View full screen - View 1 of Lot 803. A magnificent sancai-glazed figure of a lion Tang dynasty | 唐 三彩坐獅.
803

A magnificent sancai-glazed figure of a lion Tang dynasty | 唐 三彩坐獅

A magnificent sancai-glazed figure of a lion Tang dynasty | 唐 三彩坐獅

A magnificent sancai-glazed figure of a lion Tang dynasty | 唐 三彩坐獅

A magnificent sancai-glazed figure of a lion

Tang dynasty

唐 三彩坐獅


h. 26 cm


The dating of this lot is consistent with the result of a thermoluminescence test, Oxford Authentication Ltd., C103a81.

此品經牛津熱釋光測年法測試(編號C103a81),結果與此品之斷代相符 。

The lion is in unusually good condition for a Tang animal of this size and fragility and there are no breaks. Viewing under ultraviolet light reveals small areas of retouch to the glaze including the tips of the ears, the eyebrow, the mane, and one of the toes at the back left foot. There are minor bruises to the base and other general wear.

本品保存極佳,紫光燈下僅見少數小面積釉面修補,如耳尖、眉毛、鬃毛、及左後一趾。底座見細小磕碰、磨損痕跡。


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Christie's Los Angeles, Myth and Reality: Animals in Chinese Art, 7th May 1999, lot 32 and cover (offered).

Collection of Julius Eberhardt (1936-2012).

Nagel Stuttgart, 2nd November 2013, lot 3057.


拍賣於洛杉磯佳士得,《Myth and Reality: Animals in Chinese Art》,1999年5月7日,編號32及封面

朱利思∙艾伯哈特(1936-2012年)收藏

德國納高 2013年11月2日,編號3057

Regina Krahl, Collection Julius Eberhardt: Early Chinese Art, vol. 2, Hong Kong, 2004, p. 82f.


康蕊君,《Collection Julius Eberhardt: Early Chinese Art》,冊二,香港,2004年,頁82f

This powerfully modelled lion is a magnificent legacy of the high Tang era, profusely splashed in amber, yellow and green, and preserved in exceptionally good condition. 


Lions are typically found in a Buddhist context in the Tang dynasty, although the poised, attentive posture of the current example suggests that it could also have been intended as a guardian animal. 


Another Tang glazed lion of the same size, similarly modelled seated on its haunches on a rockwork plinth, but with open jaw and splashed in green, is in the collection of the British Museum. Originally in the collection of Henry J. Oppenheim, it was included in the International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-36, cat. no. 2442, and recently in Sarah Wong and Stacey Pierson (ed.), Collectors, Curators, Connoisseurs: A Century of the Oriental Ceramic Society, 1921-2021, Hong Kong, 2021, cat. no. 12 and cover.


The modelling of both lions is very similar in size, style and treatment of the features and plinth, pointing to them emanating from the same workshop, probably at the Gongyi Huangye kilns in Henan province.


盛唐坐獅像,威嚴壯實,靈動有力,黃、褐、綠釉,奔流交織,更顯神氣昂然。整體品相極佳,猶是珍稀。唐代佛教造像常見獅像,本品端坐姿態,神情專注抖擻,應為護法神獸。比較大英博物館藏一例坐獅,姿態、尺寸與本品相類,踞坐於岩上,張牙威嚇,通器潑施綠釉,曾為 Henry J. Oppenheim 珍藏,展出於《International Exhibition of Chinese Art》,皇家藝術學院,倫敦,1935-36年,編號2442,並錄於,Sarah Wong 與 Stacey Pierson 編,《Collectors, Curators, Connoisseurs: A Century of the Oriental Ceramic Society》,香港,2021年,編號12及封面。


本品與上例之尺寸、風格、造像細節、岩座均極為相似,或出自同門,應為河南鞏義黃冶窰。