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Lot Essay
A Massive Straw, Amber and Chestnut-Glazed Camel with a Central-Asian Rider
Tang Dynasty (AD 618-907)
Rose Kerr, Independent Scholar
This magisterial figure portrays a Central Asian rider on a camel, with a falcon perched on his wrist. The modelling of both man and animal is superb, with a hint of humour in the characterisation of the camel, and a suggestion of grandeur in the depiction of the rider. The animal is a Bactrian camel, native to the steppes of Central Asia, with an ability to withstand extreme changes in temperature, and a shaggy winter coat that enables a tolerance to cold and high altitudes. Domesticated Bactrian camels have served as pack animals and as riding mounts since ancient times. Their patient nature and responsiveness to human command was understood by the potter who made this figure, with its raised head, pricked ears and open, bellowing mouth. The rider sits at ease on a large, elaborate saddle, with one leg bent across the saddle, his perfectly judged centre of balance ensuring that the bird on his wrist is secure. He wears a warm fur or fleece surcoat with wide lapels and a hat with chinstrap, indicating that his ride was taking place in autumn or winter, the most popular seasons for hunting.
The man’s large eyes, nose and luxuriant moustache indicate that he is not Han Chinese, but from Central Asia, most probably from Sogdia (located across present-day Uzbekistan, Turkmenistan, Tajikistan, Kazakhstan, Kyrgyzstan). The Sogdians acted as intermediaries in dealing with fierce Turkic tribes along China’s northern borders, and they also traded commodities into China along the Silk Route. Merchants carried exotic goods such as medicines, wines and spices, and they also conveyed accessories like metalwork and jewellery. Some traded luxuries were intangible, such as music and dance. Music in the first half of the Tang dynasty came from every part of Asia, but the most popular style was from the Western Regions (Sogdia and Kucha).
Hunting on horseback or on camelback with birds of prey that had been tamed by their owners was a common pursuit for peoples living along the Eurasian Steppes, and a vital part of their food procurement. In China, descriptions of hunting with raptors (falconry) first appeared in Chinese texts during the Eastern Han dynasty (25-220 CE), though it was certainly practised earlier than that. By the Tang dynasty, it had become the sport of rulers and nobles, an elite activity. Proficiency in falconry and other hunting skills became advantageous for officials, attendants or even commoners seeking to gain an intimate relationship with the ruling classes. Falconry was described in literature and there were many poems describing the pastime, such as “Hawking” by the famous poet Bai Juyi (772-846 CE).
By the early 8th century, when this figure was made, the Tang dynasty capital Chang’an was home to many Sogdians, some of them well-established and wealthy. Excavation of Sino-Sogdian tombs revealed that Sogdian sabao (administrators) were integrated into the Chinese cosmopolitan society of the time. The massive size, careful modelling and intricate decoration of this piece indicate that it came from a lavish burial, and was part of an impressive tomb retinue for a wealthy merchant, official or nobleman who filled his tomb with precious and expensive items.
The figure was moulded in piece moulds in several sections, and then luted together. Individual elements such as the projecting saddle, the heads of both man and beast, arms, legs, hands, ears and the falcon, were made separately and joined on to the core. Big, complex sculptures like this were difficult to model and to assemble, and many large Tang pieces were reinforced internally with armatures. Firing such glazed figures was also hazardous, and wastage rates must have been high. This assemblage came out of the kilns intact (though it probably suffered subsequent damage in burial) and went on to have fine, painted details added to the saddle and camel’s head. The combination of straw and amber glazes, textured unglazed areas and brilliant painted detail, gave an eye-catching appearance.
Tang Dynasty (AD 618-907)
Rose Kerr, Independent Scholar
This magisterial figure portrays a Central Asian rider on a camel, with a falcon perched on his wrist. The modelling of both man and animal is superb, with a hint of humour in the characterisation of the camel, and a suggestion of grandeur in the depiction of the rider. The animal is a Bactrian camel, native to the steppes of Central Asia, with an ability to withstand extreme changes in temperature, and a shaggy winter coat that enables a tolerance to cold and high altitudes. Domesticated Bactrian camels have served as pack animals and as riding mounts since ancient times. Their patient nature and responsiveness to human command was understood by the potter who made this figure, with its raised head, pricked ears and open, bellowing mouth. The rider sits at ease on a large, elaborate saddle, with one leg bent across the saddle, his perfectly judged centre of balance ensuring that the bird on his wrist is secure. He wears a warm fur or fleece surcoat with wide lapels and a hat with chinstrap, indicating that his ride was taking place in autumn or winter, the most popular seasons for hunting.
The man’s large eyes, nose and luxuriant moustache indicate that he is not Han Chinese, but from Central Asia, most probably from Sogdia (located across present-day Uzbekistan, Turkmenistan, Tajikistan, Kazakhstan, Kyrgyzstan). The Sogdians acted as intermediaries in dealing with fierce Turkic tribes along China’s northern borders, and they also traded commodities into China along the Silk Route. Merchants carried exotic goods such as medicines, wines and spices, and they also conveyed accessories like metalwork and jewellery. Some traded luxuries were intangible, such as music and dance. Music in the first half of the Tang dynasty came from every part of Asia, but the most popular style was from the Western Regions (Sogdia and Kucha).
Hunting on horseback or on camelback with birds of prey that had been tamed by their owners was a common pursuit for peoples living along the Eurasian Steppes, and a vital part of their food procurement. In China, descriptions of hunting with raptors (falconry) first appeared in Chinese texts during the Eastern Han dynasty (25-220 CE), though it was certainly practised earlier than that. By the Tang dynasty, it had become the sport of rulers and nobles, an elite activity. Proficiency in falconry and other hunting skills became advantageous for officials, attendants or even commoners seeking to gain an intimate relationship with the ruling classes. Falconry was described in literature and there were many poems describing the pastime, such as “Hawking” by the famous poet Bai Juyi (772-846 CE).
By the early 8th century, when this figure was made, the Tang dynasty capital Chang’an was home to many Sogdians, some of them well-established and wealthy. Excavation of Sino-Sogdian tombs revealed that Sogdian sabao (administrators) were integrated into the Chinese cosmopolitan society of the time. The massive size, careful modelling and intricate decoration of this piece indicate that it came from a lavish burial, and was part of an impressive tomb retinue for a wealthy merchant, official or nobleman who filled his tomb with precious and expensive items.
The figure was moulded in piece moulds in several sections, and then luted together. Individual elements such as the projecting saddle, the heads of both man and beast, arms, legs, hands, ears and the falcon, were made separately and joined on to the core. Big, complex sculptures like this were difficult to model and to assemble, and many large Tang pieces were reinforced internally with armatures. Firing such glazed figures was also hazardous, and wastage rates must have been high. This assemblage came out of the kilns intact (though it probably suffered subsequent damage in burial) and went on to have fine, painted details added to the saddle and camel’s head. The combination of straw and amber glazes, textured unglazed areas and brilliant painted detail, gave an eye-catching appearance.