This charismatic ceramic figure of a camel was
made during what many consider to be China’s
Golden Age, the Tang Dynasty. It was designed
to be interred with a deceased member of the
aristocracy or burgeoning Middle Classes, to
attend to his/her needs in the afterlife. Grave
furnishings (mingqi) came in many different
forms; well-known variants include “fat ladies”,
demons, administrators and grooms. Perhaps the
most charming, however, are the representations
of animals, especially camels and horses. These
were important creatures at the time, and only
owned by those of considerable wealth and
exalted rank.
This engaging sculpture represents a standing
camel, unsaddled, and in what is evidently a
playful mood, tossing his head and swishing his
tail from side to side. The twin humps, the shape
of the limbs and the body, and the plentiful hair,
identify him as a Bactrian camel, which still roan
across parts of Central Asia. The mouth and the
eyes are open, the hairy poll atop the head and
the “mane” on the back of the neck picked out in
careful detail. The forelimb is clad with hair to
the knee, and appears to have been trimmed to
shape, implying that he is a domestic animal.
This is confirmed by a close inspection of the
back, which shows a strikingly rectilinear space
between the humps (which are themselves
unusually slim), which implies that a saddle was
once fitted. This is further confirmed by the paint
colouration on the right flank, which shows a
vertical line where the posterior aspect of the
saddle would have rested. The tail is also
docked, which facilitated the attachment of
harnesses. The ground is between yellow and
orange in tone, with a well-developed irregular
patina of age. The piece is in good condition,
and stands upon an integral oblong base.
It was during the Tang Dynasty that China’s
outstanding technological and aesthetic
achievements opened to external influences,
resulting in the introduction of numerous new
forms of self-expression, coupled with internal
innovation and considerable social freedom. The
T’ang dynasty also saw the birth of the printed
novel, significant musical and theatrical heritage
and many of China’s best-known painters and
artists. The Dynasty was created on the 18th of
June, 618 AD, when the Li family seized power
from the last crumbling remnants of the
preceding Sui Dynasty. This political and regal
regime was long-lived, and lasted for almost
300
years. The imperial aspirations of the preceding
periods and early Tang leaders led to
unprecedented wealth, resulting in considerable
socioeconomic stability, the development of
trade networks and vast urbanisation for China’s
exploding population (estimated at around 50
million people in the 8th century AD). The Tang
rulers took cues from earlier periods,
maintaining many of their administrative
structures and systems intact. Even when
dynastic and governmental institutions withdrew
from management of the empire towards the end
of the period – their authority undermined by
localised rebellions and regional governors
known as jiedushi –the systems were so well-
established that they continued to operate
regardless.
The artworks created during this era are among
China’s greatest cultural achievements. It was
the
greatest age for Chinese poetry and painting,
and sculpture also developed (although there
was a notable decline in Buddhist sculptures
following repression of the faith by pro-Taoism
administrations later in the regime). It is
disarming to note that the eventual decline of
imperial power, followed by the official end of
the dynasty on the 4th of June 907, hardly
affected the great artistic turnover.
During the Tang Dynasty, restrictions were
placed on the number of objects that could be
included in tombs, an amount determined by an
individual's social rank. In spite of the
limitations, a striking variety of tomb furnishings
– known as mingqi – have been excavated. Entire
retinues of ceramic figures – representing
warriors, animals, entertainers, musicians,
guardians and every other necessary category of
assistant – were buried with the dead in order to
provide for the afterlife. Warriors (lokapala) were
put in place to defend the dead, with domestic
servants and attendants, and officials to run his
estate in the hereafter. Charming examples of
animals such as the current piece are perhaps
the most amusing and aesthetically-pleasing of
the mingqi, however. This attractive sculpture is
an eloquent reminder of China’s outstanding
heritage, and a beautiful addition to any serious
Chinese collection.
