Chinese Wei Ceramic Buddha Brick

Hollow-formed, sitting on a lotus-flower dais, holding a sphere in her left hand; inset turquoise and carnelian cabochons; with faux Chinese six character Yongle reign mark to back. 1.2 kg, 22 cm high



Acquired 1980-2015. Ex Abelita family collection.

Modelled in the round with semi-naturalistic anatomical detailing, the horse standing on a rectangular base, its stocky neck and head slightly turned to the right, ears pricked forwards, cropped mane and short, dressed tail; the separate rider seated in saddle wearing a knee-length robe, hood and riding boots, one arm held in front of his body, the other raised above his head, detailing to his face; remains of polychrome pigmentation; the upper half of the rider's body modelled separately. 1.75 kg, 32 cm high



From the R.M.Hicks OBE private collection, UK. Accompanied by an original thermoluminescence analysis report no.C106u29 from Oxford Authentication.

A symbol of military strength and social status, the horse was ever a potent mythological and symbolic animal in China. During the Tang Dynasty, both polo and hunting from horseback became fashionable for men and women. It was also during the Tang Dynasty period that female court attendants on horses appeared in art and in tomb sculpture. The fruits of China's relationship with the horse include three of the most important innovations in equestrian history: the horse collar, the stirrup and harnesses based on the breast strap. The failure of China's domestic horse breeding programmes forced them to artificially inflate the price of tea (the production of which was controlled by China), so that tea could be traded for horses from their neighbours.

Featuring decorative piercing to one face, applied transfer Greek key motifs and beasts playing with yarn to four faces; hollow-formed with opening to one face. 1 kg, 15 cm high



Acquired 1990s-early 2000s. East Anglian private collection.