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- Tang Dynasty, 618 - 907 AD
- 34 cm
TL Test Oxford Authentication
C. Kuei-Mao, Pottery Figurine: The Eternal World of Ceramic Sculpture,
Taipei 1988, p 41, 42.
M. Girard-Geslan, Of Earth & Fire: The TT Tsui Collection of Chinese Art in The
National Gallery of Australia, Hong Kong 1998, p. 134-139.
S.L. Caroselli (ed.), The Quest for Eternity: Chinese Ceramic Sculpture from the
People 's Republic of China, cat. exh. Los Angeles (Los Angeles County Museum of Art)
1987, pp. 139-141.
M. Siggstedt, Kinesiska Gravfiguriner, Stockholm 1987, p. 61.China Shaanxi Cultural Agency, A Treasury of Figures in Shaanxi, Xian 1987,
p. 96, 97.
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An earthenware figure, slipped and cold-painted, of a court lady. The plump lady stands enveloped in flowing long robes, with original painting, whose folds are fluently indicated. The long skirt drapes over the toes of her upturned shoes. She has a finely modelled face with a small mouth and red cheeks. Her hair is neatly knotted into cicada temples (chanbin) and a squat chignon on the left side of her head. Women wearing long robes are most characteristic of the style of the high Tang period. The plumb figure represents the ideal woman of the time.
Contemporary literature attest to the imposing physical impression created by the ladies of the flourishing Tang period. The Tang ideal of beauty is reflected in many tomb finds, and is often associated with the imperial concubine Yang Guifei; the standards of beauty had gradually changed so that plumpness had become fashionable. Garments were long and loose fitting and exotic hairstyles were also popular.