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+44 7425 298868
Large Standing Female Mingqi, Han 206 B.C.–220 A.D
Mingqi in the Han Dynasty (206 B.C.–220 A.D.)
Earthenware mingqi are today the most visible legacy from the Han dynasty due to their durability and number. Although most mingqi were mass produced using molds, they are remarkably animated. Dogs, their ears perked and noses all but twitching, stand alert. Dancers are frozen in mid-step, the alignment of bodies and sweep of sleeves transcending their suspended state to imply the flow of choreography. Drummers succumb to the rhythm of their instruments , kicking up their toes and laughing with joy. This delightful naturalism was central to the figures’ purpose of providing the deceased with entertainment, service, and guardianship.
Meanwhile, mingqi in the form of buildings and tools provided staples and comforts for the deceased in the tomb. Entire farms complete with granaries, wells, and watchtowers were recreated in miniature. Details like wooden brackets and tile roofs were loyally reproduced, as were regional differences in building styles, ranging from tall towers in the north, courtyard structures in the south, and houses perched on stilts in marshy areas. Since most of their above-ground counterparts were made of wood and have long since disintegrated, mingqi preserve information about architecture in Han China.
Mingqi worked in concert with other tomb objects and architecture to support a larger funerary agenda, the goal of which was to comfort and satisfy the deceased, who was believed to have two souls: the po, which resided underground with the body, and the hun. While the hun could ascend to the skies, funerary rituals sometimes sought to reunite it with the po in the safer realm of the tomb. Here, valuables such as bronzes, lacquers , and silks, frequently decorated with Daoist imagery, surrounded the coffin. Around the turn of the millennium, Han tomb architectural styles morphed from pits into multi-chambered underground dwellings, often with elaborate carvings and wall paintings. Constructed of brick and featuring vaulted ceilings, these tombs were aligned along north-south axes and tied to above-ground stone shrines. Many shrines in turn were covered with low-relief carvings depicting paradises and stories underscoring Confucian virtues like filial piety and loyalty.
In the first century A.D., the site of ritual offerings for the deceased transferred from the shrine to the tomb itself, and people erected large stone statuary of officials and animals along a “spirit path” leading up to the tomb mound. The shrines and spirit paths became an important way for the living to proclaim the deceased family member’s and their own commitment to Confucian values.
Ultimately, funerary objects such as mingqi worked in concert with other funerary objects, tomb architecture, shrines, and spirit-road sculptures to achieve a goal that exceeded the well-being of the family. According to Confucian doctrine, when every person performed their prescribed social role to perfection, the cosmos would achieve harmony. By ensuring the well-being of the dead, the living promoted accord in the celestial realm and in their own terrestrial existence
This is a very rare and very beautiful old painted earthenware female figure.. Finely modelled. Thermoluminescence Certificate 2000 years old.
Substantial and heavy work. 100cm tall by 36cm wide by 36cm deep. Beautiful patina..
SellerGreystones Fine Interiors
View all stock from
Greystones Fine Interiors
Private dealer
by appointment only
Near Peterborough
Cambridgeshire
Tel : 07425 298868
Non UK callers : +44 7425 298868
Earthenware mingqi are today the most visible legacy from the Han dynasty due to their durability and number. Although most mingqi were mass produced using molds, they are remarkably animated. Dogs, their ears perked and noses all but twitching, stand alert. Dancers are frozen in mid-step, the alignment of bodies and sweep of sleeves transcending their suspended state to imply the flow of choreography. Drummers succumb to the rhythm of their instruments , kicking up their toes and laughing with joy. This delightful naturalism was central to the figures’ purpose of providing the deceased with entertainment, service, and guardianship.
Meanwhile, mingqi in the form of buildings and tools provided staples and comforts for the deceased in the tomb. Entire farms complete with granaries, wells, and watchtowers were recreated in miniature. Details like wooden brackets and tile roofs were loyally reproduced, as were regional differences in building styles, ranging from tall towers in the north, courtyard structures in the south, and houses perched on stilts in marshy areas. Since most of their above-ground counterparts were made of wood and have long since disintegrated, mingqi preserve information about architecture in Han China.
Mingqi worked in concert with other tomb objects and architecture to support a larger funerary agenda, the goal of which was to comfort and satisfy the deceased, who was believed to have two souls: the po, which resided underground with the body, and the hun. While the hun could ascend to the skies, funerary rituals sometimes sought to reunite it with the po in the safer realm of the tomb. Here, valuables such as bronzes, lacquers , and silks, frequently decorated with Daoist imagery, surrounded the coffin. Around the turn of the millennium, Han tomb architectural styles morphed from pits into multi-chambered underground dwellings, often with elaborate carvings and wall paintings. Constructed of brick and featuring vaulted ceilings, these tombs were aligned along north-south axes and tied to above-ground stone shrines. Many shrines in turn were covered with low-relief carvings depicting paradises and stories underscoring Confucian virtues like filial piety and loyalty.
In the first century A.D., the site of ritual offerings for the deceased transferred from the shrine to the tomb itself, and people erected large stone statuary of officials and animals along a “spirit path” leading up to the tomb mound. The shrines and spirit paths became an important way for the living to proclaim the deceased family member’s and their own commitment to Confucian values.
Ultimately, funerary objects such as mingqi worked in concert with other funerary objects, tomb architecture, shrines, and spirit-road sculptures to achieve a goal that exceeded the well-being of the family. According to Confucian doctrine, when every person performed their prescribed social role to perfection, the cosmos would achieve harmony. By ensuring the well-being of the dead, the living promoted accord in the celestial realm and in their own terrestrial existence
This is a very rare and very beautiful old painted earthenware female figure.. Finely modelled. Thermoluminescence Certificate 2000 years old.
Substantial and heavy work. 100cm tall by 36cm wide by 36cm deep. Beautiful patina..
Price
Click here to message the seller The price has been listed in British Pounds.
Conversion rates as of 2/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer.
Date 206BC-220AD
Pre 16th Century Antiques Material Earthenware
Origin Chinese
Condition excellent
Item code as1081a085
Status For Sale
£3400.00 
$4244.90
€3971.54
$4244.90
€3971.54
Looking to Buy?
Arrange a final price and delivery details directly with the dealerClick here to message the seller
Conversion rates as of 2/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer.
View all stock from
Greystones Fine Interiors
Private dealerby appointment only
Near Peterborough
Cambridgeshire
Tel : 07425 298868
Non UK callers : +44 7425 298868
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