Tibetan Book of Sutras

Standing on a tiered base with blooming flowers in her left hand, her right hand raised in a gesture of reassurance. 369 grams, 14.7 cm



Ex Cotswold collection, UK, 1990s.

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.

Modelled on a rectangular base, the horse standing with a rounded saddlecloth; the rider modelled seated in the saddle, right arm raised and left arm held before the body; right hand modelled empty to accept a bow or other weapon; some restoration. 1.54 kg, 29.5 cm



Ex North Yorkshire, UK, collection, 1990s.

Many horses, in the Tang graves, have been found with a runnel down the length of the upper neck, and a hole at the end of the spine. These cavities were surely meant to take real horsehair manes and tails, as some later porcelain figures are adorned with wisps of real human hair threaded through holes under the nose and the chin.