Chinese Song Terracotta Tile with Philosopher

Hollow-formed, sitting cross-legged flanked by uptala flowers, hands held in the mudra of instruction; black pigment to the hair and inset ruby-coloured gemstones to the headdress. 1.29 kg, 22 cm high



Acquired 1980-2015. Ex Abelita family collection.

Modelled on a rectangular base, the horse standing in harness and with a long saddlecloth; the rider modelled seated in the saddle, arms held before the body, holding cymbals. 1.65 kg, 30.5 cm high



Ex North Yorkshire, UK, collection, 1990s.

The finest of ceramic figures during the Ming Dynasty have a simplicity and compactness of modelling that makes them extremely impressive. Far greater freedom of movement was possible in ceramic sculpture, which now lent an air of gaiety and splendour already glittering with yellow, blue, and green tiles. Boldly conceived figures of men and horses in green-and-brown-glazed terracotta (liu-li) are splendid examples of the confident manner in which Ming craftsmen revived and transformed the style of the Tang Dynasty. These attendants on horseback are excellent examples of Ming Dynasty tomb pottery. The glazed sculptures were placed in burial chambers in order to flaunt social status, wealth, and power.

Comprising a discoid body and cylindrical socket pierced twice for attachment (one piercing occluded); a circumferential zoomorphic frieze in high-relief to the exterior, displaying a procession of vegetal forms alternating with real and mythical creatures, each with stylised anatomical detailing: a monkey; a fenghuang; a leopard (or other feline); a tiger; set with a moonstone-quality khotain jade roundel, carved in high-relief with two sinuous fantastical beasts, swirling clouds in the field; minor restoration. 387 grams, 76 mm

Some restoration, very good condition.

Acquired from Dandelion Fine Arts, Hollywood Road, Hong Kong, 1970s. Ex Prof. David Anderson collection. UK private collection, circa 2010. Accompanied by a copy of metallurgic analytical results, written by metallurgist Dr Peter Northover (ex Department of Materials, Materials Science-Based Archaeology Group & Department of Materials, University of Oxford). Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12036-211774.

The Khotain jade was the best 'moonstone' quality used for gilded-bronzes, and came from the White Jade River, available after the signature of a military treaty in about 69BC to 101AD. This object is believed to have been produced for a notable client, likely even for a royal given the item's similarity to a finial excavated from the tomb of a Prince of Zhongshan.