A LARGE 'SANCAI' POTTERY CAPARISONED FERGHANA HORSE AND GROOM Tang Dynasty

the beast standing foursquare on a rectangular base with head lowered, the nostrils flared and mouth open, with large eyes set beneath heavy brows wearing an elaborate bridle with square florets along the noseband and headpiece, accented with crisply molded palmette pendants on the nose and cheeks, one ear pricked forward, divided by the forelock swept back on each side, the long chestnut mane cascading down in graceful waves from the arched neck, in striking contrast to the cream colored body, the streaked amber saddlepads and saddle covered by a bright green saddlecloth gathered in folds by a sash, secured by a breastplate strap applied with fur tassels and palmette pendants, with further pendants on the haunches linked over the hind quarters by four floret straps radiating from a central roundel, the cream body lightly streaked with green; the groom wearing a long green and amber tunic, his arms held forward and the body twisted with his face in commanding expression against the strain of the reins (2)

Acquired on the Hong Kong art market, early 1980s.
Offered at Sotheby's New York, 17th September 2003, lot 48.

The groom: In good condition and when inspected under UV light, revealed no fluorescence. There is a chip to the rear-right corner of the base. Some minor firing flaws on the side of his robe, a potting flaw (appearing as a slit) 1 1/2 inch long on the base near his left foot. There is a tiny chip to the tip of his right pinky. Remnants of red pigment on his lips. His robe is slightly less red than the catalogue image suggests. The horse: Very well modeled. Several areas fluoresced under UV light, including the sides of the suspending saddle (the left saddle flap is very likely a replacement section, and the lower part of the right saddle has been restuck). Each of the legs, at the section where they meet the body, fluoresced and have probably been restuck. Scattered areas of the body have been repainted, including the ears (which may not be original) parts of the neck and legs. There are manufacturing flaws atop the saddle, probably from burst air bubbles, but do not detract from the attractiveness of the sculpture. The colors are consistent with the catalogue illustration.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This large and elegantly proportioned horse is impressive for its naturalistic modeling while embodying the power of this admired animal. The magnificent Ferghana horse was the most celebrated breed, introduced into China from Central Asia during the Han dynasty (206BC-AD220), and immortalized in Chinese literature and the visual arts. These were the fabled 'celestial' or 'blood-sweating' horses, known for their speed, power and stamina. The renowned court artist Han Gan (AD720-60) changed the nature of Chinese horse representation when he depicted one of Emperor Xuanzong's (r. 847-59) favorite horses, Night-Shining White (now in the Metropolitan Museum of Art), in a realistic rather than supernatural manner.

Related horses with similar elaborate trappings, which are characteristic of the Sassanian influence on Chinese art in the 8th century, can be found in important collections and exhibitions; see a dark brown-glazed example in the Eli Lilly Collection, included in the exhibition Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, Indianapolis, 1983, cat. no. 61; another in the Idemitsu collection published in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 375; and a third with a brown and white-glazed mane sold in our London rooms, 11th June 1991, lot 112.

A similar white-glazed horse and groom group, but the horse modeled with a brown and white striped mane and a green fur saddle cloth, is illustrated in The Complete Works of Chinese Ceramics, vol. 6, Shanghai, 2000, pl. 81; and a simpler version with an incised mane, in the Tsui Museum of Art, Hong Kong, is included in The Tsui Museum of Art. Chinese Ceramics I. Neolithic to Liao, Hong Kong, 1993, pl. 89.