Sino-Tibetan Gilt Buddha Figure

A ceramic horse and rider figure 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; 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.

A black jade hoof-shaped hair ornament of open-ended, truncated cylindrical form, two piercings towards the base for attachment; retaining its original patina. 188 grams, 12.5 cm high



Acquired in Hong Kong, 1980s. Ex Prof. David Anderson collection, circa 2009. UK private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11709-198346.

The Hongshan Neolithic culture flourished in north-east China between ca. 4700 to 2900 B.C. Such items were tomb deposits, usually found cradling the head of the interred human remains. It is presumed such pieces gathered the hair which would be passed through the cylindrical body. They invariably feature a rippling effect around the top interior, and two holes at the bottom which may once have accommodated a wooden peg. Confucius stated that 'Jade is the incorruptible stone', leading to the trend for those who discovered such artefacts in Chinese tombs to polish them, removing their authenticating patina, before returning them to the grave to be photographed, so as to propagate the myth that they were unearthed in unblemished condition.

A ceramic horse and separately modelled rider figure; horse standing with head erect facing forwards, ears pricked, mouth slightly ajar, cropped mane and semi-naturalistic anatomical detailing; robed rider with stylised features; remains of polychrome pigmentation; socket to receive the (absent) tail. 3.3 kg total, 37.5 cm high



Acquired 1980s-1990s. Ex West Country collection.