Ban Chiang Period Painted Storage Jar

Squat jar with biconvex profile and low rim, two strap handles to the shoulder, panels of painted geometric ornament to neck, shoulder and body. 600 grams, 19.5 cm wide



From a North Yorkshire, UK, collection, 1990s.

Modelled in the round with celadon glaze, a nursing mother kneeling and naked with suckling child held to the left breast, the hair drawn back into a topknot, impressed eyes and mouth. 135 grams, 92 mm



Acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

The Si Satchanalai figurines were one of the ceramic products produced by Si Satchanalai kilns located in the present-day area of Si Satchanalai district, Sukhothai province in the upper part of central Thailand. The characteristic features related to maternity and parenthood were represented in figurines of pregnant females and of couples (mother and father) with a baby.

Modelled in the round advancing on a polygonal base, head tossed backwards and mouth open exposing the animal's teeth and tongue, saddled with a camel bag decorated with beast heads, rider staring into the distance whilst playing a set of pipes held in his right hand, the left held lower with hand making a fist to grip reins; remains of polychrome pigmentation. 6.2 kg, 53 cm



Acquired 1990s. West Country, UK, collection. Accompanied by an original thermoluminescence analysis report no.CJ22522022 from Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11369-192727.

Camels symbolised the prosperity of the Silk Route- the trade routes between China, Europe, and the Middle East- as they were the main form of transportation in the caravans. A popular theme for Tang court painters and sculptors was that of foreign ambassadors submitting tribute to the emperor. Diplomatic missions and the concomitant opulent offerings were an important medium of international exchange. In the dynasty’s first decades, the Tang expanded control north and east to Goguryeo and Baekje in Manchuria and the Korean peninsula, north to the steppes of Mongolia, west to the deserts and oases of Central Asia, and south to parts of the present-day provinces of Guangxi, Yunnan, and northern Vietnam. These and other kingdoms sent staples and exotica: lions from Persia and rhinoceroses from the kingdom of Champa in south and central Vietnam, hawks from the Korean peninsula, ostriches sent by Western Turks, sandalwood from the Indonesian archipelago, cardamom from the coast of the Malay peninsula, indigo from Samarkand, and wool from Tibet. Even entertainers such as musicians, dancers, and performers, as depicted on this piece, were presented as gifts. As is evident in tomb paintings and figurines, international trade whetted a taste for striking and sumptuous fashions among the Tang elite. Leopard-skin hats and close-fitting sleeves, imitating the clothing of Central Asians and Persians to the west, were popular in the mid-8th century. High boots, practical for riding, were worn by both men and women, as were short tunics.