AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
TANG SANCAI - THE SZE YUAN TANG COLLECTION | 思源堂舊藏唐三彩珍品
AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛

Lot Closed

AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛
234

AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛

Estimate:

80,000 - 120,000 GBP

TANG SANCAI - THE SZE YUAN TANG COLLECTION | 思源堂舊藏唐三彩珍品

AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛

AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO, TANG DYNASTY | 唐 三彩加藍臥牛

Estimate:

80,000 - 120,000 GBP

Lot sold:

138,600

GBP

Description

TANG SANCAI - THE SZE YUAN TANG COLLECTION

思源堂舊藏唐三彩珍品

AN EXTREMELY RARE BLUE, STRAW AND AMBER-GLAZED BUFFALO

TANG DYNASTY

唐 三彩加藍臥牛


naturalistically modelled as a recumbent buffalo resting on a bent leg and the other stretched out, with its head turned slightly upwards to the left, the body defined by taut muscles and a strong curved spine terminating in a tail sweeping over its rear haunches, covered overall in vibrant blue glaze pooling to deep indigo tones with straw-glazed highlights, resting on an amber and blue-glazed base

Width 19.3 cm, 7⅝ in.

Condition report

The buffalo has several small areas of over-painting to the blue glaze around the top of the head, the base of the horns, the jaw, the back and both sides of the neck.


中文內容僅供參考,請以英文原版為準。部分施藍彩區域(包括頭部、雙角下方、下巴、頸部兩側及背部)可見幾處經輕微修飾。


For more information on and additional images for this lot, please contact Alice.Garner @sothebys.com.


如需更多細圖,請聯繫 Alice.Garner@sothebys.com


"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."


我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員,在此敦促您向其他專業修復人員索取諮詢,以獲得更詳盡、專業之報告。

準買家應該檢查每款拍品以確認其狀況,蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知(見圖錄)。

雖然本狀況報告或有針對某拍品之討論,但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Provenance

思源堂收藏

Catalogue note

The dating of this lot is consistent with the result of a thermoluminescence test, Oxford authentication Ltd., no. C111n23.


Covered in a brilliant blue glaze, this figure of a buffalo is impressive for the naturalistic and sophisticated modelling of its body and pose, which capture the inner strength and gentle nature of the animal. Stemming from a long tradition of producing ceramic sculptures to be housed in tombs, its fine modelling and deep blue glaze encapsulates the adventurous and international spirit of the dynasty.


It is a particularly rare example of sancai animal sculpture for two main reasons: its reclining pose is seldom found among extant examples of ceramic buffaloes. Traditionally a domestic animal associated with agriculture, figures of buffaloes were more commonly made standing and at times harnessed, as they were used to draw carts. The reclining pose, on the other hand captures the animal’s bucolic character and evokes the essence of life in the countryside, concepts that became more prevalent in the later Song dynasty (960-1279). This figure is also rare for its use of cobalt oxide, which at the time was extremely expensive as it was imported from Central Asia. Very few ceramic sculptures of animals are known covered in cobalt, and its use on this piece attest to the wealth of its owner.


The Tang dynasty represents one of the richest chapters in the history of ceramic art in China, when potters tested the limits of the medium and ceramic wares began to be considered as an art form. When glazed pottery vessels, animals and objects of daily life first became popular burial furnishings in the Han dynasty (206 BC- AD 220), they were conceived as humble reproductions of valuable items that would serve the deceased in the afterlife. In the Tang dynasty, these sculptures and vessels became increasingly rich in their colouration and ornamentation, as they became symbolic of status and wealth. Sculptures such as the present were commissioned by aristocratic and royal families, and were paraded through the metropolitan centres of north China during funeral processions. Hence the blue glaze of the present piece would have revealed its owner’s wealth both to the spirits, and to those participating in the funeral procession.


While the majority of Tang tomb sculptures show a certain level of standardisation, depictions of reclining buffaloes are rare, and only a pair of closely related buffaloes, but glazed predominantly in green, appears to be known: they were included in the Min Chiu Society exhibition In Pursuit of Antiquities, Hong Kong Museum of Art, Hong Kong, 1995-6, cat. no. 85. See also a reclining sancai-glazed mythical beast, in the collection of the Tenri Sankokan Museum, Nara, illustrated in William Watson, Tang and Liao Ceramics, London, 1984, p. 230.


A standing blue-glazed buffalo with a boy on its back was included in the exhibition Tang Sancai Pottery. Selected from the Collection of Alan And Simon Hartman, The International Ceramics Fair and Seminar, London, 1989, cat. no. 15; another in the Freer Gallery of Art, Washington D.C., accession no. F1949.26, is published on the Museum’s website: accession no. F1949.26; and a standing blue-glazed donkey is in the Shaanxi History Museum, Xi’an.