay to track the location of production of the piece. The orange-red color of the clay used for this figure suggests that this piece could have been produced at a kiln site with iron-rich soil.4
Additionally, small Tang-dynasty sancai figures were made using molds— the front and back halves would be cast separately and put together to be glazed.5 This figure may have been made in the same fashion, potentially with extra features, such as the chest details, carved out by hand after the halves were put together. This efficient process may have made it easier to mass-produce tomb figures like this for ritual purposes.
History and Tradition
The tomb figure tradition, a practice that was widely used throughout the history of Ancient China, became particularly prevalent during the rule of the Tang Dynasty (618-907 CE), continuing its influence into the Liao Dynasty (907-1125 CE) as well.6 Tomb figures of the Tang Dynasty depicted various elements including people, animals, and spiritual guardians. The different kinds of tomb objects mainly served as a mirror of the present life that could be carried into the afterlife, both serving and protecting the deceased.7
Specifically, many tomb figures of the Tang Dynasty depicted imaginary guardians, also referred to as “earth spirits” (dusheng) or “beasts that guard the tomb” (zhenmushou), which served the purpose of protecting the dead from evil spirits and humans.8 Hence, these guardian figures typically had an intentionally ferocious appearance, often emphasized with the sancai glaze, with mixed elements from both animals and humans such as sharp fangs and teeth in combination with human-like facial features and clothing.9
This figure is representative of the tomb figure tradition, most likely influenced by the traditional zhenmushou. As shown, the figure’s clothing, headpiece, and stature embroidered in the sancai glaze depicts an armored human soldier, emphasizing its protective appearance. In addition, although the figure has comparatively few animal elements than the traditional zhenmushou, its animal-like ears clearly take inspiration from the tradition, thus giving us insight into its potential ritual function of protecting the deceased in the afterlife. Overall, this figure is representative of an intricate example of art and ritual in Asia, contributing to the theme of the exhibition.
Seung Jun Lee
Medicine, Health, and Society and Neuroscience
Class of 2024
Calvin Fontaine
Architecture and the Built Environment
Class of 2025
Annotated Bibliography
Chang, Dongxue, Renjie Ma, Liangren Zhang, Jianfeng Cui, and Fuliang Liu. “Characterizing the chemical composition of Tang Sancai wares from five Tang dynasty kiln sites.” Ceramics International 46, no. 4 (March 2020): 4778-85. https://doi.org/https://doi.org/10.1016/j.ceramint.2019.10.210.
This article characterizes the chemical composition of both ceramic bodies as well as glaze samples from several different Tang dynasty sancai kiln sites. It was a very useful source to understand the effects different materials used in the sancai tradition had on the art’s appearance, as well as how these materials varied across kiln sites.
Hay, Jonathan. “Seeing through Dead Eyes: How Early Tang Tombs Staged the Afterlife.” RES: Anthropology and Aesthetics, no. 57/58 (2010): 16–54. http://www.jstor.org/stable/25769971.
This source is an article that explains the overall history and tradition of tomb figures in the Tang Dynasty. The article also details the symbolism and significance of the tomb figures during the time period, as well as specific tomb structures and their meanings. This was a very useful source to initially develop understanding of the tomb figure tradition, its history, significance, and symbolism.
Garachon, Isabelle, and Lucien van Valen. “The Matter of Tang Tomb Figures: A New Perspective on a Group of Terracotta Animals and Riders.” The Rijksmuseum Bulletin 62, no. 3 (2014): 218–39. http://www.jstor.org/stable/24642105.
This source outlines several specific examples of tomb figures that are housed in the Rijksmuseum. Throughout the source, the authors present insightful details on the figures’ acquisition, dating, new research, and composition, while also emphasizing the prevalent tomb figure tradition during the Tang Dynasty period. This source was very helpful in understanding the various intricate details incorporated to highlight the tomb figures’ appearance, and also how valuable information about the figures’ origins can be retrieved through newly developed research techniques, which could be potentially applied to our figure.
Kimbell Art Museum. “Earth Spirit, First half of the 8th century A.D.” Kahn Building, North Gallery. https://kimbellart.org/collection/ap-200102.
This source is an article from the Kimbell Art Museum, describing one of the artworks from its collection. The artwork described in the article is a tomb figure from the Tang Dynasty, specifically an example of the zhenmushou. This article was extremely helpful to the overall project, as it provided various descriptions of the zhenmushou and their appearance, ritualistic significance, and underlying symbolism.
late 7th century. Tomb Guardian Beast (Zhenmushou). Figure, Tomb Pottery. Place: The Metropolitan Museum of Art. https://library.artstor.org/asset/SS7731421_7731421_11026088.
This source is an artwork retrieved from the Metropolitan Museum of Art, and is another representation of the traditional zhenmushou tomb figure from the Tang Dynasty. This source not only portrays the tomb figure’s intricate details in its appearance, but also the emphasis on its ferocity through various animal-like elements. This source was particularly helpful, as it was a physical representation of an actual zhenmushou figure from the Tang Dynasty. Through this source, it was possible to see the apparent sancai glaze and the exaggerated animal-like features (fangs, ears, horns), alongside the human-like elements (eyes, nose, mouth).
Sewell, Jack V. “T’ang Dynasty Tomb Pottery.” Bulletin of the Art Institute of Chicago (1973-1982) 70, no. 2 (1976): 2–6. https://doi.org/10.2307/4108708.
This source discusses the introduction of Tang Dynasty tomb pottery to the Western eye, as well as some historical and sociopolitical context about the Tang Dynasty. Finally, it discusses some materials and methods used to craft this pottery. This source was particularly useful in tying the materials and methods used to the reasons why they might have been used.
Xiong, Victor C. “Gilded Treasures of a Lost Empire.” American Journal of Archaeology 111, no. 2 (April 2007): 1-9. https://www.ajaonline.org/sites/default/files/AJA1112_OnlineMuseumRv.pdf.
This article discusses the historical background of the Qidan people (the founders of the Liao dynasty), then goes on to analyze some archaeological finds relating to the Liao. This source was useful because it provides a good overview of what the sancai tradition looked like in the Liao dynasty (the dynasty our piece is from) by examining a sancai ware from that time period. It also provides evidence that the sancai tradition persisted through the Liao.